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Chapter 7
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
In week two of Lakshmi’s time with Latika, the maharani improves: her eyes are more alert, and she’s sleeping through the night. She even lets Lakshmi feed her candied lemon slices, her first solid food in weeks. Today, Latika watches as Lakshmi’s pattern gets more elaborate, and Latika’s lady-in-waiting reads a passage about the flowers that bloom during monsoon season. The next day, Latika speaks for the first time, her voice hoarse from disuse. Even the guru perks up.
In India, monsoon season (which lasts from April to September) sees massive, drenching rainstorms after months of relative drought. Here, the lady-in-waiting’s reading signifies that Latika is undergoing an emotional catharsis, unleashing her pain in the same way the sky unleashes rain.
Themes
When she returns home, Lakshmi hears Radha telling Malik about Marilyn Monroe. Lakshmi is torn between pride for her sister’s newfound sophistication and frustration that Radha sounds so haughty. Malik tells Radha he saw her wearing lipstick outside the polo grounds, and Lakshmi panics—why is her 13-year-old sister wearing lipstick? Still, Radha sounds happy, and school will start soon, which will allow Radha to focus on other things.
Though Lakshmi understands something is not right in the way Radha is taking in city life—in addition to wearing lipstick, she is frequenting the polo grounds, where the wealthiest men of Jaipur luxuriate—Lakshmi is too anxious to communicate any of her concern directly.
Themes
At the end of the second week, Lakshmi is ready to finish the maharani’s henna. As a final detail, she writes Latika’s name on one hand and the name of Latika’s son on the other hand, so that whenever she misses him, she can bring her palms together. This is a risk—it could upset Latika to remember her son’s absence—but the queen begins to cry, thanking Lakshmi for her work and care.
Art has allowed Lakshmi to both imagine and actualize other realities, and now she gives some of that power to Latika. In this moment, then, Lakshmi’s henna artistry is a form of care, a form of solidarity, and even a form of protest. Moreover, the names written in henna recall the old trick Lakshmi learned from Hazi and Nasreen.
Themes
Latika asks about Radha’s plans for schooling and suggests that Radha should come—cost free—to the Maharani School for Girls. Lakshmi is amazed: going to the royal school would open unheard-of doors for Radha, and maybe give her the option to study abroad, like Kanta. Lakshmi thanks Latika with the traditional blessing, “may you always wear red,” but she does not say the second half of the blessing (“may your sons always carry on your husband’s name”).
Radha has already demonstrated literary flair (strengthened by her bond with Kanta and inherited from her father), and the maharani’s school will allow her to build these skills. Lakshmi’s hesitance to say the full blessing reflects her knowledge that her henna can only do so much—she can give Latika relief, but she cannot materially change her circumstances.
Themes
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Lakshmi goes to give Indira her status report and sees that the elder maharani is talking to several important women. Indira describes Lakshmi as a “miracle worker” and recommends her for a series of important events. Indira also asks Lakshmi to stay on for several more weeks, as she doesn’t want Latika to “relapse.”
In addition to looking out for her daughter-in-law, Indira also seems to gain comfort from Lakshmi’s skill. The presence of other important women for the “miracle worker” comment hints that Lakshmi’s success with Latika will continue to benefit her career and allow her to make new connections.
Themes
On the way back, the tonga Malik and Lakshmi are in stops suddenly—and Lakshmi realizes it is Hari, using a wooden pole to stop them in their tracks. He explains that he needs money and shows Lakshmi a young girl, the daughter of one of the nautch women. Hari explains that he tried to use his mother’s remedies, but the infection only got worse, and now the girl needs to go to the hospital.
At last, Hari’s earlier interactions in Jaipur and Ajar come clear: he is trying to carry on his mother’s work, helping women who have been brutalized or need abortions. This fact is profoundly at odds with the version of Hari Lakshmi knew, who was himself the brutalizer (and who put such pressure on Lakshmi to bear children).
Themes
Lakshmi knows that Hari is a persuasive con artist, so she struggles to believe that he is telling the truth—even though, as he says, “in Jaipur, people also need help.” Still, feeling guilty, Lakshmi examines the girl’s wound. She advises Hari that the wound needs stitches and disinfectant. He scoffs that Lakshmi’s palace employment has made her think she is too good to take care of regular people.
This important contrast will recur throughout the story: in order to advance her own status, Lakshmi spends her time in Jaipur dealing with rich women’s internal pain rather than the more urgent external damage her mother-in-law specialized in. In other words, even as Lakshmi resents the materially focused culture of Jaipur, she also compromises her own practice to excel in it.
Themes
Reluctantly, Lakshmi gives Hari 1,000 rupees from her palace salary—on the condition that he grants her a divorce. Hari leaves, and Lakshmi frets that he will squander the money, wondering if people can really change. Besides, how will she pay the builder now? Lakshmi wants Malik to promise that he will never become a thug, but he stays silent.
Lakshmi’s panicked train of thought is more cogent than it seems: she is skeptical that Hari can change precisely because she knows how much he, too, must always look out for his own financial stability and survival.
Themes
Lakshmi tries to shake the encounter off, instead returning home to Radha, who is still being cold to her. As she bends down to tell Radha the good news about the maharani’s school, Lakshmi notices that she has never had her ears pierced and resolves to change that. Lakshmi invites Radha to join her at the palace, but Radha is not interested, explaining that unlike Lakshmi, Kanta “needs” her.
Lakshmi is showing Radha care in as many ways as she can: she pays attention to the details of her sister’s appearance, and she arranges the best possible education she can muster. But because Lakshmi has not verbally articulated this care, Radha feels ignored and unwanted.
Themes
Lakshmi tries to help Radha with the cooking, but Radha is a better cook, and she stops Lakshmi’s hand. Lakshmi also tells Radha the good news, but she shows no excitement, though she agrees to go. Radha leaves the hearth where she is cooking, saying only “now I need to finish these treats or you’ll be upset with me for not finishing my chores.” Lakshmi knows she should be proud of her sister’s new independence, but she is wounded by Radha’s harshness.
Ever since she left Ajar, Lakshmi has struggled with her own anxiety about whether to maintain (sometimes harmful) family ties or to seek (sometimes isolating) independence. Now, she sees that same process being replicated in Radha’s life. Radha, too, experiences family as a source of chores, constraints, and humiliation, so Radha too seeks to carve out her own niche.
Themes
