Central European Management Journal ISSN:2336-2693 | E-ISSN:2336-4890

Vol. 31 Iss. 3 (2023)

SHOBHAA DE’S: MIND AND ART, SHOBHA DE’ AND FEMINISM

Rupesh
Scholar of PhD English, Madhyanchal Professional University, Bhopal
Dr. Amol Soley
Research Guide, Madhyanchal Professional University, Bhopal
Abstract:
This study examinations the book Psyche and Craftsmanship by Shobhaa De. De is a writer in
Indian English writing, which has a long and celebrated history of female writers portraying
present day India.Authentic ambitions have been presented by feminists like Kamala
Markandaya, Namita Gokhale, Manju Kapur, Anita Desai, Arundhati Roy, and Shashi
Deshpande, who have all focused on the confines of their own society. Shobhaa De describes the
glitzy underbelly of Mumbai's culture in her writing. Her intellect is more subversive, and she
can relate to the feelings of a bourgeois reader. The art she creates shows how neurotic and
immoral city dwellers can be. Her intellect is razor-sharp, and her work is one-of-a-kind.
Shobha De is a noteworthy essayist due to her momentous capacity to examine really fragile
issues of the human condition with responsiveness.It's quite wonderful how she describes every
facet of every kind of connection, but especially the one between a man and a woman. The more
traditional citizens of India have criticised her for her outspokenness on sexual topics. People see
different aspects of her personality and talents, but as a whole, she is still misunderstood. She is
a complex woman with many different talents and personalities. I don't believe she gives a damn
about what traditional readers think about the themes in her books. She's a fantastic author, and
her fame continues to grow. The majority of her readers are impressed by both her unique style
of storytelling and her fascinating topics.
The purpose of this study is to evaluate Snapshots in the context of Shobha De's portrayal of
feminist problems in her other books. Snapshots from the lives of six people are shown in the
tense book by Shobha De of the same name. Former classmates of Santa Maria High School's
female students—"the 'girls'"—who have predictable, mundane, and blissful lives at home and in
their heads. Shobha De's works thrash about in their core the greatest forms of human psychology:
power, the desire to command, straight action, and the acknowledged wisdom of others. Ladies
in Shobha De's books, in any case, are Side Road disapproved of enough to proceed with
connections and excursions without agonizing over their accomplices' marriage collusion. These
two female characters have sufficient confidence and good judgment to legitimize their
association. Asha Rani and Akshay Arora's sentiment in Brilliant Evenings (1991) is an ideal
illustration of this sort of matching. Most guys couldn't care less about ladies' sentiments and
contemplations, however these ladies are effectively looking for freedom.To vent their
frustration, they engage in questionable behaviours like having extramarital affairs.
Keywords: Indian English Literature, Novelist, Mind, Art, Urban society, Theme, Diction, Style,
Plot and climax
1. Introduction of Shobhaa De’s Mind and Art

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In only a few decades, numerous Indian authors have risen to the top of the international
literary scene in English. Indian English Fiction has been elevated to new heights because to the
work of prominent female authors such as Jhumpa Lahiri, Kamala Markandaya, Namita Gokhale,
Manju Kapur, Anita Desai, Arundhati Roy, Shashi Deshpande, and Shobhaa De. The influence
of feminism and other western concepts on Indian discourse is undeniable. Feminist writing in
English comes in a rainbow of tones, from calming to rousing. These writers and their works
represent indelible landmarks in English-language literature from throughout the globe. Eighteen
of Shobhaa De's books have become successes in India.She is a writer for major newspapers and
publications in addition to being a well-known author, socialite, celebrity, former beauty queen,
and model. She does not identify as a feminist but as a humanist.
This study examines Shobhaa De's creative process and the ways in which the media have
influenced her thinking and writing. She attended Queen Mary School in Mumbai and then went
on to get a psychology degree from St. Xavier's College in the city. She is a dedicated worker and
devoted Mumbai resident; her books often include the city as a major protagonist.
She precluded herself by saying it was urgent for her to offer this shiny vision of a world
to which exceptionally limited individuals realize about, yet her works have consistently kindled
as a result of her exhaustiveness to lay forward the existence of metropolitan culture significantly.
Absolute perfection is the pinnacle of artistic achievement. It doesn't happen in the blink
of an eye; rather, it's the result of the author's perseverance and development. She's been writing
novels for the better part of two decades now. Blockbusters in India and past incorporate her
books Socialite Nights, Brilliant Evenings, Depictions, Steamy Days, Bizarre Fixation, and
Qualms. As indicated by Amarnath Prasad, "Genuine craftsmanship is worried about the
introduction of neither unadulterated truth nor the openness of statistical data points, it is
everlasting something else more inside than outside, more tasteful than awesome. "1She is a
proud women's activist craftsman who generally declares her credibility by means of her work.
Because of this desire, she finds it difficult to try out new concepts and ideas. Correctly, according
to Paul W. Robert of The Toronto Review.
"She is very attractive and so modest about her accomplishments. When I looked into her
eyes, I saw isolation, fervour, terror, humour, doubt, uncertainty, wrath, grief, and tremendous
fortitude. Like a chameleon, it changes its appearance in response to its environment gradually
over time. I've seldom come across such delicately cracked windows into the human psyche.
Enigmatic, direct, crass, erudite, girlish, intelligent, and ultimately fabricated reality emerge when
one reads her writing. She has no idea how talented she is as a writer, or what makes her so
proficient at her craft.2.
As a researcher, instead of an essayist, Shobhaa De's psyche is one of the most fascinating
and significant regions being investigated today.The brain is the seat of thought and is always
active. The brain is "the coordinated entirety or arrangement of every psychological cycle or
mystic exercises of a person."3
She constantly engages her mind and puts it to use. Her intellect can relate to the feelings
of people in this bourgeois society, where so many people are brutally insatiable for power, riches,
and sexual fulfilment. De's attention on the individual, her innocent authenticity of the inward

