Major - 14 A Study of Indian English Novel & Short Story

✨  NAME :    Devmurai Janki NileshBhai 

✨  PAPER :   Major - 14      A Study of Indian English 

                                                        Novel and Short Stories

✨  SUBJECT : English 

✨  ACADEMIC YEAR :    T.Y.B.A 

✨  SEMESTER :  06

✨   PROFESSOR :  Aameena ma'am 

✨  COLLEGE :  M N COLLEGE 

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|| CLASS ASSIGNMENT  ||

🎀  Toba Tek Singh by Saadat Hasan

Manto

Characters

1.Bishen Singh (Toba Tek Singh)

A Sikh inmate who has been in the mental asylum for 15 years.Everyone calls him Toba Tek

Singh, the name of his hometown.Speaks in strange, meaningless words. Always stands; rarely

sleeps.Very confused about whether his hometown is in India or Pakistan.Represents the pain

and confusion of Partition.Dies in no-man’s-land, showing that he belongs to neither India nor

Pakistan.

2. Fazal Din

A Muslim friend of Bishen Singh from Toba Tek Singh.Visits him after 15 years.Brings news:

Bishen Singh’s family is safe in India.Kind-hearted and caring.Adds to the confusion when he

gives mixed answers about where Toba Tek Singh is.

3. The ‘God’ Inmate

A patient who claims he is God.Bishen Singh asks him whether Toba Tek Singh is in India or

Pakistan.He answers jokingly, making Bishen Singh angry.Represents how even “God” cannot

solve the confusion of Partition.

4. Muslim League Worker (the Jinnah-claiming patient)

A Muslim patient from Chaniot.Used to be a strong supporter of the Muslim League.Bathes

15–16 times a day, then suddenly stops.Declares that he is Quaid-e-Azam Muhammad Ali

Jinnah.Shows how political events deeply affected even asylum inmates.

5. Sikh Patient claiming to be Master Tara Singh

A Sikh inmate who claims he is Master Tara Singh, a Sikh leader.Created as a mirror to the

Muslim patient acting like Jinnah.Both are locked in different cells to prevent communal fights.

6. The Hindu Lawyer

A young Hindu man who became insane after a failed love story.His beloved lives in

Amritsar.Gets depressed when told Amritsar will be in India.When he learns he will be sent to

India, he refuses, saying his law practice won’t succeed there.Shows how Partition separated

lovers and destroyed lives.

7. The Two Anglo-Indian Patients

Stay in the European ward.Shocked when told that the British have left India.Worry about what

will happen to European food and European ward privileges.Represent the fear and uncertainty

of minorities during Partition.

8. Newspaper-Reader Muslim Inmate

Read the newspaper Zamindar

When asked “What is Pakistan?” He gives a funny, confused answer:“A place in India where

razors are made.”Shows how people did not understand the concept of a new country.

9. Bath-Time “Pakistan Zindabad” Patient

A Muslim inmate who shouts Pakistan Zindabad loudly.

Shouts so hard that he faints.

Symbolizes extreme confusion and misplaced nationalism.

10. Roop Kaur

Bishen Singh’s daughter

11. Bhai Balbir Singh

Friend of Fazal Din, mentioned in his message

12. Bhai Vadhawa Singh

Another friend mentioned in Fazal Din’s message

13. Bahain Amrit Kaur

Woman mentioned by Fazal Din for greetings

🎀  Lihaaf (The Quilt) by Ismat Chughtai

Characters

Narrator (unnamed young girl)

The story is narrated by an unnamed young girl who remembers a strange experience from her

childhood. When she sees her quilt forming the shape of an elephant on the wall, she recalls the

days she spent at the house of her mother’s adopted sister, Begum Jaan. As a child, she slept in

the same room as Begum Jaan and her masseuse, Rabbu. She often saw the quilt shaking and

heard unusual sounds, but because she was too young to understand what sex was, she felt

confused and frightened. When Rabbu went away one night, Begum Jaan behaved

inappropriately with the narrator, which made the child feel a deep but indescribable fear.

Begum Jaan

Begum Jaan, the narrator’s aunt, is shown as a beautiful but troubled woman. Although she is

married to a nawab, her husband has no interest in her and spends most of his time behind closed

doors with young men. Lonely and neglected, Begum Jaan finds emotional and physical comfort

in Rabbu, her masseuse. Their relationship is hidden from the world. When Rabbu leaves to visit

her son, Begum Jaan becomes desperate and turns towards the child narrator for the same

attention, showing her as the main negative force in the story.

Nawab Sahib

Nawab Sahib, Begum Jaan’s husband, is the head of the household and is respected publicly for

his good character. However, the story hints that he secretly has sexual relationships with young

male students who stay in his house. He completely ignores his wife and keeps her separated

from others, which pushes her towards Rabbu. It is also suggested that Nawab Sahib behaved

wrongly with Rabbu’s son, causing the boy to run away and never return.

Rabbu

Rabbu, the masseuse, is a constant companion to Begum Jaan. She massages her, sleeps beside

her, and shares an intimate relationship with her. Rabbu belongs to a lower class, shown through

her dark complexion and marks of smallpox. When she leaves the house to meet her son, Begum

Jaan becomes restless and irritable, showing how dependent she is on Rabbu.

