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Ramesh earns the respect of his fellow villagers by working hard despite his blindness and trying to make amends to his wife. Karem avoids Geeta after Ramesh’s return. Geeta’s only satisfaction in this turn of events is that Bandit apparently despises Ramesh. Slowly but surely, Geeta returns to their old patterns. Soon enough, Ramesh is sleeping in the house, and they are taking meals together. Geeta also ignores Saloni’s warnings.
Still, she does not fully trust her husband. Ramesh claims that he no longer drinks, so in order to test him, Geeta puts out the liquor that Karem brought over at Saloni’s request, placing it where his hands can find it. He resists the temptation and berates her for trying to trick him, and before she even knows what is happening, she finds herself apologizing to him.
Geeta does not attend the weekly loan meeting, and Saloni’s suspicions run even higher; she knows that Ramesh is somehow behind this new trend. Indeed, when Saloni visits Geeta, with Farah to accompany her, she finds Geeta once again wearing her nose ring, signifying her commitment to marriage. Geeta has also decided to quit the loan group, saying that Ramesh will finance her business. She has also exiled Bandit from the house because the dog does not like Ramesh. Geeta leaves the living area to retrieve the money to pay off the rest of her loan, while Saloni and Farah bicker over who should help Geeta to extricate herself from the situation. When Geeta returns, she is shaken; the 19,000 rupees that she believed she had saved have dwindled to a mere 7,000. Suspicions arise immediately, even though Geeta ineptly tries to defend Ramesh. When Saloni asks for a drink, Geeta pours her one from the bottle with which she tempted Ramesh and notices that the rum inside has been replaced with water.
Now Geeta has no choice but to acknowledge that Ramesh has not changed at all. He has stolen from her, and he continues to drink. Saloni also reveals several truths about which Geeta has not known: Ramesh’s family did demand a dowry, and Geeta’s parents swore Saloni to secrecy about it. They purchased a refrigerator, among other expensive things, for Ramesh’s parents. This is why Geeta’s father died in debt. Saloni also tells Geeta that after Saloni married a wealthy man, she ensured that that Geeta’s parents never went hungry. Geeta is infuriated, not only by her lot but by the collective suffering that women face in this patriarchal society. She announces that she wants to murder Ramesh, like the other ill-fated husbands, and removes her nose ring.
Winter and the holiday of Diwali are upon the village, though Geeta is distracted with thoughts of Ramesh. Saloni has convinced Geeta to wait until after the holiday to enact her revenge, while Farah has decided to stay out of the matter entirely. Farah, in fact, is consumed with work, making festive dresses for numerous village women. Geeta must now act out the role of the dutiful wife although she seethes underneath. Ramesh has hinted that he wants to resume intimate relations with her, and she cannot abide the thought. Saloni finally decides that Diwali provides an ideal cover for the murder; they will strike sooner rather than later, as everyone is busy with celebrations. In the plan, Saloni will slip out of her own party and kill Ramesh while Geeta circulates among the party-goers to ensure that she has a solid alibi.
Farah’s sartorial creations are indeed beautiful, though Farah herself is too exhausted to join the party. During the festivities, Geeta circulates as planned and ensures that as many people as possible see her. Karem approaches her and asks her what is wrong, which indicates that Geeta has been overly socially aggressive in her desire to secure an alibi. However, he has more pressing matters to discuss with her. In Kohra, he overheard Bada-Bhai speak of his plans to get revenge on the woman who set his dogs loose. She and Karem both arrive at the same conclusion: Ramesh’s return, seen in this light, cannot be a coincidence.
Geeta races back to her house, desperate to warn Saloni. With her new revelations about whom Ramesh is likely working for, she suddenly realizes that there have been other hints to give away his other big lie. She bursts into the house to find Saloni tied to a chair and yells, “He’s not blind!” Saloni responds, in her usual sardonic manner, “I kinda figured that out” (295).
Geeta takes in the entire scene: Saloni bound to the chair, Ramesh “lurking in another corner” (297), and Bada-Bhai looming over everything, brandishing a gun. He orders Ramesh to tie Geeta up as well. Bada-Bhai then threatens to test his adulterated alcohol on her, since she was the one who cost him his dogs. Ramesh suggests, with his eye on the alcohol, that Bada-Bhai cut off one of their fingers instead. Bada-Bhai wants to become a mafia don, and Ramesh assures him that such an action will guarantee his reputation. Saloni hints that people will come looking for the women soon, though she is bluffing.
However, someone does show up unexpectedly. Farah has come over to show her support for the women—she has also figured out that Ramesh is not blind—but she ends up in the same predicament, tied up at gunpoint. Bandit runs in after Farah, and Ramesh urges Bada-Bhai to shoot the dog, who balks. Saloni points out that Ramesh is the true criminal among them, for he has no sense of decency or remorse. Ramesh once again makes fun of Saloni’s weight, which causes her to launch into a tirade about the tribulations of childbirth and child-rearing; Farah eagerly joins her, and the men are taken aback.