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universe of reasonableness, and the highs and lows of her outlook her separated from different
creators.She concentrates hard to hone her intellect by paying close attention to the minute details
of each step. She sharpens her intellect via meditation and practise, and the results show in her
writing. It endows her with the power of insight and provides her with a complete picture from
which to draw. When she puts her mind to it, she can produce a lot of text. She experiences life
to the fullest by going places, seeing films, meeting new people, maintaining relationships, and
more, all of which serve as inspiration for her writing. Her books are written in the Roman 'a clef
style since the novel's major character is a picture that she has in her mind. She's a free spirit since
she thinks for herself. She has shown exceptional aptitude in selecting and weaving together the
experiences that have moulded her perspective and propelled her forward. She sees marriage as
a mutually beneficial, interdependent symbiotic connection.She says that she will always be a
writer, in some capacity or another, and that the thought of never putting pen to paper fills her
with terror. When she has a productive writing session, her day is seen a success. Her fingers can
keep up with the speed of her thinking. She finds release and pleasure in writing, and it helps her
gain insight into the world and other people. She explores the depths of the character's infinitely
sophisticated intellect to unearth its hidden treasures. Before entering the combat, she studies the
landscape to determine the best course of action. According to Shobhaa De:
Playing voyeuristic games and spying on interesting strangers has always been a fun
pastime for me. Trying to understand what motivates people to speak and do the things they do.4
When seeing her experimental artwork or reading her books, the reader may find
themselves lost in a strange-land where intense emotions and ideas rule supreme, which may
pique the interest of the reader.
Creating something beautiful or meaningful is at the heart of art. It's also possible to read
it as a window into the psyche of the creator. If you're an artist, you'll never be lonely since your
work will always be there to keep you company. She's able to set the mood in a way that's both
creative and well executed. Her works evoke strong reactions from the audience and provoke
strong feelings. Her sensual writing appeals to both the mind and the flesh of its audience. She is
responsible for every work of literature or metamorphic structure that continues to haunt us long
after we've finished reading it. Her writing has a steady beat throughout. A reader doesn't stop in
the middle of a book until he reads it cover to cover. She paints her ideas with the stunning hues
of brutal candour. She now uses the term "stream of consciousness" to refer to the way that
contemporary literature often presents its story. Her tone of jealousy and desire sets the scene and
keeps the reader interested. Literature nowadays, according to M.K. Bhatnagar, "expects the type
of an innately individual, eccentric, even odd vision of life," which may "incite prodding,
befuddling, entertaining, or confusing the peruser in a fun loving, casual, knowing way. "The
metropolitan, metropolitan lady and her relationship to family and society is a repetitive issue in
every one of the five of De's works.So, too, are the trials and tribulations she endures while trying
to forge her own identity in a world that is both hypocritical and insensitive. She appears to hurl
scathing invective at contemporary man's ostentation and sham. The books' climaxes all have
satisfying conclusions.

