Critical Analysis Of Social Wen And Cry Of The Self By Manju Kapur

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Astha spends more and more time with Pipee. She shares her feelings with her. She feels that her place in home is just of a housewife: She was a wife too, but not much of her was required there. A willing body at night, a willing pair of hands and feet in the day and an obedient mouth were the necessary prerequisites of Hemant’s wife. (Kapur 231) Because of Hemant’s indifferent attitude and treatment, Astha feels satisfied in the company of Pipleeka. She finds herself stronger and more confident with Pipee finds her own room in the form of Pipee. She gets what she has expected from her husband in the company of Pipee. Here Manju Kapur has described the changing mentality of the woman who seeks her own room in any form and at any cost. It seems social boundaries proves inadequate to stop her in her journey of self-search. Kapur’s assertion of sexuality in the form of lesbian relationship may create much hue and cry. Ashok Kumar in his article, “Social Wen and Cry of the Self: A Critical analysis of Manju Kapur’s A Married Woman” expresses his views on Kapur’s introduction of lesbian love in the novel: Manju Kapur has exposed a woman’s passion with love, lesbianism, an incompatible marriage and ensuing annoyance. With passion to revolutionize the Indian male sensitivity, she describes the traumas of her female protagonists from which they suffer, and perish in for their triumph. She is stunned at the intensification of fundamentalism and the augment of religious zealots to

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