Finally, Ramesh suggests that he scar their faces with Bada-Bhai’s initials (BB in Hindi sounds like “bibi,” which translates to “woman”). Bada-Bhai balks at his suggestion just as Bandit decides to attack Ramesh’s ankle. The lizard he had been stalking drops onto Bada-Bhai’s shoulder, and Bada-Bhai fires the gun amidst the chaos. The bullet hits Ramesh in the leg; he is bleeding, but the wound is not life-threatening. Shortly thereafter, there is another knock at Geeta’s door: It is Khushi, who has heard that Geeta put her name on the ballot for the village council without her permission. Khushi also barges in and is taken hostage by Bada-Bhai, who sits next to Khushi on the bed and berates Ramesh for convincing him that he should take revenge on Geeta. Now he must deal with all of these women. Khushi tries to inch her way over to his gun, but he notices and strikes her head with the butt of his gun.
They fear that Khushi is dead, which is especially bad luck because Diwali is still underway. If she dies, it is certain that she will return as a churel. Bada-Bhai is a superstitious man, and he is appalled—even more so when he discovers that Khushi is a Dalit, for he would rather die than be polluted by a lower caste. His fury turns on Geeta, and he strikes her, stirring more memories of Ramesh’s abuse. Bada-Bhai realizes that he cannot kill Geeta, so strong is his superstition, but he resolves to beat her until she wishes that she were dead. Ramesh turns his brutal attentions toward Saloni. Geeta tries to threaten Bada-Bhai with the police; if he has killed Khushi, then he has murdered a respected member of the village council, she lies. Just then, Bada-Bhai receives a phone call, and the speaker on the other end tells him that the police are on the way, specifically Officer Sushma Sinha. Geeta believes that Karem is the caller, helping in the only way he can.
Bada-Bhai exits the house to make more calls. Once he is gone, Ramesh drinks the tainted alcohol and begins intimidating Geeta. All of the women (including Khushi) begin to taunt him, reminding him that they are all murderers and claiming that he will be just one more victim. When Bada-Bhai returns, Geeta also threatens to kill him, suggesting that his mistress would help her, for she longs to be free of Bada-Bhai and his cruel wife. The women claim that, if he leaves now, they will tell the police it was a simple domestic dispute between Geeta and Ramesh; Bada-Bhai’s name will not be mentioned if both men go. He is inclined to leave, but Ramesh in his drunken state remains unafraid. Saloni suggests that Preity and Priya will also pitch in to help kill Ramesh if he does not leave peacefully. Darshan’s name is mentioned, and it is clear that Ramesh was already aware that Darshan and Samir had been raping young Dalit girls for years. Geeta pulls the gun from Bada-Bhai’s pants and shoots Ramesh in the face.
The women suggest that Bada-Bhai take credit for the shooting. He will be seen as a real mafia don now. Ramesh still lives, and Geeta also suggests that Bada-Bhai now has a human subject on which to test his adulterated alcohol. In exchange for the women’s silence, they demand that Bada-Bhai keep himself and Ramesh away from the village forever. He agrees. Geeta reaches over and slaps him once before shaking his hand, saying “Now we’re even” (329).
Geeta visits Ramesh at his parents’ home. It is her last errand of the day before Karem and Raees join her for dinner. The gunshot has permanently injured Ramesh’s tongue and jaw; he cannot eat or speak well any longer. He spends his time in bed, drinking the alcohol provided by Bada-Bhai—which has finally rendered him blind. Geeta notes that Ramesh is actually living the life he dreamed of, consuming alcohol for free and without responsibility. She has come to make him sign the final divorce papers.
Geeta also reveals some news to Ramesh: Bandit is actually a female dog, which seems fitting. Geeta also states that her friendship with Saloni continues to flourish. She makes sure that Ramesh knows that she understands why he tried to keep them apart: He knew that Geeta would be weaker without her friend. As she leaves, she notices the old refrigerator—bought with her dowry, once unbeknownst to her—in the kitchen. Her own, newer refrigerator is much nicer, she thinks.
When Ramesh is easily welcomed back into the community despite his previous transgressions, it is proof that male transgressors earn second chances more readily than women in this society. Geeta, in comparison, was branded a witch and deemed socially suspect after Ramesh’s previous disappearance, and she has never been able to fully recover from the unfounded and isolating rumors that she murdered her husband. Ironically, the villagers—at least all of the women—are aware of Ramesh’s abusive treatment of Geeta, but his overt show of repentance readily revives his reputation amongst the villagers, who perceive his behavior to be “a love song of apology” (256). Caught once again within the trap of Complicity, Trauma, and Survival within Cycles of Abuse, Geeta clearly sees the hypocrisy and the different standards to which men and women are held even as her husband’s reappearance robs her of her hard-won agency and independence as a sole business owner. The development therefore highlights the many ways in which women’s movements are circumscribed while men’s actions are justified within the strictures of traditional Indian society.
