Examine the role played by Shug in Celie's assertion of self. (The Color Purple)

Ques. Examine the role played by Shug in Celie's assertion of self. 

Ans. Alice Walker's The Color Purple is concerned with the aspect of racism, sexism, and gender discrimination and their negative psychological effect on women's minds. The female characters in the novel do not have a stable identity, but their identity is fluid and dependent on their language and other characters' speech and emotions. 

The sisterhood among all the female characters helped each of them to find themselves and have a stable identity. Even, the protagonist of the narrative does not have an identity herself and through writing letters, she is seemed to find herself. Her life has been fragmented into pieces, and given away to others. But, the sisterhood with Shug and Sofia allows Celie to move from a fragmented state of self to a state of self-possession.

The bond between Celie and Shug begins as soon as Celie had a glimpse of Shug's picture. Celie kind of, felt attracted to Shug, and later, when she met Shug her relation with her started to grow. At the beginning itself, Celie made one thing clear that, "I don't even look at men. That's the truth, I look at women, tho, cause I'm not scared of them."

When Shug and Celie met for the first time, Celie was nothing like the way she was at the end of the novel. Though, Shug's first few words after looking at Celie were "you sure are ugly". But, as time last they started to share a bond. The readers can anticipate that Shug was the most important part of Celie's life. She gives Celie a sense of identity and also makes her feel sexually, physically, and emotionally more comfortable. Shug's love has uplifted Celie's self-esteem. Shug has taught many things to Celie in a blink of an eye. 

To Celie, the connection with Shug was important because Shug made her feel important. From their relationship and shared experiences, Shug has turned Celie's life around and have her a new beginning. Because of Shug, Celie has finally realised and became an independent woman that can stand for herself and her beliefs. Even, at times we have seen Shug acting as a mother figure, ultimately helping her to grow into an independent well-thinking individual. 

Shug teaches Celie about the importance of life and how to make each moment count. She teaches Celie the definition of love. "Love is big. Love can hold anger, love can even hold hatred. I mean, you know, it's all - it's all love. It's about the intention of what you want it to do. It's about what you're trying to give. And often when you're trying to give something, you know, it has a lot of pain in it. But the pain too is a part of the love."

Initially, it was expected that both of them will have only sexual relations but the way Celie used to see Shug and describe her as "She admired this beautiful woman dressed in furs and wore high hills that made her stand tall. Shug teaches Celie about the importance of life and how to enjoy it. Most of all she teaches Celie how to love." Soon their relation took a turn into sisterhood and they used to laugh, play, sing, and talk about everything. Celie states, "Us sleep like sisters, me and Shug."

Shug has turned Celie's life upside down, from teaching her about love, to help her to gain individually and in the end helping her to stitch pants to earn living. After Celie and Shug god sexually intimate, Celie started to feel more of a way than just live for Shug that is when she thought of making a revelation regarding her rape by her Pa. 

Celie confides in Shug and through their conversation readers got to know the whole episode of Celie's rape by her father. She revealed, "But one time when mama not at home, he comes. Told me he wants to trim his hair. He being the scissors and comb and brush and a stool. While I trim his hair he looks at me funny. He little nervous too, but I don't know why, till he grabs hold of me and crams me up tween his legs." 

When Shug recovered, is about to move on with her life and will be leaving Celie. It makes Celie upset and she finally revealed that in Shug's absence Mr. Albert beat her Celie insisted she stay for a bit longer because she knew that without her, her life would be dull and there will be no joy. 

The relationship between Shug and Celie is very significant because it helps Celie who was the weak, submissive girl at the beginning of the novel to grow into an independent free-thinking woman by the end of the book. The relationship between Shug and Celie had made Celie feel important. Not only this, the relationship booster Celie's confidence and empowered her to be that independent woman. In the end, when Celie and Shug leave for Memphis, then also being a friend Shug mentioned her and teach, how to see pants. Thus, helping her to grow financially too. 