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There's no question that her works have many sexual depictions. But they have never been
provided at the expense of aesthetics and other literary standards of excellence. The Tribune
makes an astute observation:
"She murders alpha guys with a fury and rattles off insults about her own gender. Shobhaa
De is both stunning and unbiased. She has a sledgehammer for a pen and a wide-ranging desire
to murder someone, and she is a merciless writer. She destroys identities and cultures with
aplomb, and the one thing she can't stand is hypocrisy. She's got a great camera and she should
keep using it that way, whether or not her subjects like being photographed.6
She had a role in establishing the Freudian tenor in literary works. According to her, man
is a sexual animal whose health depends on his sexual prowess. Shobhaa De investigates the idea
that sexuality is not forbidden despite conventional wisdom. Freud has exposed a ground-
breaking hypothesis regarding sexuality. D.H. Lawrence went so far as to convert sex into a
religion. In India, the same is written by Alka Pande and Sreemoyee. Shobhaa De is aware that
sex and sexy content is popular not just in India but worldwide. To boost book sales, she includes
some kind of masala in practically all of her works. Her writing uses sexuality as a lens through
which to study protagonists' motivations, personality types, and worldviews. The writer's brazen
sexual expressiveness is on full display in Snapshots:
We don't think it's disgusting or something to be ignored. We are safe from sexual assault.
I pity all you ladies who are still clinging to antiquated notions of what it means to be pure, moral,
and chaste. That's just pitiful.7
She has shaped her female characters to be sexually independent, to engage in sex on their
own terms, and to look for fulfilment in relationships with both men and other women. They have
no interest in being treated like property or a lesser human being. De's utilization of language
mirrors the real propensity in contemporary public activity towards the disintegration of phonetic
shows,and her novels' steamy narratives have proven to be a successful formula because they
provide a platform for the true colours of her characters to shine through. She writes in a
hypotactic manner, where the character's temporal, logical, and syntactic relationships are
articulated via dialogue. Her commercial language and socialite style transform India's distinctive
diversity and scale into a bloated, overblown art of writing aimed at making a profit. She has
utilized pieces of Hindi as a figurative language to emulate the trickery, sketchy quality, and other
problematic social exercises of her imaginary characters, for example, Salwar Kameez, Bindi,
Chappals, Linda ki bachchi, Ghazals, Haraamis, Panch-mukhirudraksha, Chhodo, Arrey baba,
AkshayjiBechare, and so on. She has a great order of words, which she uses to change or rather
sensationalize the back and forth movement of feelings, so causing to notice the numerous levels
of the inner mind.What she thinks, she says. Anjali, she says in Socialite Evenings, is:
She uses what she sees and what she knows about herself to shape her personality and her
choices. Her female protagonists are more powerful, confident, and savvy than the male ones in
her books. Sisters' Mikki is a highly brave character:
I appreciate your help, Ramankaka. Your kind remarks mean a lot to me. However, I'd
want to share some of mine with you today. Unfortunately, I am unable to undergo a sex change.
That's the one unavoidable truth for everyone.9

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De has echoed the movement for women's equality without rethinking her traditional
position as a homemaker. To avoid being branded a renegade, she advocates for women's
empowerment via education and self-sufficiency before she leaves the traditional culture.
Referenced by Shanta Krishnaswamy:
Her female protagonists seek a middle ground between social obligations and the pursuit
of knowledge. At the point when the existential ridiculousness of life is uncovered to them, when
they are compelled to stand up to their own dejection and an absence of correspondence and
commonness, and when manly and institutional tensions are added to fuel them, they are driven
to the edge of mental breakdown.10

Character-wise, Shobhaa De's creations are compelling since she is a strong thinker in her
own right. She is well aware that every person has both good and terrible traits. She makes Deb
a believable and interesting character on a psychological level in Sultry Days.
Men in her books are liars, self-centered, ill-educated, and hypocrites. Shobhaa De's
works are filled with fanciful descriptions of all kinds, and they highlight masochist characters
who are irreverent and brazenly consumed in their fighting satisfaction in life's joys in their unsafe
sparkle world.
Her creative approach is unique in being bold and clear. It's just her mental anatomy,
really. Her writing is straightforward and simple. She makes it plain that none of the women in
her works are meant to be portrayed as spectacular, subservient, or weak. Asha Rani's statements
in Starry Nights provide compelling evidence for this:
"You're all the same, but hold on. Let me demonstrate. What guys do to me, I will do to
them. I'm going to screw you over and destroy you in your own arena.11
Her writing style eases us into the realm of metaphorical frameworks rather than trite
sentimentality. She has an inner strength that shines through in her work. Her writing is
refreshingly unbiased. It compels the reader to think just like the author did while penning the
words. The language in her works is often fantastic, clear, and unambiguous, leaving a positive
impression on the reader. She quotes the characters' conversation with the use of punctuation
marks.
The books' narratives are excellent, dynamic, intriguing, and creative; they are grounded
in reality and built around vivid descriptions, mounting tension, and surprising twists. She has
mastered her craft and brought her characters to full maturity via the application of the
Bildungsroman literary device. She has a habit of using character names more than once.
The spirit of the letter "S" possesses her. Like her name, "Shobhaa," it has a positive and
helpful ring. Her several nicknames all begin with the letter "S." Her tone varies between polite
and furious. Occasionally it becomes mocking and cynical, highlighting the harsh realities of
men's life.
To summarize, Shobhaa De's reasoning resembles an ice shelf; it's truly sharp, and her
style is the declaration of that sharpness.Her writing style is one of a kind and surprising. She has
an honest demeanour, attitude, and resolve. She is not afraid to try new things and is not phased

