The Making of a Woman: Manju Kapur’s A Married Woman as a Novel of Stereotypical Gender Roles
https://doi.org/10.5281/zenodo.12671193
Author(s): Dr Mohd Faiez
DOI: https://doi.org/10.5281/zenodo.12671193
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Volume 15 | Issue 3 | June 2024
Pages: 110-117
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Galaxy: International Multidisciplinary Research Journal
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The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
The Making of a Woman: Manju Kapur’s A Married Woman as a Novel of
Stereotypical Gender Roles
Dr Mohd Faiez
Assistant Professor,
Department of English,
Rajendra Prasad Degree College,
MJP Rohilkhand University,
Bareilly, Uttar Pradesh, India.
Article History: Submitted-27/05/2024, Revised-20/06/2024, Accepted-21/06/2024, Published-30/06/2024.
Abstract:
This paper tries to explore the elements related to gender and its identity. Manju
Kapur’s novel A Married Woman talks about the central character, Astha, who faces objection
because of her gender. From the beginning, this novel talks about the difference between a girl
and a boy in the terms of their upbringing. It is the very reason that a woman faces constant
humiliation throughout her life and many times she is unable to achieve or do what she likes.
It is the making of a woman from a human being in the patriarchal setup. It is the society that
decides what a woman should do and shouldn’t. In this novel, Astha is considered only as a
woman who has no aspirations and choice. She is supposed to act according to her husband
and mother-in-law. She is not supposed to live her life according to her choice. She is not born
as a woman rather she is made a woman.
Keywords: Class, gender, marriage, sexuality, patriarchy.
Manju Kapur’s novel A Married Woman deals with the life of a middle-class married
woman who is educated and has aspirations to do something worth living. The whole narrative
deals with the position of woman in a middle-class family. In this novel, Astha is the central
figure who is a homemaker in the middle-class family. Through this novel, Manju Kapur raises
different issues related to women like patriarchy, representation in different areas, domination
on the basis of gender, answerability and sexuality. Not only this, the novel also explores the
different roles a woman plays in her life in a single day and throughout her life. This novel also
talks about the expectations of a woman and the part which she wants in her life.
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https://doi.org/10.5281/zenodo.12671193
The Making of a Woman: Manju Kapur’s A Married Woman as a Novel of Stereotypical Gender Roles
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
To understand clearly, these opening lines of the novel are relevant enough to describe
the condition and position of women in the patriarchal setup “Astha was brought up properly,
as befits a woman, with large supplements of fear. One slip might find her alone, vulnerable
and unprotected. The infinite ways in which she could be harmed were not specified, but Astha
absorbed them through her skin, and ever after was drawn to the safe and secure” (1). The
question arises as why the novel opens with the lines which differentiates the upbringing of a
girl and a boy. The word ‘fear’ connotes the mental setup of a woman that remains throughout
her life. Here, the upbringing of the girl is being talked about. When there is a girl, fear is
something which accompanies her. It is all about the patriarchal setup where a girl child is
raised in a way different from the boy. It is the starting of discrimination in the family which
is meant for the girl to live in that way only. Here, Simon De’Beavour’s concept of making
women in the world of men seems right. She argues that “one is not born woman rather
becomes a woman”. Same happens with Astha also. She is also not supposed to do many things
like other girls. There are dos and don’ts for a girl in a traditional middle-class family.
A Married Woman is the story of Astha. She is the single child of her parents. Her
parents are serious about their daughter’s marriage. It is the ultimate goal for them to find a
good match and marry her as soon as possible. Here, daughter’s marriage in a traditional
middle-class family is considered as the main responsibility of the parents. It is believed as the
way to get salvation. Her mother says, “When you are married, our responsibilities will be
over. Do you know the shastras say if parents die without getting their daughter married, they
will be condemned to perpetual rebirth?” (1). This declaration by Astha’s mother puts stamp
on the mentality that a girl should be married as early as possible. This is one of the main
reasons that marriage of a girl is considered more important than her education.
As mentioned in the novel that Astha’s parents are looking for her match, and they are
able to find the one. Astha is married to Hemant. To consummate their marriage, the newly
wedded couple goes to Kashmir. Hemant and Astha perform sexual activities. She had not
thought that there will be so much of it. She experiences the sexual activity for the first time in
her life. Till now, she had only experienced the kisses of her boyfriend, Rohan, only. They
spent quality time in Kashmir and comes back to their home in Delhi.
Back in Delhi, their sexual activities were more often and Astha’s husband Hemant is
curious for something new in the sexual activity. He learns new sexual positions and tries to
experiment with unique postures and positions to make it different every time. Hemant has
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The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
literature related to sex which he puts in his wardrobe. He is focusing on the sex very much. It
can be noted that he is trying to get much pleasure. Here, Astha becomes an object to fulfill the
bodily desires. In the course of sex, woman has no say, she has to act according to her husband
and the same happens with Astha also.