The Color Purple is the story of Celie's healing, but it is not the writing of letters that she is healed: it is with the love and acceptance from Shug, which enables her to take her words outside the letters and to speak them out loud, for someone else to hear. It is through the help of Shug that Celie looked forward to seeking respect and create her identity. Celie was completely opposite person at the end of the book, now she is financially independent, famous, and loved by a woman she loved the most. "I am so happy. I got love, I got work, I got money, friends and time."

Like a true friend, Shug supported Celie in every situation and helped her to grow independent and taught her to live her life to the fullest. 

Discuss the epistolary form in 'The Color Purple'.

Ques. Discuss the epistolary form in 'The Color Purple'.

The Color Purple by Alice Walker is considered a classic womanist text. It stars the black woman 'Celie', living in the frame of male civilization, racist and sexist being subject to all possible forms of oppression. The literary historian Trudier Harris in Black American Literature Forum commented that the novel has, "become the classic problem by a black woman" as "the pendulum determining focus on black writers had swung in their favor and Alice Walker had been waiting in the wings of the feminist movement."

The Color Purple bears the formal remark of the 'epistolary novel' sometimes it is called a 'diary novel' too. Basically, epistolary novel means written in the form of letters. The Color Purple is a narrative that parts the way with the "traditional" novel in several formal aspects, and these aspects stress the contrasts established by the setting and the character. The female protagonist of the story describes herself. Celie has the dominating voice in the novel, she controls the words of the people present in her letters not only this but through her Nettie's letters are also depicted. Though, Celie does not consider her letters as anything else than just, a written document saying the things she wishes to tell the recipients she cannot speak to in person.

Unlike many 'traditional' epistolary narrative heroines, Celie's story is set up in a different setting and so her story is unusual. Also through the epistolary form, Walker links a formal and western tradition to an oral and distinctly African American folk expression. It is through these letters that readers were allowed to look into the series of oppression that white people carried on black people. Celie's and Nettie's struggles with their place in a society dominated by white people are brought together towards the end of the novel. The center of the tale is injust suffered by blacks. Thus, the bitter truth is acknowledged in these letters.

Celie uses the letters to allow her to speak and also to get structure to her identity and her sense by writing. As the novel started, the readers can hear her voice only through her letters to God with the command over it- "not never tell nobody but God". These letters give Celie chance to grow and express her thoughts which points out her spiritual development and pave her path to independence. Apart from this, through her letters Celie allows other characters to speak as well as within the letters for instance Nettie's letter, through words the audience got to know about her proceedings in life. Nettie is considered to be the second narrator, as though the letter she used to write was about her experience under different circumstances. It is through, Nettie that readers got to know about her life and oppression in Africa and how Olinka was ruled by European Rubber Planters. 

Through the use of epistolary narrative, Celie takes a step forward towards herself assertion. Since Celie gained self-acceptance, she started to speak for herself, for instance, she declared the decision her going to Memphis. As we have seen that initially, Celie did not use to sign her letters but later she started stressing her identity through her family relationships, her business, her love, and her new place in the world. Later, she begins to sign letters as 'Amen', even it is seen that once Celie allows Shug to say 'Amen' in the letter. It was with help of Shug that the letters of Nettie were arranged in chronological order. 

The basic narrative of the story is linked with the main theme of gaining an identity and of rebirth and survival. Throughout the narrative we have seen two parties writing letters, that is, Celie and Nettie addressed to each other but these letters were not exchanged as they were never received. The letters which are in the first person were directly addressing God and sometimes Celie. Though the storyline was fragmented just like her life because the letters of Nettie didn't reach Celie at the time, since both parties was separated by force. Thus, the basic function of letters is lost throughout the narrative. 

Finally, the story ends with the family reunion as depicted in the last letter we see, Nettie has returned back to Celie, and so Celie can no longer address her; she turns back to God instead, and give her thanks for having let Nettie come back to her. Since Nettie is with Celie, so Celie dedicated her last letter to "Dear God, dear star, dear trees, dear sky, dear peoples. Dear everything. Dear God". Obviously, by the end, Celie overcame her inability to speak and Nettie's absence. Other letters do not play a significant role in the novel as Celie has got everything including her identity and her sister.