Amma

Amma, the narrator’s mother, sends her daughter to stay with Begum Jaan for a week because

the girl often fights with her brothers. The narrator misses her mother deeply during this stay,

especially when she feels unsafe around Begum Jaan.

Rabbu’s son

Rabbu’s son is a young man who refuses to visit the Nawab's house after a mysterious incident

involving Nawab Sahib. The story hints that he, too, was mistreated by the nawab. Even though

the nawab tries to win him back with gifts, clothes, and even a shop, the boy never returns,

showing the seriousness of what happened to him.

🎀.   The Night of the Full Moon

                           (Pooranmashi) by Kartar Singh Duggal

Characters

1.Malan

Malan is Minnie’s mother. Even though she is middle-aged, she is still very beautiful and looks

young, almost like Minnie’s sister. Her husband ignores her and stays busy with work, which

makes her feel lonely and unhappy. For many years, a man has loved her silently and waited for

her. On a full-moon night, Malan finally gives in to her hidden feelings and goes to meet him.

This decision later causes a misunderstanding, and people wrongly blame her daughter Minnie

for what happened.

2. Minnie

Minnie is Malan’s daughter. She is young, beautiful, innocent, and shy. She is about to be

married in a week and behaves like a well-mannered and respectful girl. She regularly prays at

the temple and follows social rules. Sadly, she becomes a victim of false accusations when

villagers think they saw her with a man at night. In reality, it was Malan wearing Minnie’s

dupatta and bangles, but Minnie has to suffer because of this mistake.

3. The Lover (Malan’s Secret Admirer)

The lover is a man who has deeply loved Malan for more than twenty years. Every full-moon

night, he comes quietly, hoping Malan will accept his love. For years, she refused him, but this

time she opened the door. He meets Malan near the bo tree on the full-moon night. His meeting

with Malan becomes the reason for the later misunderstanding in the village.

4. Malan’s Husband

Malan’s husband is a strict and hardworking moneylender. He is always busy earning money and

caring only about work. He does not show love, care, or emotional support to Malan. Because of

his cold behavior, Malan feels neglected. On the important full-moon night, he is away from

home, which indirectly allows the misunderstanding to take place.

5. Lajo (Neighbour Woman)

Lajo is Malan’s neighbour. She is curious, judgmental, and enjoys gossiping about others. She

claims that she saw Minnie with a strange man in the fields at night. Instead of checking the

truth, she spreads her assumption. Her words play a big role in starting the false rumour and

damaging Minnie’s reputation.

6. Jumma (Village Watchman)

Jumma is the village watchman. He also says that he saw “Minnie” with a man during the night.

In truth, he saw Malan, but he could not recognize her because she was wearing Minnie’s

dupatta. By repeating what he saw without understanding the truth, Jumma adds more strength to

the false accusation and scandal.

7. Ratna (Zamindar / Landlord)

Ratna is the rich and powerful landlord of the village. He becomes angry when he finds a broken

red bangle in his field. Since Minnie was seen wearing twelve bangles, he believes the broken

one belongs to her. Without listening carefully or thinking deeply, he accuses Minnie in front of

everyone. His strong words make the situation worse and increase the public humiliation of an

innocent girl.

🎀. The Night Train at Deoli by Ruskin Bond 

The Night Train at Deoli" by Ruskin Bond features two main unnamed characters: the narrator (a young, romantic college student traveling to Dehradun) and the girl at the station (a shy, poor basket vendor with "dark, smoldering eyes"). Their brief, unrequited romance is centered around the small station of Deoli, and the story focuses on themes of longing and fleeting connections. 

Key Character Details:

The Narrator (Young Man): Described as sentimental, sensitive, and imaginative. He travels frequently to his grandmother's house, and on one trip, he becomes fixated on a basket-selling girl at a small station. He is a representative "everyman" type character, allowing readers to easily connect with his feelings of nostalgia and fleeting attraction.

The Girl at Deoli (Basket Vendor): An innocent, simple, and hardworking young girl who sells handmade baskets. She is described as having "dark, smoldering eyes" that mirror the darkness of the station at night. She is mysterious, as she is never given a name and disappears, leaving the narrator with only memories.

Other Potential Characters: While the story centers on the two main characters, there is a passing mention of the station master who is questioned about the girl's whereabouts later in the story. 

The narrator of The Night Train at Deoli is a young college student who travels by train during his vacations. His character is simple, sensitive, and emotional.

🌿 1. Romantic and Imaginative

He is romantic at heart. After seeing the basket-selling girl at Deoli station, he begins to think about her constantly. Though they speak very little, he imagines a deep connection with her.

💭 2. Sensitive and Emotional

The narrator is very sensitive. He is deeply affected by the girl’s simple smile and shy nature. When she disappears one day, he feels sad and restless. Her absence troubles him for a long time.

🚆 3. Curious but Hesitant

He feels curious about the girl and wants to know more about her life. However, he lacks courage to ask her personal questions or to take any bold step. His hesitation shows his shy and thoughtful nature.