At one instance, when Hemant asks Astha to wear sexy clothes, Astha objects, “What
do you think I am? A whore?” (43). This objection from the side of Astha proves that she has
self-respect and this act of wearing sexy clothes is not meant for a girl of traditional family.
Here, it can be noticed that Astha doesn’t want to be a sex object to satisfy the man whether it
is her husband. She, as a woman, is considered as a mere body what her husband wants to see.
She furthers asks her husband, “So I am to be your teddy bear?” (44). It is already noticed that
she is not there to be a mere teddy or the one without any say.
At the request of Hemant, Astha puts on the sexy dress brought by him, and when she
sees herself, she falls in love with herself. It is described in the following words:
She put it on and there from below her chin, a deep cleavage appeared with
black laced mounds on either side, the dark nipples straining through black net
hearts. She almost didn’t recognize herself, with the sexual parts so emphasized.
She raised her arms to take out the pins from her hair, watching as her breasts
rose and thrust forward, feeling an excitement that embarrassed her. (Kapur 44)
Through this dress Astha enters into the world where she finds her passions and what
she never thought or saw about her body and mind. The dress brings to her another dimension
from where she can see herself. It is mentioned that she was not aware of the sex before
marriage, but afterwards she discovers her sexuality. As the time passes, it is Hemant who
desires it more than Astha, and then Astha wants to give more than what Hemant wants in
sexual activity. Astha finds herself that she also needs sex. Astha’s desires are mentioned in
the following words:
Slightly ashamed, she kept hidden that she longed to dissolve herself in him,
longed to be the sips of water he drank, longed to be the morsels of food he
swallowed. The times he was away she was focused on one thing, the moment
of their union. When he came through the door, she wanted to jump on him, tear
his clothes off, thrust her nipples into his mouth, and have him charge his way
through her. One with him, one with all that mattered.
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‘I haven’t really lived,’ thought Astha, ‘till now I did not know what life
was all about.’
She felt a woman of the world, the world that was covered with the film
of her desires, and the fluids of their sex. (Kapur 45)
These lines regarding the sexual desires of Astha are worth reading and understanding.
It is not only Astha, rather it is about all women who come from traditional middle-class
families and are not aware about their sexuality. There is distinction between men and women
in terms of expression for sex. This insight into sex gives Astha a new meaning to life. She
wants to have sex more and more; she wants her husband to play with her body. Her desires
are only up to her. What she thinks is impossible to express in words. These desires say a lot
about Astha or those women who are unable to express themselves due to gender and cultural
barriers.
Astha’s married life begins with excitement and happiness, she enjoys sex a lot, but as
the time passes, dullness begins in her life. She joins a school as a teacher to pass her time and
works hard. After the school, she is there to take care of her husband who often comes late
from the office. In this way, a woman’s life is being discussed. With work, she has to look after
the house also. Astha does all with responsibility.
Working hard throughout the day, Hemant tries to get some time for sex. It is like a
safety valve for Astha. It acts as a remedy for her. It is described as:
Astha lay back, aware of every inch of her skin, aware of every thread she wore,
now about to be dislodged. The day, with its petty vexations flowed away from
her. This, what was going to happen, was the central thing in her life. (Kapur
50)
Life goes well for some time and then sexual activity slows down after the birth of a
baby girl. Family life takes a new shape, Hemant starts his own business and leaves the job.
Hemant has no time left for the family and gives time to his business. On the one hand business
is growing while on the other hand his relationship with family, especially with his wife Astha,
seems to fade. Astha becomes mother for second time and gives birth to a baby boy named
Himanshu. Astha remained herself busy again in her children. Family life continues and seems
stressful as Astha finds no time for her. Hemant remains busy in his business and meanwhile
Astha suffers from headaches. Astha visits the doctor when headaches worsen more.
