The Henna Artist

by

Alka Joshi

The Henna Artist: Chapter 20 Summary & Analysis

Summary
Analysis
After two weeks in Shimla, Lakshmi returns to Jaipur; it is now mid-October 1956. Lakshmi has had a wonderful time in the Himalayas, helping people who welcome her suggestions and playing with Kanta, Radha, and the baby. As soon as she gets home, though, Lakshmi is faced with the reality of her poverty and lack of clientele. She has debts to settle, and she refuses to ask Kanta and Manu for money.
The worlds of Shimla and Jaipur seem to be increasingly opposed. Shimla represents care, communication, nature, and a measure of equality, as Kumar and Lakshmi work to provide top-notch healthcare to all. By contrast, Jaipur seems materialistic, individualistic, and filled with inequity.
Themes
Choice, Independence and Women’s Freedoms Theme Icon
Societal Hierarchy vs. Unordered Intimacy  Theme Icon
Creativity vs. Possession Theme Icon
When Lakshmi is unable to pay an oil vendor for his product, he tells her she can henna his wife to settle her debts. But when she arrives at the vendor’s small house, he is leering, instructing Lakshmi to draw a picture of her own face on his wife’s breasts. Lakshmi tells the vendor that henna is private, but he ignores her, watching and touching himself. Lakshmi is horrified and dismayed to feel that his wife’s resentment is directed toward her, not her husband.
Lakshmi learned henna from the “pleasure women” in Agra, and henna is often associated with lust and fertility—so it is unfortunately not surprising that henna work could be distorted and targeted by predatory men. The wife’s anger at Lakshmi—instead of at her husband—again displays that solidarity between women is almost impossible under patriarchy.
Themes
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Disgusted, Lakshmi rushes to leave the house, breaking her saas’s henna bowl in the process. As she runs through a nearby alley, she has memories of being a little girl, fleeing Hari’s abuse back in Ajar. But a familiar voice stops Lakshmi in her tracks: it’s Lala, Parvati’s old servant. Lala explains that her brother is Naraya, and that Ravi impregnated her niece, Naraya’s daughter. When the daughter’s new husband learned of her pregnancy, he had locked her out of the house. And in desperation, the girl had self-immolated, killing the baby as well. 
Lakshmi’s saas’ bowl is both the source of her income and the memory of the most important kindness and education Lakshmi ever received. The fact that it breaks thus quite literally represents a breaking point for Lakshmi. Since Lala’s niece has been set up as a mirror for Radha (just as Lala reflects Lakshmi), the niece’s tragic end gives the lie to the fairytale of Radha’s life. Though the novel depicts Radha’s happy ending, in reality, Lala’s niece’s fate would be much more likely.
Themes
Choice, Independence and Women’s Freedoms Theme Icon
Societal Hierarchy vs. Unordered Intimacy  Theme Icon
Care and Communication Theme Icon
Lala admits that she wanted Lakshmi’s sachets, but she was too scared to work up the nerve. Lakshmi regrets that she didn’t act on her sense that Lala needed something (“how far I’d come from everything my mother-in-law stood for!”). Lakshmi wonders why Lala is working in such a poor neighborhood, and Lala explains that Parvati spread rumors about her so she couldn’t get better work.
Moments after the bowl breaks, Lakshmi realizes that her healing practice (at least the version she carries on in Jaipur) is also broken. Instead of helping the people most in need, Lakshmi has ignored real problems in favor of her own material gain—because the alternative is to end up like Lala and her niece.
Themes
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Care and Communication Theme Icon
Creativity vs. Possession Theme Icon
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Malik finds Lakshmi near her Rajnagar house. He offers to pay for a rickshaw, but she cannot take his money. Lakshmi reflects on Malik’s loyalty, and though she insists she has no more work for him, he tells her she will always be his “Auntie-Boss.” Malik always tells Lakshmi that more untrue rumors have spread, which is why not even local vendors will do business with her.
In this important moment, a relationship that began as transactional—Malik worked for Lakshmi and she paid him—becomes familial. Unlike Malik, Radha is blood-related to Lakshmi, but both arcs emphasize this shift away from mutual need and towards tenderness and caretaking.
Themes
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Societal Hierarchy vs. Unordered Intimacy  Theme Icon
Care and Communication Theme Icon
Finally, Malik makes Lakshmi face facts: “you can’t go on like this,” he tells her. Lakshmi starts to sob, and Malik pushes her to leave Jaipur, reasoning that her new house—although she is proud of it—actually makes her unhappy because of its expense. That night, Lakshmi offers food to a begging holy man, but he will not accept it because Lakshmi herself looks so pitiable. 
If Malik is now a kind of family member, part of family seems to be forcing Lakshmi to recognize unpleasant truths.
Themes
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Societal Hierarchy vs. Unordered Intimacy  Theme Icon
Quotes
There is a letter from Kumar waiting, which explains that Kanta has paid for all of Radha’s medical bills, a fact that causes Lakshmi to weep with gratitude. More importantly, though, the letter begs Lakshmi to come to Shimla, promising that the scandals from Jaipur will not follow her there. Reflecting that she does not need a fancy house to prove who she is on the “inside,” Lakshmi decides to accept Kumar’s offer.
Nothing emblematizes the good and bad of Jaipur more than Lakshmi’s house, with its decorative marble floor representing her artistic skill, her independence, and her material ambition. In choosing to sell the house, then, Lakshmi reorients herself: choosing healing over aesthetic design, community over personal freedom, and generosity towards others over ownership and possession.
Themes
Choice, Independence and Women’s Freedoms Theme Icon
Societal Hierarchy vs. Unordered Intimacy  Theme Icon
Care and Communication Theme Icon
Creativity vs. Possession Theme Icon
Lakshmi then writes Samir asking him to sell her house. Two days later, she gets a response—but it is from Parvati, who reveals that she knows of the loan Samir gave Lakshmi. Enclosed in Parvati’s letter is money to buy the house. Parvati specifically wants the patterned floor. Though she feels the two women are “even” in terms of their misdeeds, Parvati also wants to acknowledge “that we may never again have someone with your hand making our hands a wonder to hold.” Lakshmi looks at the note for a long time.
Parvati’s surprising letter acknowledges not only Lakshmi’s skill but also the ephemerality of that skill—though the floor can be purchased, each henna design Lakshmi makes can “never again” be repeated. In recognizing the impermanence of Lakshmi’s art, then, Parvati is also recognizing the impermanence of their relationship. But instead of framing their severed bonds as a bad thing, Parvati’s note allows both women to make peace with the temporary, important role they played in each other’s lives.
Themes
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