🌸 4. Hopeful and Faithful

Even after the girl is no longer seen at the station, he continues to hope that he will meet her again someday. His hope shows his faithful and optimistic personality.

🎓 5. Innocent and Idealistic

The narrator represents youthful innocence. His feelings are pure and sincere. He values small moments of happiness and believes in simple love.

📌 Conclusion

The narrator in The Night Train at Deoli is a gentle, emotional, and romantic young man. Through his character, Ruskin Bond beautifully shows the feelings of first love, longing, and hope.

The Night Train at Deoli" by Ruskin Bond features two main unnamed characters: the narrator (a young, romantic college student traveling to Dehradun) and the girl at the station (a shy, poor basket vendor with "dark, smoldering eyes"). Their brief, unrequited romance is centered around the small station of Deoli, and the story focuses on themes of longing and fleeting connections.

 

Key Character Details:

The Narrator (Young Man): Described as sentimental, sensitive, and imaginative. He travels frequently to his grandmother's house, and on one trip, he becomes fixated on a basket-selling girl at a small station. He is a representative "everyman" type character, allowing readers to easily connect with his feelings of nostalgia and fleeting attraction.

The Girl at Deoli (Basket Vendor): An innocent, simple, and hardworking young girl who sells handmade baskets. She is described as having "dark, smoldering eyes" that mirror the darkness of the station at night. She is mysterious, as she is never given a name and disappears, leaving the narrator with only memories.

Other Potential Characters: While the story centers on the two main characters, there is a passing mention of the station master who is questioned about the girl's whereabouts later in the story. 

🎀  How I Taught My Grandmother to

Read by Sudha Murty

Character - 1

Grandma was Selfless– She remained uneducated due to feeling happy to feen others and

Grandma was Determined- She decided to learn Kannad Alphabet at the age of sixty two.

Grandma was a visionary Lady- She knew that the investment of time would be suitable at the age of 62

Grandma was a good planner- She kept a deadline till when she had to achieve her task. She Saraswati Pooja as the deadline of her learning.

Grandma was a hard working lady- She worked really very hard to learn Kannad Alphabet. It was only due to her hard work that she had been able to achieve her task.

Grandma was a respectful lady- She touched the feet of her granddaughter. this shows her sense of respect for her teacher.

Grandma was very emotional- She was in teach when she could not read on her own.

The grandmother, Krishtakka was a very determined lady. She was not very fortunate in her childhood. She lost her mother when she was very young. Her father married soon and there was nobody to look after and guide her. She never went to school and remained uneducated. She got married at a very young age. She was so gentle that she always felt happy when she fed others.

The grandmother had a very determined character. She was visionary as she could see the future of hers. She knew that learning would take a little time but she could pass her further life independently. At the age of sixty-two she decided to learn the Kannada alphabet from her granddaughter. She fixed the deadline and worked very hard to achieve it. She proved that there is no age bar for learning. It was her determination, strong willpower, hard work and self-confidence that helped her succeed in learning to read and write Her touching the feet of granddaughter shows her deep respect for teachers and learning.

She is very emotional at heart. We find her in tears when she feels helpless because of her illiteracy. We also see her affectionate hands touching the forehead of her beloved daughter.Content creation services

Character- 2

Give a character sketch of the Granddaughter- Sudha Murty

Following is the character sketch of the Granddaughter- Sudha Murty from the chapter How I taught My Grandmother to Read-

Tips to learn the Character sketch Sudha Murty-

The Narrator is Sensitive- She became ready to teach her grandmother

Sudha Murty is Innocent- She started laughing at her grandmother’s plan to start learning.

The Narrator is 12 years old- In the chapter the narrator is only 12 years old and all the usual characteristics of a 12 years old child can be given to her.

Sudha Murty is Lively and Fun Loving- She went for 2 days to a neighbouring village but she stayed there for a weel due to her fun loving habit.

She is an Obedient Child- She used to read the novel for her grandmother. This shows her obedience.

The Narrator has a high sense of Duty- She completed the task of teaching her grandmother very dutifylly.

The Narrator is a Loving Child- Sudha Murty has a loving Character as she understood the difficulty of her grandmother and started to teach her.

A thoughtful child- The narrator is a thoughtful child as she gave a gift which was a favourite book for her grandmohter.

The granddaughter or the narrator in the story was a small lively girl of 12 years. She lived with her grandparents in a small village of north Karnataka. She was one of the best constant companions of the grandmother. So the narrator would read out the novel which was appearing as a series of stories in the magazine Karamveera. The narrator did her job dutifully and became an ideal for her grandmother.

The narrator loved her grandmother very much. When she came to know of her grandmother’s helplessness because of illiteracy, she felt distressed too. When she was asked by her grandmother to teach her the Kannada alphabet, she felt very strange, but later she realised the importance of her request . She started teaching the grandmother. A thoughtful child, she also gives her grandmother the gift of ‘Kashi Yatre’ as a reward for being successful in learning Kannada alphabet within the time period that she set for herself. Thus, she proves to be an excellent teacher. This we find the character of Sudha Murty to be one of the most marvellous ones.

✨ Character Sketch of Grandmother – “How I Taught My Grandmother to Read”

Author: Sudha Murty

Story: How I Taught My Grandmother to Read

The grandmother in the story is a very loving, determined, and strong-willed woman. Her character shows that learning has no age limit.

