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Chapter 20
Themes
Key
LitCharts assigns a color and icon to each theme in The Henna Artist, which you can use to track the themes throughout the work.
Choice, Independence and Women’s Freedoms
Family and Responsibility
Societal Hierarchy vs. Unordered Intimacy
Care and Communication
Creativity vs. Possession
Summary
Analysis
Lakshmi arrives at Kanta’s house to tell her she is moving to Shimla. The first thing Lakshmi hears upon arrival is Radha reading to the baby, who is curled up in her arms. Kanta and Manu have decided to name the baby Nikhil, and he is chubby and healthy. Lakshmi wonders if Radha feels guilty about how close she is getting with this child.
Radha’s reading to the baby recalls the sisters’ pitaji, a literature professor who instilled a love of books in both of his daughters. Since Radha in particular is such a lover of fiction, her desire to share this with baby Nikhil signals that she is having trouble detaching from him.
Themes
Radha is a natural with Nikhil, whereas Kanta struggles to stay calm with him. Lakshmi realizes that Radha is feeding Nikhil the bottle instead of letting him breastfeed with Kanta. Though Kanta denies that Radha’s presence is a source of anxiety, Lakshmi knows better. Kanta feels that Radha is a “better mother” because they are biologically linked.
Kanta’s concern about biological vs. adoptive family reflects one of the book’s central themes: what constitutes a familial relationship, and is family defined more by mutual care and obligation or by blood?
Themes
Lakshmi tells Kanta and Manu that she is leaving for Shimla, and they are happy for her and confident in her success. Radha, though, is less comfortable with the news, as she worries that she will never see Lakshmi again. Though Lakshmi promises she will buy Radha a train ticket whenever she wants, she also tries to have Radha see that living with Kanta is not the best thing for her. If Radha comes to Shimla, she can talk about poetry with Kumar and attend school with Malik, who is also joining. Lala could even take over nanny duties for Kanta. Radha considers the proposal.
As always, Lakshmi’s makes trades and comes up with creative solutions, bypassing the obstacles of societal expectation. With this new plan, she can restore Lala to security and comfort, give Kanta the relief of a clear-cut relationship with her child, and ensure that Radha gets the education she deserves.
Themes
The last night at her Rajnagar house, Lakshmi stands alone, admiring her floor. She is happy that she’ll leave behind “a map of her life” in Jaipur, alongside the “thousands of henna strokes” she has made there. Instead of identifying as a henna artist, Lakshmi now sees herself as a healer, making others “whole.” In a joyful moment, Lakshmi begins to dance across her floor, like Hazi and Nasreen used to do in Agra.
For much of the novel, Lakshmi has struggled to link her past (with her family and Hari and Ajar) with her present-day Jaipur life. At last, Lakshmi feels that she can move forward without abandoning her past: she embraces the ephemeral “henna strokes” and celebrates the cohesive “map” she will leave behind even as she looks towards her future in Shimla. Most excitingly, Lakshmi will then be able to grant this kind of “wholeness” and integrated well-being to her Shimla patients.
Themes
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At that moment, the door swings open to reveal Radha with a baby blanket in her hands. Lakshmi is terrified, believing that Radha has kidnapped Nikhil—and when Radha lets the blanket fall to the floor, Lakshmi cries out. But all that falls is a rattle and silver shoes, last keepsakes Radha wants of the baby boy. Though it pains her, she explains to Lakshmi, Radha has decided that Shimla is the best place for her.
Radha’s kidnapping fake-out demonstrates how far she has come since she first arrived in Jaipur. The Radha readers met at the beginning of the story would have impulsively taken the baby, but now, Radha is able to strike a balance between what she wants and what she knows is best.
Themes
Radha sobs at the thought of losing her baby, lamenting that she really is the Bad Luck Girl. But Lakshmi comforts her, assuring her little sister that “you’ve brought so much good luck into our lives.” Besides, Lakshmi argues, they are all one big family now: Malik, Kanta, Manu, Nikhil, and the two blood sisters. “What a miracle that she had found me,” Lakshmi thinks, “and I, her.”
In this touching moment, Lakshmi undoes the central psychological scars of her little sister’s life, allowing her to be a source of “good luck” instead of bad. In addition to cementing the chosen family logic of the novel, this passage also embraces the fairytale (or “miraculous”) structure of the two sister’s lives.
Themes
Lakshmi is excited that in Shimla, she will be able to heal people who are actually suffering, instead of rich ladies who just want to feel better about themselves. She sweeps the floor of the Rajnagar house one more time, then leaves the pocket watch Samir gave her on the counter. With that, Lakshmi walks out the door.
By returning to Shimla to heal those in dire need, Lakshmi is also returning to her saas’ teachings. Since Parvati bought Lakshmi’s house, Parvati will see the pocket watch left on the counter—and know (likely with relief) that the romance between Lakshmi and Samir is truly forever ended.
Themes