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Sometimes, the headache becomes so severe that she gets no relief from the medicines. This
condition of Astha represents the life of a homemaker who has to look after the family and gets
no time for herself. This hectic life makes them sick. Ruchika Singla and Shilpa Chaudhary
argue in their paper regarding the married life of Astha in the following words:
Soon conventional married life makes her monotonous. She feels her married
life oppressive and suffocated in the routine of repetitive responsibilities as wife
and mother. After much resistance from her husband and her parents, she begins
teaching profession which is commonly available profession to the suffocated
house wives in India. But her insensitive, indifferent and even infidel husband
increases her restlessness and her life becomes a metonymic extension of the
“migraines” which she begins to suffer frequently. (Singla and Chaudhary 144)
Astha engages herself in painting and writing poetry to get rid of the stressful life. She
composes the following poem:
Astha pens the poem Changes:
The eventual release from pain
In the tearing relentless separation
From those in habit loved
Can Come so slowly
It seems there will never be a day
Of final peace and tranquility
Who promised me, that if I
Did gaze upon reality
Accept it, embrace it, befriend it
I would never suffer again
But no matter how many times
I heave the doorways of my soul
To let the chill light in
The darkness grows silently
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To hide me in the break of day. (Kapur 79-80)
On closer scrutiny of the poem composed by Astha, it can be seen that somewhere the
poem reflects her own life which is expressed in these words. This poem talks about the
relationship and the situation which is accepted by the poet. Astha is not different from this
situation in her life where her husband Hemant is busy with his business and she is unable to
get his company. She has accepted this harsh reality of life that there will be no peace. She also
promises herself that she is not going to suffer anymore. Through this poem, she tries to
convince herself and accepts the reality of life. From another perspective, this poem throws
light on the plight of married women who are destined to do the daily chores and are confined
to home only. They have accepted their roles as a mere homemaker and doing it without making
any noise or demand.
Hemant’s objection to her poetry brings to light the condition of a woman where she is
not free to express her emotions or do what a woman wants. Astha tries to make him understand
that poetry is about emotions, but he does not like emotional poetry. Astha leaves writing and
continues to paint. This domination of man over woman is not only on her body, rather on the
passions and emotions that puts a woman in the position where she is unable to find her identity.
When a woman does not have freedom to do anything out of her choice, she either becomes
iconoclast or the slave.
Regarding gender roles, Hemant asks Astha that it is woman’s role to look after the
children. He says the following words:
After he came home the last thing he wished to bother about was taking care of
a child.
‘It’s your job,’ he said.
‘That’s not what you thought when we had Anu,’ replied his wife. ‘I can’t do
everything myself. It’s tiring.’
It was also boring, though this was not acknowledged.
‘It’s woman’s work,’ said Hemant firmly. ‘Hire somebody to help you, or quit
your job.’ (Kapur 69)
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The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
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This conversation between Hemant and Astha regarding looking after the children
throws light on the roles of men and women in the society. Hemant firmly says that it is
woman’s work to look after the children. When Astha objects to it, Hemant asks her to quit the
job or hire someone. Over here, it can be seen that woman is supposed to compromise either
by making arrangement or quitting the job but man is not supposed to compromise in any
situation. Looking after the children is considered as a woman’s job in the society and it is
accepted as the norm in the middle-class patriarchal setup.
Regarding gender roles, as noted elsewhere, Astha volunteers with other social
activists in the time of communal tension in the country. She wants to do something for the
society and it is a kind of escapism for her to get herself involved in these types of activities.
Astha’s mother-on-law objected to her active involvement in the following words, ‘It
is not a woman’s place to think of these things,’ she said firmly. (185). Here, Astha faces
objection just because of her gender. Astha’s involvement is not considered relevant here by
her mother-in-law as it is a man’s job to take part in the social activities. This is the reason that
only a few women have been acknowledged in the history for many reasons.
Despite the refusal from the family, Astha goes to Ayodhya with another activist,
Reshma, to develop peace. Astha thinks about her role as a woman and not as an individual.
Astha’s feelings can be understood by the following lines:
That night she couldn’t sleep. Her mind refused to rest, roaming restlessly
among the things that made up her life, her home, children, husband, painting,
the Sampradayakta Mukti Manch. Was it too much for a woman to handle; was
her mother-in-law right? But why? Her children were well taken care of, she
had trustworthy servants, she had someone who cooked better than she, she had
left her teaching. And yet she was chained. (Kapur 187-188)
Astha finds herself in the shackles of responsibilities just because of her gender. But
she goes to Ayodhya and tries to break those shackles.
To conclude, it can be said that Astha becomes the victim because of her gender. It can
be seen that there is construction of identity on the basis of gender. Since her birth, Astha has
experienced the role of gender in her life. At different stages, she finds that her gender becomes
a kind of obstacle for her to achieve what she thought. She tries to resist at different points but
ultimately compromises to live according to the norm of the society where a woman is
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supposed to be a homemaker. Astha is considered only as a body, who is supposed to fulfill
the desires of her husband, to look after the children and the house. Astha’s qualities as a painter
and poetess are not considered by her husband in positive way. In all, Astha suffers only due
to her gender as a woman. From the beginning to the end, there is making of a woman in the
patriarchal setup.
Works Cited:
Kapur, Manju. A Married Woman. Roli Books, 2006.
Ruchika Singla and Shilpa Chaudhary. “A Grumbling Transgression in Manju Kapur’s A
Married Woman”. Aayushi International Interdisciplinary Research Journal, Vol-VII,
Issue- II, February 2020, p. 144.
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Dr Mohd Faiez