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Geeta’s loan group consists of sisters Priya and Priety, Saloni, and Geeta herself, as well as Farah. One day, Farah has not shown up, and it is decided that Geeta will cover Farah’s share of the payment. Since Geeta has no husband or children, she can more easily shoulder the burden than the others. Geeta’s husband, Ramesh, disappeared five years prior, and the village is rife with rumors that Geeta herself killed him.
Farah later arrives at Geeta’s house, bearing a gourd as an apology. Farah’s eye is blackened, and Geeta well knows the story. Farah’s husband has stolen the money she makes from her dress shop and has beaten her in the process. Farah’s husband, like Geeta’s husband did, frequents the bootleg liquor store in the village. Farah begs Geeta to help her kill her husband. She wants to be rid of him just as Geeta was freed from Ramesh. Geeta quickly ushers her out.
Despite the rumors that circulate throughout the village, Geeta did not kill her husband. He was abusive, but there were also aspects of him that she once loved. At this point, however, she rarely thinks of him. She remembers that he left quietly—not after a fight but after his debts piled up. Everyone assumed that Ramesh left because she could not give him children, but, as time passed, they began to surmise that she killed him. She therefore became the village churel: a witch and an outcast. Over time, Geeta has learned to fend for herself and to live a solitary life. Now, Farah’s request only complicates her desire for solitude. Geeta sets off to do her daily errands. Passing by some children playing kabaddi (a tackling game without balls or other equipment), she uses her status as a witch to threaten a girl who is bullying a younger boy. As she walks, she remembers her one-time friendship with Saloni, which ended upon her marriage to Ramesh. Geeta believes that Saloni was jealous, even though Ramesh was not particularly handsome and certainly was not wealthy.
To her frustration, Geeta finds that the shops have already closed for the day. As she returns home, some voices outside the bootleg liquor store stop her. She recognizes Samir’s voice—Farah’s husband. He is arguing with Karem, the shopkeeper, who refuses to sell Samir any more liquor until his account is settled. Samir claims that he can get the money from Farah’s friend, the one who has loaned her the microfinance payment. When Karem questions how he will convince this friend to give him the money, Samir retorts, “Because if she doesn’t, I’ll make her regret it” (20). Geeta realizes that she has been targeted, and she returns to Farah’s house, determined to help Farah kill Samir.
Farah arrives at Geeta’s house to discuss the plan. Farah is surprised to discover that Geeta expects her to commit the actual murder. Together, they will scour the roadways for an unbroken plastic bag, which Farah will place over Samir’s sleeping head, suffocating him. Their search is interrupted by a curious Saloni; Geeta knows they cannot complete their task because Saloni is an incorrigible gossip. She and Saloni exchange barbs, and after Saloni moves on, Geeta and Farah return to the house. Farah asks why she and Saloni despise each other, but Geeta refuses to tell the story.
In this chapter, Geeta reflects on what happened between her and Saloni all those years ago. They had been very close as children and young women. Saloni often ate at Geeta’s house, as her own family was so poor that there often was not enough food for her. Still, Saloni was from a high caste and, even more importantly, she was physically beautiful. She was able to capitalize on both attributes to manipulate and bully others. She also spent much of her time on schemes to make money, often with Geeta as her sidekick. However, when Ramesh came onto the scene, their friendship changed.
Geeta was an object of contention between Ramesh and Saloni, who competed for her affection. Ramesh would tell Geeta that Saloni is not a very good friend, while Saloni accused Ramesh of being controlling. Geeta wanted to keep both of them in her life, but it proved impossible. Ramesh claimed that Saloni desired him, but when Geeta brought this up to her friend, Saloni only laughed. Geeta interpreted this as an insult, assuming that Saloni’s laughter implied that while Geeta was plain enough for Ramesh, Saloni was too beautiful to consider him as a prospect. Upon the end of the women’s friendship, Ramesh demanded that Geeta apologize to him for siding with Saloni in the first place.