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by failure. Her creative, inquisitive intellect is what makes her life so interesting and motivating.
Her writing teaches us to be wary of the deceit and planned trickery prevalent in today's urban
life and sends the important message that women should not be enslaved and marginalised at the
hands of men.
Without a doubt, the beauty, emotion, and shape of her paintings demonstrated the
righteousness and raw exposing of metropolitan civilization. A trained art critic, she encourages
her audience to investigate more. Her artwork combines symbolic meaning with originality and
cannot be replicated. It's smart, innovative, and functional.
Shobhaa De is the undisputed Queen of Indian English literature, and her brilliant intellect
and groundbreaking writing confirm it.
2. Shobha de’ and feminism
There is no need to introduce the experienced and popular Indian novelist Shobha De; she is
India's best-selling author and needs no introduction. A 1948 Maharashtra native, she was well-
versed in both Delhi and Bombay. She procured her certificate from St. Xavier's. She acquired
her certificate in psych.Starting in 1970, she worked as a journalist for publications like Sunday
and Megacity, and as a Consultant Editor for Stardust and Society. Even now, in her sixties,
Shobha de is looked up to as a fashion icon. As an independent essayist and journalist for a few
significant distributions,she became well-known and well-respected in her field.Shobha de is
renowned for her daring screenplays.
Shobha De is an exceptional essayist due to her noteworthy capacity to talk about inconceivably
delicate pieces of the human condition with incredible responsiveness.It's seen as a virtue by some
citizens and a vice by others, depending on who you ask. But she genuinely does have an aura
about her, no matter how you judge her. It's quite wonderful how she describes every facet of
every kind of connection, but especially the one between a man and a woman. The more
traditional citizens of India have criticised her for her outspokenness on sexual topics. People see
different aspects of her personality and talents, but as a whole, she is still misunderstood. She is
a complex woman with many different talents and personalities. However, her creative work has
been met with incredible success all around the globe, particularly in Europe. Her imaginative
works are enjoyed by individuals of all socioeconomic backgrounds. It is just as impressive. In
reality, she is quite different from any previous Indian female authors who have written in
English. She is a writer who advocates for complete honesty and frank recounting of events. She's
a talented writer, and she's steadily rising in popularity. Her unconventional style of storytelling
and central message are warmly received by her audience.
Shobha Dc's treasured consideration of the knowledge of woman and her concerns is one of the
main grounds for her popularity as a writer. Her actions, like those of a contemporary
metropolitan woman, are not without relevance. There are three fundamental kinds of ladies
depicted in Indian writing: to start with, poor people, provincial ladies addressed by creators like
Kamala Markandava and R.K. Narayan; second, the informed and working ladies of the working
class addressed by creators like Nayantara Sahgal and Shashi Deshpande; furthermore, third, the
neo-rich honorable ladies addressed by creators like Namita Gokhale and Shobha De.When
developing her female protagonists, Shobha De does not confine them to the roles of love objects