🌸 1. Loving and Caring

The grandmother is very loving, especially towards her granddaughter. She spends time listening to stories read by her granddaughter every day. She shows affection through her kind behavior and emotional attachment.

Example: She eagerly waits for her granddaughter to come home and read the story to her.

📚 2. Illiterate but Intelligent

Although she cannot read or write, she is wise and intelligent. She understands the story well when someone reads it to her. Her illiteracy does not mean she lacks understanding.

Example: She follows the story “Kashi Yatre” with great interest and remembers its details.

💪 3. Determined and Strong-Willed

This is her most important quality. When she realizes she cannot read the story herself, she feels helpless. Instead of accepting her weakness, she decides to learn reading.

Example: She makes a firm decision to become literate before Dasara and works hard every day.

🎓 4. Hardworking and Disciplined Learner

She learns seriously like a student. She practices regularly and respects her granddaughter as her teacher. Her dedication shows her strong desire for education.

Example: She studies daily and successfully learns to read within a short time.

🙏 5. Humble and Respectful

She touches her granddaughter’s feet as a mark of respect because her granddaughter is her teacher. This shows her humility and respect for knowledge.

Example: She says that a teacher must always be respected, even if the teacher is younger.

🌟 6. Courageous and Self-Respecting

She wants to be independent and not depend on others for reading. Her courage helps her overcome her weakness.

Example: She learns to read so she can enjoy stories on her own.

📌 Conclusion

The grandmother is loving, determined, hardworking, humble, and courageous. She proves that age is not a barrier to learning. Her character teaches us that with determination and effort, anyone can achieve their goals.

🎀  Karma by Khushwant Singh

 

✨ Characters of “Karma” in Detail

Author: Khushwant Singh

Story: Karma

The story mainly focuses on two important characters: Sir Mohan Lal and his wife Lachmi. Their characters are completely opposite and highlight the theme of pride and reality.

1. Sir Mohan Lal – Character Sketch

Sir Mohan Lal is the central character of the story. He is an educated, wealthy Indian who admires British culture excessively.

🌟 1. Proud and Arrogant

Sir Mohan Lal is very proud of his English education and manners. He believes he is superior to other Indians because he speaks fluent English and follows British habits.

Example: He avoids Indians and prefers to sit with British people in the train.

🇬🇧 2. Admirer of British Culture

He is deeply influenced by British culture. He dresses like an Englishman, drinks whisky, reads English newspapers, and speaks English fluently.

Example: He wears a suit and tie and smokes expensive cigarettes to look like a British gentleman.

😒 3. Disrespectful Towards His Own People

He looks down upon Indians, including his own wife. He feels ashamed of Indian traditions and does not respect his roots.

Example: He feels embarrassed by Lachmi’s traditional appearance and behavior.

💭 4. Self-Centered and Egoistic

He thinks very highly of himself and believes the British will respect him because of his education and manners. He lives in a false world of pride.

Example: He confidently enters the first-class compartment expecting respect.

⚠️ 5. Foolish and Unrealistic

Despite his education, he fails to understand reality. The British soldiers do not accept him and throw him out of the compartment. His pride is broken.

Example: He is humiliated when the British soldiers push him out of the train.

📌 Conclusion (Sir Mohan Lal)

Sir Mohan Lal is proud, arrogant, and foolish. His character shows that blind imitation and pride can lead to humiliation.

2. Lachmi – Character Sketch

Lachmi is Sir Mohan Lal’s wife. She is simple, traditional, and humble.

🌸 1. Simple and Traditional Woman

She wears traditional Indian clothes and follows Indian customs. She represents Indian culture.

Example: She sits quietly in the women’s compartment.

😊 2. Humble and Respectful

She respects her husband and does not argue with him. She accepts her position calmly.

Example: She listens quietly when her husband ignores her.

🧘 3. Patient and Calm

She does not complain or show anger. She remains calm and peaceful.

🌿 4. Realistic and Content

Unlike her husband, she accepts her identity and lives happily without pretending to be someone else.

📌 Conclusion (Lachmi)

Lachmi is simple, humble, patient, and realistic. She represents true Indian values.

🌟 Overall Conclusion

The story contrasts Sir Mohan Lal’s pride and arrogance with Lachmi’s simplicity and humility. Sir Mohan Lal’s humiliation teaches an important lesson: pride and imitation of others can lead to downfall, while simplicity and self-acceptance bring dignity. 

In Khushwant Singh’s short story "Karma," the characters revolve around a stark contrast between colonial-era snobbery and traditional Indian life. The primary characters are Sir Mohan Lal, an Anglophile obsessed with English culture, and his wife, Lady Lachmi, who represents traditional, unpretentious Indian life. 

Sir Mohan Lal:

Characterization: A 50-year-old, elitist Indian who despises his own culture and country, favoring British habits, clothing, and language.

Traits: Prejudiced, condescending, and pretentious. He refers to India as a "dirty" country and prefers the company of British officers.

Fate: Despite his efforts to assimilate, he is physically assaulted and thrown off a first-class train carriage by British soldiers, becoming a victim of the very system he admired.