Farah arrives at Geeta’s house the next evening, announcing happily that she has managed to kill Samir. When Geeta asks how, Farah says that she put all of his sleeping pills into his nightly bottle of liquor. But Geeta looks more closely at the empty bottle of pills and states, “This is Fincar, it’s for hair growth” (41). Farah, it turns out, is illiterate. They decide instead that Farah will poison Samir and concur that Samir should be drunk when the poison is administered.
Geeta sets out for Karem’s liquor shop, for Farah, as an observant Muslim, balks at being seen at the liquor store. Geeta buys some tharra (cheap, rum-like liquor), and tells Karem that it is for her own use, although he does not quite believe her. Karem is friendly with Geeta, but she does not return the favor because Karem’s liquor often contributed to Ramesh’s abusive rages. Karem sincerely apologizes, then mutters something about Ramesh getting what he deserved, saying, “Blind is pretty clear karma” (46). When Geeta questions him, he demurs and offers her the liquor for free. She refuses to accept what she sees as his guilt and leaves her money on the counter.
When Geeta returns home, she imagines the spot where her refrigerator will someday stand. She has been saving money from her jewelry business, in which she makes mangalsutras (wedding necklaces). She recalls that her father died and left her many debts, which Ramesh made her pay by selling her own wedding jewelry. She is glad that those humiliating memories are behind her and that she is now self-sufficient. She is startled out of her ruminations by a knock on her door. Expecting to see Farah, she instead finds Karem, who offers her a ride into Kohra—the largest town near the village—so she can shop for supplies. Earlier, Geeta mentioned that she needed to go to Kohra, but her errand is to buy rat poison for Farah’s plan.
The next morning, they meet and hop onto a truck headed for town. Karem strikes up a conversation, and they discuss his four children and his wife, who passed away around the same time that Ramesh disappeared. Geeta finds herself taken with Karem’s friendliness and starts thinking of him in startling ways, hiding her blushes. When they disembark, Karem takes her to meet Bada-Bhai, a local businessman who sells Karem’s tharra. Karem clearly has ulterior motives for asking Geeta along; he wants to encourage Bada-Bhai to help Geeta sell her wedding jewelry in the larger town. She is embarrassed but also flattered. Bada-Bhai, however, expresses little interest in the prospect, and Geeta excuses herself to use the toilet. She witnesses Bada-Bhai’s wife slap the Rabari servant; Geeta suspects that Bada-Bhai’s son is actually the Rabari woman’s child, not his wife’s.
Geeta wanders outside, disturbed by the domestic scene. She sees four dogs chained together at the fence line, where one of them gets violently ill. She and Karem discover that Bada-Bhai adulterates Karem’s tharra with methanol, then tests it on the dogs. If the dogs survive, then Bada-Bhai assumes that the liquor is safe enough to sell. Geeta is outraged, as is Karem, who ends his partnership with Bada-Bhai on the spot. Before they leave, Geeta asks to return to the facilities. Instead, she runs outside and frees the dogs. The sick one cannot move, so she picks him up and puts him in her bag.
As the novel opens, the author immediately introduces the theme of Transcending the Stereotypes of Wives and Witches, for the character of Geeta stands as an outlier in her small village. Like the many of the real-life towns and close-knit communities that it resembles, the village runs in large part on gossip and conjecture, and the rumors that swirl around Geeta—that she has killed her husband, that she is a witch—attest to the staying power of local legend. Despite being somewhat vilified by local custom, however, Geeta transcends this social taint by slyly using it to her advantage and openly embracing both the solitude and freedom that her outcast status also affords her. Although she has grudgingly been accepted back into the community on the contingency that she endure this solitude, she has adopted a rather abrasive personality in order to combat the unspoken censure she encounters from the villagers, who still see her as “a fallen woman ‘mixed with dirt’” (4). Such difficulties are a small price to pay for the peace she now enjoys in the absence of her husband and his abusive habits; unlike Farah, whose husband beats her and steals her hard-earned money, Geeta at least has the latitude to pursue her own goals as an independent businesswoman.