The Color Purple parts way with the letter novel not only in the content but in tradition too, and also on the most fundamental function of it as well: it is in her solitude that Celie finds her happy ending. The novel gives Celie, a voice both in the story world and in the American literary tradition. Though, the letter fails to communicate as it does not reach the one to whom it is addressed. 

"Under the pretext of Emergency, fundamental rights have been suspended." Explain in context of the novel 'A Fine Balance' by Rohinton Mistry

Ques. "Under the pretext of Emergency, fundamental rights have been suspended." Elucidate.

A Fine Balance has been an artistically drawn-out novel by Rohinton Mistry. The novel is a

mixture of joy and woe, heaven and hell in which the novelist has tried to cover the most

volatile and violent spectrum of contemporary history, which shook the social-political

stagnation of the country. Since the novel is set during the Emergency period in the mid-1970s, which is marked by huge political unrest and human rights violations, including detention, torture, and forced sterilization. According to T. Vijay Kumar: “A Fine Balance is a depressing novel set in a depressing period of Indian history."

In the novel, Rohinton Mistry tried to weave all his experience and memories he made in his

birthplace. A Fine Balance pictures together with a tale of the 1970s struggle in India and the midst of a state of Emergency. The Emergency period depicts the turbulent times when most of the parliamentary opposition, alongside thousands of students, trade unionists, and social workers who were put behind the bars to enable Indira Gandhi to retain power. This state of Emergency intrudes into the lives of many humans. Thus, Mistry highlights his concept and cruelty of the Emergency period by telling a tale of Dina Dalal along with Om Prakash, Ishvar, and Maneck Kohlal. 

Dina Dalal is being depicted as an old woman, who is trying to earn her living by employing two tailors Omprakash and Ishvar besides that she gave a room on rent to Maneck Kohlal. So, apart from Dina's life of three other characters namely- Ishwar, Omprakash, and Maneck have been showcased. All these characters suffer from a sense of rootlessness. Since all of them belong to different parts of the country for say, Dina Dalal is set up in Bombay, Ishwar Darji and Omprakash are from rural India, and Maneck from the high altitudes of the Himalayas. All the characters at Dina's place.

Throughout the novel, we can see the harsh conditions in which each character is surviving and the political disturbance has added more to their problems and blighted their lives. In the end, we have seen the two poor tailors struggling only for a livelihood and are utterly-crushed-Ishvar and Om converted as beggars on the streets for small charities, till death comes mercifully to release them from this burden called life. Not only the economy was disturbed due to political tension but many people sacrificed their lives too as shown through the example of Maneck. Kohlah was crushed under the train. Alongside, Omprakash, Ishvar, and Maneck, Dina's life was also affected at the end she loses her struggle and is forced to leave her apartment and live at her brother’s place, forfeiting her independence.

Along with the depiction of Emergency, Mistry makes some revealing political insights also

through the take of Omprakash and Ishvar. However, in the novel, it is been showcased thatvcertain fundamental rights have been ceased from people. For example, if we see the Indian government they had passed laws where they have prohibited untouchability but in all practical purposes, the untouchability is carried on in different parts of India as Narayan says in the novel–

“Government passes new laws says no more untouchability, yet everything is the same. The

upper caste bastards, still treat are worse than animals …

“Those kinds of things take time to change.”

“More than twenty years have passed since Independence. How much longer? I want to be able to drink from the village well, worship in the temple, walk where I like.”

During the 1970s untouchability was a prominent problem specifically in rural areas. The book has tried to captures the emotions of Dalits or untouchables whose freedom was taken away and they were denied basic human rights. Even Dalits were denied to enter the temple of learning. Ishvar and Narayan learned about untouchability through instances that happened with them in school. The teacher used to shout: “You Chamaar rascals! Very brave you are getting, daring to enter the school! He twisted their ears till they yelped with pain and started to cry... Is this what your parents teach you? To defile the tools of learning and knowledge?"