Lady Lachmi (Lachmi):

Characterization: Sir Mohan’s wife, portrayed as a simple, traditional, and patient Indian woman.

Traits: Obedient, uneducated, and accepting of her subordinate status in her marriage. She lives in the zenana (women's quarters) and is content with her life.

Role: She represents the stark opposite of her husband, remaining unchanged by the end of the story while displaying a more grounded, realistic personality.

The British Soldiers:

Role: Act as catalysts for the story's climax, representing the racism and arrogance of the colonial masters. They treat Sir Mohan with contempt, refusing to acknowledge his "English" lifestyle. 

The story highlights the futility of Sir Mohan's attempts to mimic the British, resulting in a ironic twist of fate where his "karma" (destiny based on actions) catches up with him. 

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∆  The Night Train at Deoli - Ruskin Bond

•  About the Author

Ruskin Bond was born on 19 May 1934

(age 91) Kasauli, Punjab States Agency, British India (now in Himachal Pradesh, India) and is

Anglo- Indian. He is a famous Indian writer and poet. His first novel, The Room on the Roof,

was published in 1956 and won the John Llewellyn Rhys Prize.

Ruskin Bond has written more than 500 short stories, essays, and novels. Out of these, 69 books

are written for children. He received the Sahitya Akademi Award in 1992 for his book Our Trees

Still Grow in Dehra.

He was also honoured by the Indian government with the Padma Shri in 1999 and the Padma

Bhushan in 2014 for his contribution to literature.

•  Summary

Published:-1988

When the narrator was a college student,he was 18 years old and he used to spend his summer

holidays at his grandmother’s house in Dehra. He travelled by night train and passed a small

station called Deoli, about thirty miles before Dehra. Deoli was a quiet and lonely station

surrounded by jungle. The train always stopped there for ten minutes, even though no one got on

or off. There was only one platform, a small station office, a waiting room, a tea stall, a fruit

seller, and a few dogs. The narrator felt sorry for the station because it seemed forgotten and

unimportant, and he often wondered what life was like there.

One early morning, when the train stopped at Deoli, the narrator noticed a young girl selling

baskets on the platform. She was poorly dressed and barefoot, but she walked with grace and

dignity. She wore a shawl because it was cold. When she came near his window, their eyes met,

and there was a strong, silent connection between them. Without saying much, the narrator felt

drawn to her. He got down from the train, went to the tea stall, and finally bought a basket from

her, even though he did not really want one. Before they could speak properly, the train started

moving, and the narrator had to rush back to his seat. As the train left, he saw the girl standing

alone on the platform, smiling at him. He could not forget her face for the rest of the journey.

Two months later, on his return journey, the narrator remembered the girl and hoped to see her

again. When the train stopped at Deoli, he felt excited to find her there. She recognized him too,

and both were happy, like old friends meeting again. They did not talk much, but their feelings

were clear. The narrator strongly wished he could take her away with him. He held her hand and

told her he was going to Delhi. She quietly replied that she had nowhere to go. When the trainstarted, he promised to return and asked if she would be there. She nodded, and once again he had to leave her behind as the train moved away.

After this meeting, the girl stayed in the narrator’s thoughts for a long time. When his college

term ended, he travelled to Dehra earlier than usual, eager to see her again. But when the train

reached Deoli, she was not there. He searched the platform and asked the station-master about

her, but the man knew nothing. The narrator felt disappointed and uneasy. He returned to his

grandmother’s house but could not stay long because he felt restless. He decided to go back and

ask more questions at Deoli.

On his next visit, the station-master had changed, and the new one also knew nothing about the

girl. The tea stall owner remembered her but said she had stopped coming and did not know why.

Once again, the narrator had to leave without any answers. Still, he comforted himself by

thinking that one day he would stop at Deoli, search the town, and find the girl.

Years passed, and the narrator travelled through Deoli many times. Each time, he looked out of

the train window, hoping to see the girl again, even though he knew she would probably not be

there. He never gathered the courage to get down at Deoli because he was afraid of discovering

the truth—that she might be married, sick, or gone forever. He preferred to keep the memory and

hope alive. 

For him, Deoli remained a place of dreams, longing, and unfinished love. He continues to pass through the station, always waiting and wondering, but never stopping .

∆   How I Taught My Grandmother to Read                                                                                         by Sudha Murthy

•  Introduction of Author

Sudha Murty (née Kulkarni) was born on 19 August 1950. She is a well-known Indian educator,

author, and philanthropist. She is the Founder and Chairperson of the Infosys Foundation, a

non-profit charitable organisation that works in the areas of education, health care, rural

development, and social welfare. She is married to N. R. Narayana Murthy, the co-founder of

Infosys.

Sudha Murty is widely respected for her simple writing style and meaningful stories written in

Kannada and English. Some of her notable literary works are: 

Mahashweta (2000)

Dollar Bahu (2003)

How I Taught My Grandmother to Read (2004)

Her works focus on moral values, human relationships, social issues, and everyday life.She has

received several prestigious awards for her contributions to society and literature. She was

awarded the Padma Shri in 2006, India’s fourth-highest civilian honour, for her social work. She

also received the Daana Chintamani Attimabbe Award for her contribution to Kannada literature.