The specter of abuse haunts the novel as a whole, and the author explores the theme of Complicity, Trauma, and Survival within Cycles of Abuse in multiple ways as the story unfolds. For example, Priety’s face is brutally scarred; Geeta has suffered broken fingers, courtesy of Ramesh; and Farah’s bruises, both fresh and fading, advertise her husband’s regular misdeeds. Even Geeta, in her isolated and misanthropic state, feels empathy for Farah, though she refuses to kill Samir until he suddenly poses a threat to her personally. As the characters’ lives continue to develop, the abuse that men mete out to women within this rural Indian community is clearly an open secret, and even the women themselves are complicit in the community’s code of silence on the issue. When Farah tries to talk Geeta into helping her murder Samir, for example, she mentions Geeta’s own experiences with such abuse, and Geeta retorts, “You all [knew about the abuse] [. . .]. But nobody did anything about it” (10). In addition to highlighting the rampant abuse within the women’s community, this exchange also demonstrates the difficulties of Female Friendships and Fractured Solidarity within such a challenging social environment.
The threat of male domination, abusive or otherwise, is omnipresent throughout the novel, for not only do men commonly drink illegal alcohol and abuse their wives and children, but they also control women’s movements, lives, and livelihoods. In the author’s portrayal, one of the primary roles of the men in the story is to stifle women’s freedom, and within this problematic social reality, Geeta herself holds a unique position of relative independence. Thus, when Samir’s threats endanger that freedom, Geeta feels justified in immediately shrugging off her qualms about participating in Farah’s plan and agrees to help her kill the man.
As a further reflection of the ongoing trend of oppression, it is important to note that many customs of Indian society also serve to suppress women’s freedom, like the tradition of dowry, which objectifies women and reduces them to items to be bought, sold, or traded for financial gain. While Ramesh brags to the village that he refused to accept a dowry for Geeta, he only does so in order to disgrace Geeta’s father and to shame Geeta herself, for his statements serve to highlight the debts that Geeta’s father had. As Geeta well knows, her “maiden name died with her father, and perhaps that was for the best, as Ramesh ensured that it was synonymous with shame” (49). The experience of women is even worse for those who belong to lower castes, however. Barred even from using public facilities, they cannot relieve themselves in the fields during daylight hours lest they “invit[e] harassment. So they held it. Better to brave the scorpion than the horny farmer” (25). Women’s lives are therefore circumscribed by social customs that favor and excuse abusive male behavior.
This trend also affects the ways in which women are perceived and valued. When Geeta is betrothed to Ramesh, for example, her behavior and cooking skills are painstakingly scrutinized. Thus, a woman’s worth resides in her ability to maintain propriety and modesty: to cook and care for her husband and to bear children and heirs for his family. In that, Geeta was unable to fulfill her duties and the other women in her loan group, especially Saloni, do not often let her forget it. They murmur frequently about the “joys of motherhood” (5), while Saloni reminds Geeta that, without children, she is not fully actualized, claiming, “Until you’ve brought forth the gift of life, you’re not complete” (27). At this point in the story, the primary female characters have yet to fully succeed in Transcending the Stereotypes of Wives and Witches; as Saloni’s comment proves, many of them are still caught in the trap of perpetuating such stereotypes themselves.
Thus, Geeta often turns to the Bandit Queen, Phoolan Devi, for inspiration and emotional support as she faces censure from her community for her nontraditional ways. The Bandit Queen enacted revenge for the wrongs done to her in spectacular fashion, and in the process, she became a kind of folk hero. When Geeta is first spurned by the village after Ramesh’s disappearance, she turns to the story of the Bandit Queen to regain her sense of balance and self-worth. As the narrative states, “If Phoolan could not only survive but escape and enact revenge on her tormentors, then surely Geeta could walk home while people stared at the rancid rinds hanging from her neck” (15). Later, when her life and livelihood are threatened by Samir’s words, Geeta again turns to the Bandit Queen for courage, thinking to herself, “The point was: if the Bandit Queen caught wind of a burgeoning betrayal, she wouldn’t wait to be wronged. A gram of prevention was worth a kilogram of revenge” (21). The Bandit Queen therefore stands as a symbol of female independence and dominance: a role model for Geeta as she charts the treacherous waters of her own male-centered society.
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