Thus ultimately depriving them of the right to education. The transition in rural life, the change in aspirations of the lower castes, the attempts by the upper castes to preserve the old order is aptly delineated which is mentioned through a major instance in the violence perpetrated by Thakar Dharamsi and his henchmen against Narayan's family during the week of parliamentary elections.

The evictions of the poor from the cities, the forced labor camps, the sterilizations are the

manifestations of the Internal Emergency. On one hand, people talk about equality but on the other hand, all the untouchables live a life of ignominy where they have no rights, where their women are raped, their huts are burnt down, and they are brutally beaten up and they have nowhere to go, nobody to complain to, no one to whom they can approach for justice. As to when Dukhi decides to make his son tailor, he has to suffer the anger of Thakur: “What the ages had put together, Dukhi had dared to break asunder; he had turned cobblers into tailors, distorting society’s timeless balance. Crossing the line of caste had to be punished with the utmost severity,” said the Thakur.”

During the election, Narayan tries to assert his democratic right and cast his vote. For his

defiance, Narayan and the other two "Chamars" are forcibly gagged, flogged, and tortured and they were hanged in the village square. The conditions in the rural area were worst and the most affected class of people were those who belong to the lower caste and those who are economically backward. During Emergency, “the right to trial was effectively suspended; public meetings were banned; newspapers were subject to strict controls; and even the writings on freedom of Indira’s father, Jawaharlal Nehru, and Mahatma Gandhi were censored."

Rohinton Mistry very aptly portrays the callousness of the government authorities who are keener on achieving the targets of sterilization rather than thinking about the welfare of the poor. The overall situation in the country was grim since the 'Emergency' was announced.

Mistry's concept of India in the Emergency seems to be larger than life-size. Through the novel 'A Fine Balance', Rohinton Mistry tries to depict the dark period of Emergency which was a blot in the history of India. A Fine Balance is a microcosm of life in general and political disturbances, which Mistry observed while being in India. He wanted to draw an image of all the instances which he experienced in India be it - the cheap tricks of

political parties and its effects are on the local public. However, this political disturbance took a major violent blow when the violence against the body started the most drastic form in the enforced sterilizations initiated by Indira’s son and heir apparent, Sanjay. Ultimately, by the end

of the novel, we saw the dirty political game of the so-called 'bigwig' politician who made the locals of the country feel unsafe and unprotected.

Discuss Marie Clements’ narrative technique in “The Unnatural and Accidental Women

Ques. Discuss Marie Clements’ narrative technique in “The Unnatural and Accidental Women”. 

Ans. Marie Clements’ play ‘The Unnatural and Accidental Women’ is a Canadian play that is a product of the twenty-first century that explores various overlapping themes including feminism, sexism, racism, and violence at various levels. This play is based on a real-life incident, which the author wants the world to know. The incident talks about the mysterious disappearance of multiple indigenous women. In her story, Clement confronts the assured depiction of missing and murdered Aboriginal women by emphasizing the issue of racist stereotypes. The play is painted through the eyes of different women who have suffered and witnessed violence at the hand of a killer. 

Clement began writing the play after reading an article that refers to the women’s murder that was published in various newspapers and magazines. With the unique theatrical style of blending Aboriginal storytelling, ritual, and western theatrical conventions, she wrote the play. She began writing the play with accuracy like that of a documentary, as it is based on true events with all factual details included in it. 

The play begins with a picturization and sound of falling trees as stated “a collage of trees whispering in the wind… the sound of a tree opening up to a split.” With the use of sound and imagery Clement connects the deconstruction of trees with that of women. The author binds the scene of the city with that of a forest giving the idea of women who are not associated with earth. Thus, the falling of trees can be a symbol of the exploitation women’s bodies have suffered. 