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or housewives. As a writer, Shobha De aspires to explain or represent her feminist perspective in

how she depicts women. If you look at her work as a whole, you'll see that she objects to the
stereotypical portrayal of women who are confined from leading the lives they wish to do. Her
female protagonists, who have been dubbed "New Women" for their liberated sexual attitudes,
are portrayed in her works. These alleged "new ladies" are more genuinely dynamic and strong
than their mothers were at a similar age. In its most memorable issue in 1927, the women's activist
distribution Women's activist Recent fad said, "The new lady is a mix of actual opportunity,
sexuality, and endurance with women's activist self-confidence and customary homegrown
women's liberation, a lady who can join joy, profession, and marriage." They are similarly as
prepared to participate for entertainment only as they are in play, work, and so on. Crafted by
Shobha De are, at their center, very complicated.They give their detractors something to work
with so they may form their own opinions. Cultural and political ideals are explored by Sarbani
Sen in Do's literature. Shobha De paints a rosy picture of contemporary India's upper class culture
and lifestyle. Famous Italian thinker Alessandro Monti assesses Shobha De's fiction as far as"the
making of modern India."
In her core, Shobha De is a feminist author. She, like Nayantara Sahgal and Shashi Deshpande,
presents a fresh perspective on women's issues. She is a modern author who tries to shift the
paradigm of female empowerment from top to bottom by rotating this good component from side
to side. She is relentless in her efforts to dismantle patriarchal authority and her tone of protest
against male superiority. As such, she tries to delve into the lives of India's urban women. Pushp
Lata argues that the female protagonists in Shobha De are effective when working in conjunction
with masculine characters. Her works utterly destroy any sense of harmony between the sexes.
According to her piece "A Dissent against the Male centric in Shobha De's Works," this is her
position. When compared to other female Indian novels working in English, Shobha de stands
apart. She is a writer who values honest recounting of events and complete candour. From a
narrative standpoint, we don't find anything hidden in her creative writing. I don't believe she
gives a damn about what cynical readers have to say about the themes in her books. She's a
fantastic author, and her fame continues to grow. Her unexpected style of storytelling is a big part
of why so many people like her books so much.
The purpose of this study is to evaluate Snapshots in the context of Shobha De's portrayal of
feminist problems in her other books. 'Previews' from the existences of six ladies who were
companions in secondary school, "the 'young ladies' beginning St Nick Maria Secondary School,
preeminent obvious, customary existences of home life and envisioned joy," as Shobha De places
it in her dangerous book Snapshots.(13)These acquaintances had "disintegrated through
marriages, transfers, and unshared interests" and gone their own ways. One of them, presently
situated in London, has been entrusted with composing, helming, and delivering a "striking and
substantial" series set in "the thrilling universe of the Nineties' Indian metropolitan ladies," for
which she want "real voices." ( 222) The 'Sisters of the Subcontinent' get-together at Reema's put
gets going with an optimistic outlook.You may go in a never-ending loop of good, bittersweet,
and downright poisonous memories. The reason for this gathering, Swati, explains to them:

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Our purpose here is not idle chatter. I'm interested in learning every shady detail about everyone's
lives since we graduated high school. Where have all the boyfriends gone? How did high school
crushes disappear? , How about those swooning crushes? (90)
Shobha De's works thrash about in their core the greatest forms of human psychology: power, the
desire to command, straight action, and the acknowledged wisdom of others. Mortal fan with "a
never-ending and fretful longing of many powers that stops just in death" aren't just something
Hobbes says, though. The works of Shobha De have highlighted the importance of power
equality. When this equilibrium breaks down, tensions rise and hypocrisy and backstabbing
become the norm in society. The author has little trouble seeing this shift taking place in the
modern world, but claims that males are unable to embrace it since "numerous men
communicated their nervousness over the changed power condition." ( 5)
Word power and its antonyms have been utilized in Depictions on a few events. Champabai, the
massage parlor proprietor, prompts her whore client Rashmi, "Never give yourself to any person
for nothing."What's the reason? The easiest things in life have no worth to men. We're here to
satisfy their need for power, rather than sex. Manhood dominance. authority over you and me.
They'll feel like kings if they pay for your intercourse with them. Do it out of the goodness of
your heart, and they'll kick you in the stomach in return. (43)
Reema is professed to "have put [her] all into this insane plan... He has the power" in her
sentiment with her better half's sibling. " No, you don't." ( 116) "Do you fuck since you appreciate
fucking?" an ideal scratch like Balbir asks these six women. Is it simply a fight for control? ( 162)
"Strong" people like Juan Mendonca can play worldwide trade and legislative issues with
equivalent fierceness. Swati, who has "some sort of control over" her companions and others, has
"you should simply snap your fingers and most of us will hop." ( 194) Even women like Swati
appear to be brief take off before their resources. Her capacity to "control" has been commended
by a great many eyewitnesses (181). ( 183) Even Aparna, who feels "a combination of repugnance
and interest" as far as she might be concerned, "hesitantly recognized the power Swati actually
applied over her and less significantly over most of them."It is possible to summarise the central
topic of Shobha De's works as a cat-and-mouse game of power struggles (the number 209).
Rashmi and Swati are said to be living a 'liberated' lifestyle. Reema turns into "a savage,
mechanical lady with her eyes fixed on the following large person — piece of gems, a valued
section of land of farmland, [and] gold in its most fundamental structure" once her fascination
with Raju wears thin and the resulting irritation takes hold. The need for more drove her on. She
had been jaded by her own avarice. (93) Free Indian ladies who have accomplished monetary
autonomy are "a variety separated." They relish their autonomy from monetary concerns, and
their viewpoint is set apart by remarkable gravity:
Because of the rigid restrictions of the married state in India, it is strictly forbidden for women to
have any kind of sexual liaisons. Ladies in Shobha De's books, in any case, are Side Road
disapproved of enough to proceed with connections and excursions without agonizing over their
accomplices' marriage collusion.These two female characters have enough self-assurance and
common sense to justify their partnership. Asha Rani and Akshay Arora's sentiment in Brilliant
Evenings (1991) is a brilliant illustration of this sort of matching.Despite her support for women's
economic autonomy, Shobha De would not endorse a preoccupation with wealth. Money, money,