In 2023, she was honoured with the Bal Sahitya Puraskar for her contribution to children’s

literature. In the same year, she received the Padma Bhushan (2023), India’s third-highest

civilian award, in recognition of her lifelong service to education, literature, and social welfare.In

recognition of her outstanding contribution to social work and education, Sudha Murty was

nominated as a Member of Parliament to the Rajya Sabha on 8 March 2024.

•  About the story

How I Taught My Grandmother to Read is a short story written by the famous Indian author

Sudha Murty. It was first published in 2004 in the book How I Taught My Grandmother to Read

and Other Stories by Penguin Books, India.The story is included in the Class 9 English

Communicative CBSE syllabus.

Summary

The story How I Taught My Grandmother to Read is a touching real-life account of the author’s

childhood and her special relationship with her grandmother. When the author was about twelve

years old, she lived in a village in north Karnataka with her grandparents. Life in the village wassimple, and transport facilities were poor. Newspapers arrived only in the afternoon and weekly magazines came a day late. Everyone in the household waited eagerly for the bus that brought letters, newspapers, and magazines.

At that time, Triveni was a very famous writer in the Kannada language. One of her novels,

Kashi Yatre, was being published as a serial in the weekly magazine Karmaveera. The novel was

about an old woman who strongly wished to go to Kashi (Varanasi), which is believed to be the

holiest place for Hindus. However, in the end, the old woman gives all her savings to help a poor

orphan girl’s marriage, believing that helping someone is more important than a religious

pilgrimage.

The author’s grandmother was named Krishtakka, and the author affectionately called her

“Avva,” meaning mother in the local Kannada dialect. Avva was sixty-two years old and had

never been to school, so she was illiterate. Even though she could not read, she had a sharp

memory and a deep interest in stories. Every Wednesday, when the magazine arrived, the author

would read the new episode aloud to Avva. Avva listened with full concentration, forgetting all

her household work, and later could repeat the story word for word. She identified strongly with

the old woman in Kashi Yatre because she herself had never gone to Kashi.

Once, the author went to a neighbouring village for a wedding and stayed away for about a week.

During that time, the magazine arrived, but Avva could not read it. This made her feel helpless,

dependent, and embarrassed. Although she was financially well-off, she realized that money

without education cannot give independence. She waited eagerly for her granddaughter to return

and felt deeply hurt by her inability to read.

One night, under the full moon, Avva shared her life story with her granddaughter. She spoke

about losing her mother early, never getting an education, marrying young, and spending her life

caring for her family. She explained that she always ensured her children and grandchildren were

educated, even though she herself remained illiterate. That night, she firmly decided to learn the

Kannada alphabet, despite being sixty-two years old. She set a goal to read a novel independently by Saraswati Pooja during the Dassara festival.

Though the granddaughter laughed at her age at first, Avva remained determined. From the next

day, the granddaughter began teaching her. Avva proved to be a disciplined and hardworking

student, practising reading, writing, and reciting daily. The granddaughter became her first

teacher, and Avva became her first student.

On Dassara day, Avva performed the pooja and then surprised her granddaughter. She gifted her

a frock material and then touched her feet as a mark of respect. This was unusual because eldersdo not touch the feet of youngsters. Avva explained that she was touching the feet of a teacher,

not her granddaughter, because a teacher deserves respect regardless of age or gender.

In return, the granddaughter gifted Avva a copy of Kashi Yatre in book form. Avva immediately

read the title, author’s name, and publisher on her own, proving that she had successfully learned

to read.

The story beautifully conveys that education brings independence, learning has no age limit, and

teachers deserve the highest respect. It also highlights the strong emotional bond between a

grandmother and her granddaughter.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

||  ESSAY  ||

🤍                               That Long Silence 

Indian feminist author Shashi Deshpande’s fifth novel, That Long Silence (1989), won the

Sahitya Akademi Award, given by the Indian Academy of Arts and Letters to outstanding works

written in any of India’s twenty-four major languages in 1990. During her career, Desphande

has also been awarded the Padme Shri for cultural contributions and been shortlisted for a

Hindu Literary Prize for her novel Shadow Play.

The main character of That Long Silence is Jaya, a girl born into a middle-class family. When

she is young, Jaya is clever, curious, and bright, all qualities considered unladylike by

mainstream society. Jaya’s grandmother encourages her to act more conventionally so she

can get a husband when she grows up, explaining that civilized and cultured girls are skilled

at cooking, cleaning, and household labour. In addition, she tells Jaya to learn to be more

accommodating and to keep quiet when she disagrees. All young women will have to build

good relationships with their in-laws at some point and learning to make a good impression

will go a long way towards helping her do this in the future.

Eventually, Jaya learns to play the part of a subservient woman, while retaining a sense of

individuality. She writes in her free time, though she has failed to become successful as an

author. As she grows up, Jaya becomes keenly aware of the fact that people, in general, do

not like it when she expresses herself or her individuality, and so she learns to hide it. Jaya

refers to this stifling of herself and her ideas as “the long silence” since it stretches across her

life from childhood to middle age. Only Jaya’s father encourages her in her writing and sees

her as an individual.