In ‘The Unnatural and Accidental Women’ Clement used surreal effects with the combination of poetic dialogue to shift the main focus of the audience from the severe and brutal murder of women. Though on the contrary, she has added news clippings and segments of the coroner's official report to give insight into the situation and the way the whole incident has been disregarded, irrespective of the proper evidence. The official report of the coroner says, “Coroner’s inquiry reported she was found nude on her bed and recent bruises on her scalp, nose, lips, and chin.” 

The two-act play, ‘The Unnatural and Accidental Women’ tries to reimagine true historical events. As act one begins, we can see an awful image of Aunt Shadie lying on a bed in a disgustful manner with several bruises on her body. Later in the scene, Rebecca, the victims’ daughter, is seen discovering her mother. Rebecca intertwisted her part of the story, to find her mother by revealing the logger history of Vancouver, Canada. The logging story in Canada perfectly symbolizes the social discourse that women and nature suffer through. The introduction to the dominant narrative is brought into significance after displaying the dominance of man on women and nature. Thus, act one is concluded as being a part of a detective story.   

The narrative is somewhat non-linear as it moves back and forth in time which is showcased with the help of the past life of the victims. As the story progresses, Clement has surreally represented the past story of these women. As showcased, the early life of women they were shown isolated and alone before the murder. The women share their horrifying memory which overlaps when they speak as women and trapped souls. Along with the life of victims, the life of various other characters is represented. The systematic fusion of patriarchy and racism has forced the women to remain silent and passive.

To show the distinction, the author has placed Indigenous and non-Indigenous women to place contrast between them. The surrealistic setting allows the connection between these women. The lives of women are comfortless, dark, and colorless.

As stated, "Scenes involving the women should have the feel of a black and white picture that is animated by the bleeding-in of color as the scene and their imaginations unfold. Colors of personality and spirit, life and isolation paint their reality and activate the particular landscape within each woman’s own particular hotel room and world." Marie Clement skillfully employs multiple perspectives as the interference or depiction of the story from multiple narrators makes the murder less heinous. 

Say for the writing of Rebecca is presented which is indicative of dramatis personae employed by Clement. Rebecca’s memories and her dreams have allowed her to pen down the thoughts to make them widely available to the audience. Through the figure of Rebecca, the relationship between mother and daughter is brought up. Being a great storyteller, Clement has highlighted the playful and eventful episodes with Aboriginal theatrical style. 

As the narrative moves towards the second act, we can see the victims helping Rebecca to find the killer. In the second act, all the murdered women gather around a victim’s daughter ‘Rebecca’ to guide her on her journey in different ways. All the women showcased as enlivened and ardent. The leading path and the signs created by these women helped Rebecca to successfully end her journey as well as her story. 

Clement interjects the play with several themes, especially the maternalistic themes which conflict with the ongoing derogation of Indigenous women by colonial culture. This remarkable play offers a perfect balance between surrealism and realism by highlighting the past and internal lives of the characters, especially women. 

‘The Unnatural and Accidental Women’ is a multiple narrative play that encourages the audience, especially those who are well aware of history to find their own perception of truth. Clement presents the various social, racist, and sexist societies of Canada, where the murder of ten Indigenous women was committed. Though, before their murder, the women appear to be isolated and alone which made them look defenseless in front of the barber. However, when Rebecca struggles to find the killer of her mother, they refuse to stay silent but guide her till the actual killer is found. Perhaps, the play appears to be the true blend of solidarity, and alliance. Clement pictures the critical image which signifies hope for many cultures and without the typical cultural and patriarchal influence. 

Theatre/acting has played a fulfilling role in the lives of both Binodini Dasi and A. Revathi.

Ques. Theatre/acting has played a fulfilling role in the lives of both Binodini Dasi and A. Revathi. While Binodini was able to lift herself from her social image of a “fallen woman or potita” through her various roles on public stage, A. Revathi was able to express her feminine self by putting on roles of women in plays during village festivals. Critically comment.