Despite her disgust and annoyance, Geeta quickly falls back into old patterns with Ramesh and ignores Saloni’s warnings. Moreover, she is offended by Saloni’s implied suggestion that she allows herself to be too easily deceived: a statement that stings her even more when she learns that Karem has not been entirely honest with her; unlike Preity, Karem has seen Ramesh, at Bada-Bhai’s house. This was how he learned that Ramesh had supposedly gone blind. Thus, at this point in the novel, Geeta feels as if everyone has betrayed her and willfully withdraws from the support system that she had begun to develop in Ramesh’s absence.
However, Saloni knows the real truth behind the events in Geeta’s early years of marriage, and she seethes behind the scenes. Saloni knows that Ramesh’s family extorted an exorbitant dowry from Geeta’s parents, rendering them bankrupt. She also knows that Ramesh has inherited that kind of greed. What Saloni does not fully realize, however, is that the cycle of abuse that Geeta has endured at the hands of Ramesh quickly reignites her past traumas and reinforces old behaviors, circumventing her more recent sense of agency and independence and pushing her back into a dysfunctional pattern of enduring abuse. When Ramesh convinces Geeta that her scheme to tempt him with alcohol is “malicious” (262), Geeta reflexively returns to her habit of giving rote apologies, and this tendency reflects the theme of Complicity, Trauma, and Survival within Cycles of Abuse, for she only apologizes in order to forestall the potential abuse that Ramesh’s complaint heralds. Her apology reflects the automatic performance of “a memorized task, one born of survival, buried upon freedom, resurrected now” (263). Thus, she simply tells him what he wants to hear, saying, “You’re right. I’m wrong. I’m sorry” (263), and her words signify utter defeat, both moral and psychological.
However, Geeta’s setback is temporary, for Ramesh’s greed and deception will quickly become his undoing. When she discovers that Ramesh has stolen from her savings and lied about his drinking habits, and when Saloni finally reveals her knowledge of the dowry that Geeta’s family secretly bankrupted themselves to pay to Ramesh, she is rightfully infuriated—and not merely at Ramesh. With these revelations, she can see that the blatant inequality between men and women runs deep within Indian society; as she laments, “All we [women] are are liabilities” (275). Furthermore, she recognizes the ways in which history consumes women and their families, for the narrative states, “When a man had a baby girl put in his arms, he saw his name and legacy disappear, to be swallowed by another man. His grandchildren would have to strain to recall his family name, a name that his great-grandchildren would never know” (274-75). This is part of the reason why these traditions and this culture are resistant to change, for women are all but erased from the historical record. Without a voice, they simply have no say.
Throughout these final chapters, Geeta also ruminates on the representations available to women in Indian society. For example, when thinking about the celebration of Diwali—during which the epic Ramayana inspires many colorful costumes—Geeta realizes that, while there are several heroes from which the men can choose, the women are limited to Sita, “the Ideal Indian Woman” (283). The figure of Sita is, of course, “long-suffering” (283) and selfless, sacrificing her happiness and comfort—and, ultimately, her life—in order to preserve her husband’s power and ego. As Geeta analyzes the character, she decides that “in idealizing [Sita’s] suffering, people justified Ram’s punitiveness” (285). This leads Geeta to conclude that Sita has every right to return as a churel. As Geeta understands the myth, “The provenance of a churel is a woman wronged” (296). Thus, the story of Sita is not just about a faithful and loving woman, but it is also about an abusive and demanding man. In this reinterpretation of the classic tale, Ram appears to be more a villain than a hero, and this explains, at least in part, why Geeta keeps returning to the legend of the Bandit Queen. Unlike “the Ideal Indian Woman,” the Bandit Queen does not patiently tolerate the abusive actions of men but exacts vengeance instead.
Geeta herself, along with her own cohort of “bandit queens,” ultimately takes the reins from the men who would harm them, as is aptly demonstrated during the tumultuous climax of the novel. She understands immediately, after being held at gunpoint by Bada-Bhai, that “surviving this only to live under Ramesh was no victory” (300). Thus, she succeeds in Transcending the Stereotypes of Wives and Witches by taking the situation into her own hands—with the express help of her sisters-in-arms—and acting rather than reacting to the injustices she faces in the moment. Thus, when she shoots Ramesh, it is not out of a fearful overreaction but rather out of a righteous and calculated sense of self-defense. In addition, the shot she fires is not only intended for Ramesh, for her action is also intended to be a rejection of the injustices that run rampant within the broader society in which she lives. As the narrative states, “She thought of the hanging tree on the village’s edge, those young girls strange fruit. She thought of Darshan’s hands on her, Ramesh’s hands on her. She thought of entitlement and vulnerability, shame and lechery, justice and inequity” (327). Thus, in this pivotal moment, Geeta resolves never to bear the burden of weakness and shame; instead, she takes control reclaims her own identity. As she tells Ramesh when she hands him the divorce papers, “I don’t want your name” (333). After all, she now has loyal friends, a kind and tolerant male suitor, and a brand-new refrigerator that more than rivals her former in-laws’ unit. That refrigerator serves as an absurd yet apt symbol of her new liberation—her money is finally her own, her time is valuable, and her modern vision of life is hers to pursue.
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