Jaya gets an education, and after college, she marries Mohan, a successful businessman. Jaya

and Mohan disagree on many things and their marriage is not intimate or happy. There is no

place in their relationship for Jaya to express her point of view, as Mohan expects her to go

along with everything he says unquestioningly. Jaya takes care of the household while Mohan

works, feeding him and cleaning up after him as if he were one of their two teenage children.

When Mohan is suspended from his job due to misconduct, Jaya is compelled to take account

of what her life has become. Jaya and Mohan are forced to move from their spacious

apartment into a small and dingy one, while their children stay behind with relatives. Jaya

begins writing more to supplement the family income. Some of her articles are frank and open

about her dissatisfaction, including the way in which her husband is unable to connect with

her or their children. Though Mohan is not happy with the article, he does not say anything

about it to Jaya. She merely senses from his expression that he does not like her writing and

automatically and unthinkingly seeks to please him.

Mohan faces further disgrace when he is found guilty of counterfeiting at his job and fired.

Jaya’s sister Kusum visits Jaya and discusses her own husband from whom she has recently

separated. Jaya thinks that Kusum’s abusive husband and her own distant one have very

different flaws but that they stem from the same cultural expectations of the way men should

treat women. Next, Jaya meets wither her brother Ravi, who speaks harshly about Mohan.

When Mohan learns about this, he is angry with Jaya.

It is clear that Mohan needs Jaya’s support and love while he faces a trying period, but neither

of them has ever been comfortable talking about their feelings and fears with each other.

Mohan has no idea how to ask for what he needs, and Jaya has no idea how to offer it. The

situation becomes even direr when the couple’s son, Rahul, runs away from home. Eventually,

Mohan leaves the house.

Thinking about what has led to their separation, Jaya understands that she is partly to blame

for withdrawing from her husband during his trying time. She recognizes that the long silence

has stifled communication and openness in her family, making it difficult to support her

husband and vice versa. Mr. Kamat, an elderly man in her apartment building helps Jaya think

through her feelings about herself as an individual and her relationship towards her husband.

The book ends with Mohan sending a telegram to Jaya saying that he will be home soon. In

addition, his job is willing to take him back. Jaya is ready to accept Mohan back into her life,

and she vows that never again will she let the long silence separate them emotionally from

each other.

•  Plot Summary

A. Exposition

The novel opens with Jaya and her husband Mohan shifting to their old, modest Dadar flat

because Mohan is implicated in a financial irregularity at work. This forced retreat becomes a

symbolic return to a space where Jaya must confront years of suppressed memories and

emotions.

B. Rising Action

Inside the small apartment, Jaya reflects on:

her twenty‐year marriage,

her role as a mother,

her failed aspirations as a writer,

her strained relationship with Mohan,

and the expectations of a patriarchal society that silences women.

Her life surfaces in fragments—childhood memories, her father’s death, education, early

idealism, courtship with Mohan, and the gradual erosion of her individuality.

She recalls Kamat, the intellectual and emotionally open friend who encourages her writing—

one of the few men who sees her beyond domestic roles.

C. Conflict

The central conflict is internal: Jaya’s struggle between her socially conditioned role as the

“good wife” and her desire for self-expression.

Externally, Mohan’s crisis at work becomes a metaphor for the instability in their relationship.

He expects Jaya to support him unquestioningly, reinforcing the idea that a wife must remain

silent and pliable.

D. Climax

The emotional climax occurs when Jaya realizes the true cost of her silence:

She has allowed conformity, fear, and the desire to maintain domestic harmony to suppress

her authentic voice.

After Mohan leaves home in frustration, Jaya is confronted with her own loneliness and the

hollowness of their marriage.

E. Falling Action

Jaya’s introspection deepens.

She recognizes that silence has not brought peace—it has erased her agency.

She remembers the women in her life—her mother, Ajji, Kusum—who all suffered in silence,

repeating cycles of oppression.

F. Resolution

The novel ends on a note of tentative hope.

Jaya decides she must break the pattern of silence and confront Mohan honestly.

This does not signify rebellion but a mature acceptance that communication must replace

repression.

Deshpande deliberately leaves the ending open, respecting the realism of everyday life.

CHAPTER 1: Return to the Dadar Flat

Jaya and Mohan move into their old Dadar flat after Mohan is accused of financial irregularities.

The cramped, bare space forces Jaya to confront long-buried emotions. The uneasy silence in

the flat reflects the emotional tension between them.

Relevant Quotes:

•

“We don’t talk about it. Silence surrounds us.”

•

“We’ve come back to this tiny flat as if we were being punished.”

These lines capture the atmosphere of fear, shame, and emotional withdrawal that sets the

tone of the novel.

CHAPTER 2: The Burden of Marriage

Jaya reflects on her early marriage—how she learned to adjust, suppress opinions, and

maintain a careful façade of harmony. Her identity as a wife overtakes her individuality.

Relevant Quotes:

•

“A husband is like a sheltering tree.”

This quote shows how marriage is idealised as security, compelling women to accept

subordination.

•

“To Mohan, a wife’s duty was to keep the peace.”

This reveals the patriarchal conditioning that shapes Jaya’s silence.