Ans. “Men and even women stared at us and laughed, and heckled us. I realized what a burden a hijra’s daily life is. Do people harass those who are men and women when they go out with their families? Why a crippled person, a blind person- even attract pity and people help them.”    

                                                                                                                                    - A. Revathi

“There is nothing in this world for me but everlasting despair and fears of a heart filled with sorrow. And yet there is not a soul who will listen even to this. There is none in this world before whom I can lay bare my pain, for the world sees me as a sinner- a fallen woman.”

                                                                                                                                  -Binodini Dasi

In the above instances, voice of strong and influential females is captured from the recent urban history, who tried to bring a change in the world. These women came from the different background with diverse culture with a view to challenge the stereotypes of their time and bring a change in the minds of audience in respect to marginalized communities and gender. The connection between both of these women is a bond of theatre which bring them fame, critical acclaim and money, though the society did not leave a chance to look them down upon.

Their writings- ‘My story and life as an actress’ by Binodini Dasi and ‘Truth About Me: A Hijra Life Story’ by A. Revathi gives us critical insight into the interpenetrative nature of events in their public and personal lives and their recurrent self- images in the society.

The nineteenth century famous Bengali actress Binodini Dasi, was born in Calcutta in a poverty stricken-family with no means and property. At an early age, she was introduced to poverty and financial burden at the end of her family. So, she initiated her career in acting and made progress in the same direction.

In nineteenth century, there was not much scope for women to come up on the stage and act, as the theatre belong to man’s world. However, the female from upper-caste families were not allowed to act on the stage so, the directors from Bengali theatre started picking up actress from red light areas. Binodini, herself came from the red-light area as a prostitute but with the help of theatre and acting she tried to lift herself from the social norms of a fallen women.

Binodini holds a significant place in early Bengali theatre because of her acting, she was handpicked by the Bengali Theatre Legend, Girish Chandra Ghosh. From there her career as a dramatist, and a part-time poet took an upward trajectory. Girish, encouraged her to write poetry and get it published. Finally, she became a renowned name among the biggest actress.

The big stage allowed her to play various roles, but in the initial stage theatre was not able to take away the tag of ‘potita’ in front of her name. Here, Binodini was doubly oppressed firstly because of her profession by birth of a prostitute and secondly because of her gender. Her by-birth profession became barrier in her social life as a reputable woman.

Ultimately, through her autobiography the audience came to know the struggle of her life and the way she fought against all the odds to overcome the burden of being a disreputable woman. She always tried to elevate herself from this status. The way in which she refashioned herself not only as an actress but also personally to escape the life of shame and thus, she challenged the double standard of contemporary patriarchal system.

Binodini’s autobiography reveals the crisis that she has faced in her life. The crisis of identity and gender along with the personal and professional tragedies us what makes her life more miserable. Her life progression is symbolic to that of lotus, even if she is grown in mud that is in red light area but because of her talent the main focus of the audience was on the lotus, i.e., on Binodini.

On the other hand, A. Revathi who was born as Doraisamy is the youngest male child among all the siblings raised in Tamil Nadu. He grew up as a shy boy with feminine qualities, with an affection of dressing like a woman and traditionally doing female activities such as household chores. From his childhood, he was being criticized and laughed upon at home and even in the school premises. But since, Doraisamy’s male body nurture desire, passion and affection of being a “female”, he left his family to cherish his passion.

As he grew physically and mentally, he became aware of the hijra community. In India hijra or transgender community is being marginalized in every aspect be it in terms of economic, socio-political or geographical terms they are deprived of major part and find it difficult to live in the society. He thought that after turning into a woman, he would be at peace. But her autobiography revealed the painful exploitation she has gone through.

The first ever autobiographical sketch by a person belonging to hijra community recounts the separation and discrimination they felt on daily basis. Through her story she brings into light that a hijra is also worthy of respect and human rights.