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money!" Aasha Rani of Brilliant Evenings detonates at her oppressive mother. This is all you can
imagine. I'm fed up with being your treasure trove.The deed is mine. Enough for everyone; I want
to enjoy my life from here on out.18 She seemed to be implying that monetary stability is
important, but that one's own survival is of paramount importance.
The institution of marriage has unparalleled significance in the Indian culture. It marks a turning
point of sorts in a woman's life, a time when she really comes into her own. Marriage institutions
have fulfilled people's needs for companionship, security, and procreation. A few factors,
including sexual indiscrimination, ladies' rising monetary freedom, and an expanded occurrence
of partition, have added to this pattern.The intelligent, beautiful, and assured socialites in Shobha
Dc's books. They see marriage as nothing more than a convenient contract to let them live a
luxurious and immoral lifestyle, one that can be terminated at any time at the couples' discretion.
According to De, the new outlook on marriage is "a big step forward":
Marriage's foundational terms have been rethought in recent years. Women who have achieved
financial independence have altered the status quo. If a financially independent woman already
has a place to live, she might pick to get hitched not on the grounds that she really wants a man
to accommodate her but since she needs to impart her life to somebody.This is how divorce should
be seen as well. Because she has no other options, a woman without financial independence may
feel obligated to stay in an unhappy marriage.(22) Women in Snapshots have varying marital
statuses. Hitched housewives Reema and Surekha both had organized weddings in which they
had the option to get "an award get" notwithstanding "the exceptionally cutthroat marriage
market." 104. Swati and Aparna have formally finished their marriage.In London, Swati and her
ex-husband lived a separate existence. Their relationship was portrayed as "separate yet
amicable... we cherished each other truly yet we had stringently individual existences." ( 189)
She has now turned into a woman who does things her as own would prefer. Aparna, then again,
isn't ready to rehash the "botch" of being hitched once more (149), and she finds the very word
"spouse" to be "horrendous."At the conclusion of the tale, Noor is still a maid and must accept
the fact that she will die a spinster.
Men don't care about a woman's unique perspective, compassion, or viewpoint. These women are
the victims of infidelity and casual relationships, which drive them to look for fulfilment in places
other than their marriages. These ladies are on the lookout for their own independence. They
show their rage by engaging in unprincipled behaviours like having extramarital affairs.
References:
[1]. Prasad, Amarnath and Singh, Nagendra Kumar. Indian Fiction in English Roots and
Blossoms. Vol. II (1st Ed), New Delhi: Sarup & Sons, 2007, p.V., Joel, Kamalian. Exploration
of the significance of wedding ceremony in high societies in the novels of Shobhaa De,New
Delhi, Prestige Books 2000.
[2]. Paul, W. Roberts, ‘The Toronto Review’ quoted by UBSPD Publishers and Distributors Ltd.,
5, Ansari Road, New Delhi, p.3., Kiergard, Jerom. Identity Crisis of a Multiracial Child in the
Novels of Shobhaa De, New Delhi Prestige Books,2003.

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[3]. Encyclopedia Britannica. The Britannica Guide to the Brain. London, England Constable &
Robinson, Ltd., 2008., R. Rajalakshmi.: Reading the Nation – The Global Perspective St.
Joseph’s College for Women, Tirupur, Tamilnadu October 2018
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