Indian Historical Events

Kapur has lived through tremulous times in India; she describes the agitated circumstance of the contemporary nation in her novels. Along with the portrayal of the restlessness in the partition times and communal riots in the nation, she clearly describes the inner turmoil of her female protagonists. She composes the plots against the backdrop of the Indian historical events such as communal riots, partition, and economic bane in India. In her interview with Jai Arjun she asserts,

With years of studying texts, it becomes almost second nature to look beneath the surface at social and economic forces, gender relationships and how they are played in an arena that, in my writing, happens to be the home.

But, then, all sorts of things happening outside do affect what is happening inside the home. (21)

There are many modern writers who discuss about feminism, male dominance, patriarchal society, and equality of sex. But Manju kapur is the one brings the new flavour into the world of Indian literature and also in the feministic writing.

Her writing highlights the man-woman relationship, human desire, gender discrimination, marginalization, and protest. The structure, portrayal of the characters, the skilful narrative technique, theme of her works which becomes a feminine discourse and this is an endeavour on the side of the novelist to scrutinize the victimization of women and the sexist bias in the patriarchal Indian society. She draws the new face of women. The main focus of all her novels concentrates on woman characters within the territory of home and society.

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Ram Sharma observes that Manju Kapur has analysed “the socio-cultural modes and values that have given Indian woman their role and image along with their effort to achieve a harmonious relationship with their surroundings” (49).

Manju Kapur novels orchestrate a wide range of theme related to the life of women in the context of patriarchal society: the life of women within the family, their relationship with the male and female members, their desire for education and possess children, and finally their bonding with other women as a means of emotional solace, survival, and empower. As a female novelist, she is concerned with the sufferings of the newly emerging urban middle class. Kalpna Rajpur says “Manju Kapur has joined the growing number of woman writers from India on whom the image of the suffering but stoic woman eventually breaking traditional boundaries has had a significant impact” (95).

The female protagonists of her novels dissent against male supremacy and the marginalization of woman. As a feminist writer, she propaganda that a woman is a woman and she must not remains as the shadow of man and his appurtenance. She sustained this notion that a woman is never viewed as an autonomous being since she has always been delegated a subordinate in society. In the interview with Saudamini jain for Hindustan times kapur clearly asserts that

Well, I am very aware of feminist thinking. I have been deeply influenced by it, and I would call myself a feminist as well… I don’t see out with a conscious feminist agenda, but in describing the relationship between men and women a feminist perspective is often inevitable and this applies to books written well before the term was invented. (19)

She has illustrated her female characters as a woman caught in the dilemma state between the desires of the flesh and wanting to be the part of an intellectual and the political movements of the day. She has recorded the truth in her fictive narrative.

Kapur has successfully portrayed the current position of woman who has valiantly thrown the mantle of tradition, social customs, culture, and patriarchy. Like Virginia Woolf, Elaine Showalter, and Jane Austen she breaks the dictatorship of the patriarchal system and generates a different kind of the world. Many critics have compared Kapur with Jane Austen for her sharp-eyed characterisation. In her interview with Sophy, Kapur states, “I love being compared to Jane Austen,… there is one thing in common, and probably one shared by a lot of women writers-addressing larger social, economic, and gender issues through the prism of the family”(23).

In her first novel Difficult Daughters (1998) she has portrayed the theme of travails in self-identity and also socio-cultural identity. The illicit relation of Virmati with professor creates her life more crucial. She is forced to lead a life of compromises quite in prosecution with her notions from which she finds no solace. After much struggle and criticism Virmati is married to Harish, in his house she is not find her identity but she identified as second wife of Harish. When Virmati dies, she is not cremated according to her wishes and also her voice and her identity is not recognised by anyone. Even her own daughter fails to justify the ways of her mother. Dr Gupta comments

Difficult Daughter is an absorbing story of a woman torn between opposite forces of society and her best to break that silence. Though she does her best to break that silence and to raise arms against social customs and norms but social customs and norms are cruel not enough to allow her succeed. (109)

In Married Woman (2002) traces the story of an artist whose desires for her carrier and her extra martial relations challenges the constraints of middle class existence. She meets a widow Pipee who becomes the spring of charm to her. She engages in the love affair with Pipee. This new engagement becomes the cause of disputes between Astha and her husband. They are living under the false impression of making themselves rescue from male subjugation. She is trapped in a terrible chaos whether she should stay in the sheltered existence offered by family and tradition or she should run for her liberty and unthinkable love. In the end, Astha has reunited with her family and readjust herself in ancient traditions. Ashok Kumar says “Manju Kapur has exposed a woman’s passion with love and lesbianism, an incompatiable marriage and ensuing annoyance. With passion to revolutionize the Indian male sensitivity, she describes the tramas of her female protagonists from which they suffer, and perish in for their triumph” (165)

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Indian Historical Events. (2019, Nov 27). Retrieved from

Indian Historical Events
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