At the age of 20, Revathi decided to fulfill her sexual desire by working as a sex worker.  A. Revathi tried her luck in the film industry in 2008 to influence and make people aware about the life of transgender and how their lives are being made miserable because of the social pressure.

Theatre and writing are powerful tools to bring transformation in the society as A. Revathi thinks. Through the movie Thenavattu by VV Kathir, Revathi plays the role of transgender and tries to convey people about how alien the world looks to them.

Both these women have suffered a lot in their lives but have finally came out of the haunting life situations. The struggle of Binodini and A. Revathi were different but one thing that was common is the role of theatre which serves as a tool to transform their disreputable identity into a reputable and respectable one. Their unique talent along with the power of voice be it in their real-life role or the reel life role became important.

Binodini and Revathi stood up for themselves and for other people belonging to their respective community. They stand against the society which was not reluctant to accept them the way they are. Even now, people look the prostitutes and transgender as down upon and they think they are wrong and whatever, they do is wrong. But both these influential personalities tried to challenge stereotype and earn respect.

Discuss the theme of female sexuality in 'Lihaaf'.

Ques. Discuss the theme of female sexuality in 'Lihaaf'. 

Lihaaf interweaves the concepts of the fundamental institution of marriage in a patriarchal society with the neglect of female sexuality and desire. Chughtai, a radical feminist writer, reviews the establishment of the idea of a woman being reduced to a mere commodity by discussing the acquisitive aspects of marriage in a patriarchal society and the subsequent commodification and dehumanization of women to meet the expectations of society

 Since her family was financially challenged, she was treated as a mere object- a meager part of a social enterprise who was forced to comply with the resolute norms of society.

Begum Jaan in the story can be seen as a sexually-deprived woman who gets no attention from her husband, Nawab Sahab. Their marriage stands more as an economic contract between their families. The story refers to a time when women’s bodies were traded in the name of marriage and treated as possessions. The descriptive words used for Begum Jaan are: “Her complexion was marbled white without a speck of ruddiness.” A stark contrast can be seen in the description of her masseuse, Rabbu: “She was as dark as Begum Jaan was fair, as purple as the other one was white.”

The language and the words used are related to the sexual re-presentation of a woman’s body. Begum Jaan uses her sexuality as a means to empower herself. In the forefront, she works within patriarchal norms and adheres to the standards of a dutiful wife, while within the quilt, she acknowledges her sexual desires and does everything in her power to fulfill them, and seeks solace in a non-conforming sexual relationship. Her relationship with Rabbu and Nawab Saab’s relationship with the young men; the bodies and their desires bridge the gap left by the heteronormative marriage.

The constant reference to “the elephant” under the “quilt” which doesn’t let the narrator sleep, also serves as a metaphor for the sexual desires and relationships that are either not spoken of or only talked about in terms of metaphors and not addressed directly. Lihaaf not only represented the unspoken but also brought to light the taboo subject of female sexuality and the presence of female desires in a heteronormative marriage.

As for Begum Jaan, she was from the very first day of her marriage realized as a commodity or the unwanted. Begum Jaan, unable to form any physical or psychological bond with her husband withdraws herself. Being constantly neglected by her husband and unable to communicate, she feels to be the „submissive‟ or the „oppressed‟ and seeks release. Here, constantly being devalued and depressed she withdraws herself and refuses to be „oppressed‟ anymore and engages herself mentally as well as physically with Rabbu: “She started living and lived her life to the full. Soon her thin body began to fill out. Her cheeks began to glow and she blossomed in beauty." 

At this particular moment of her self-actualization where she decides to fulfill her desires rather than confinement. She frees herself from the barriers of patriarchy and involved herself in a new gendered consciousness. The act of massaging Rabbu appears as one kind of latent sexual fetish which was nurtured between Begum Jaan and Rabbu:Rabbu used to massage her back for hours together. It was as though the massage was one of the basic necessities of life. Rather, more important than life‟s necessities. 

The quilt is therefore used as a disguise from the outside world. It itself forms a world between the two.