CHAPTER 3: Childhood Memories and Conditioning 

Jaya remembers her upbringing—her father’s love, her mother’s rigid expectations, and Ajji’s

teachings about a woman’s “appropriate” behaviour. These memories highlight how early

cultural conditioning shapes women into lifelong silence.

Relevant Quotes:

•

“Women keep the family together with their silence.”

Ajji’s lesson becomes the foundation of Jaya’s adult behaviour.

•

“I learnt early that loudness in a woman was dangerous.”

This shows how repression is taught very young.

CHAPTER 4: Writing—Her Strangled Voice

Jaya recalls her youthful ambition to be a writer. Marriage slowly silenced this identity as

Mohan disliked anything that drew attention away from domestic roles.

Relevant Quotes:

•

“I had once written with fire; now I wrote with fear.”

A powerful insight into how marriage tames her creativity.

•

“A writer must have the courage to say things.”

Ironically, courage is what Jaya loses in her married life.

CHAPTER 5: Mohan’s Office Crisis

Mohan’s professional disaster destabilises him emotionally. His identity as provider collapses.

Jaya sees how dependent he is on her silence to feel secure.

Relevant Quotes:

•

“Mohan needed me to be steady, calm—silent.”

This quote underlines the emotional burden placed on wives.

•

“He could not bear the idea of failure.”

Reveals Mohan’s fragile masculinity.

CHAPTER 6: Jaya as a Mother — Rahul and Rati

Jaya thinks about her children. Rahul’s rebellion and Rati’s dependency expose Jaya’s internal

conflicts as a mother. She realises her emotional distance has affected them.

Relevant Quotes:

•

“I had failed Rahul… and I had failed myself.”

Shows her guilt as a mother.

•

“How does one teach children when one is not whole oneself?”

Reveals Jaya’s internal fragmentation.

CHAPTER 7: Kamat — The Safe Space

Kamat is the only person who encourages Jaya’s intellect without judging her. With him, she

feels free to speak. His death symbolises the loss of an emotional sanctuary.

Relevant Quotes:

•

“With Kamat, I was not afraid of my own thoughts.”

This highlights the emotional freedom she never found in marriage.

•

“He died as suddenly as he had entered my life.”

Emphasises the abrupt end of a rare human connection.

CHAPTER 8: Women in Her Life

Jaya recalls women like Ajji, Kusum, Vanitamami, and Jeeja. Each represents a different form

of suffering: emotional suppression, mental illness, domestic slavery, and financial

dependence.

Relevant Quotes:

•

“So many women, all living in silence, all enduring.”

Captures the generational burden of patriarchal expectations.

•

Kusum’s case is especially poignant:

“There was something broken in her — something silence had shattered.”

CHAPTER 9: Marriage and Emotional Distance

Jaya examines the emotional vacuum in her marriage. She realises she and Mohan never truly

communicated; they merely played roles.

Relevant Quotes:

•

“We had been two people living together, not sharing.”

A direct articulation of the hollow marriage.

•

“I had accepted silence as my marital duty.”

Shows the depth of internalised patriarchy.

CHAPTER 10: The Breaking Point

A heated moment leads Mohan to accuse Jaya of being unsupportive. Unable to understand

her frustrations, he leaves the flat. This becomes the emotional climax of the novel.

Relevant Quotes:

•

“You have never stood by me,” Mohan accuses her.

•

Jaya’s realisation follows:

“All these years, I had been afraid—afraid of losing him, afraid of truth.”

This chapter marks Jaya’s awakening.

CHAPTER 11: Jaya Alone — Confronting Herself

In Mohan’s absence, Jaya confronts her suppressed memories, guilt, lost ambitions, and the

emptiness of her marriage. She sees the futility of silence.

Relevant Quotes:

•

“Silence had become my habit, my refuge, my prison.”

One of the most iconic lines summarising her psychological state.

•

“I had erased myself to keep peace.”

A raw acknowledgment of her self-loss.

CHAPTER 12: Breaking Patterns — A New Understanding

Jaya slowly realises she must stop inheriting patterns of female silence. She reflects on her

choices, responsibilities, and the possibility of reclaiming her voice.

Relevant Quotes:

•

“I had been taught to mould myself. Now I must unlearn.”

Shows her journey toward self-recovery.

•

“To speak is to heal.”

A short, profound truth she finally accepts.

CHAPTER 13: The Open-Ended Hope

The novel ends on a quietly hopeful note. Jaya decides to speak to Mohan honestly when he

returns. There is no dramatic resolution—only realistic human effort.

Relevant Quotes:

•

“I will speak. I will not keep that long silence again.”

A declaration of agency.

•

“We will start again—not in silence, but in understanding.”

This final sentiment captures Deshpande’s message of renewal.

CRITICAL INSIGHTS INTO THAT LONG SILENCE

Shashi Deshpande’s That Long Silence stands as a landmark text in Indian feminist literature,

not because it dramatizes rebellion or resistance, but because it illuminates the quiet,

psychological, everyday forms of oppression that Indian women endure. The novel’s critical

power lies in its subtlety, its realism, and its ability to transform silence itself into a narrative

argument.

1. Feminist Perspective: The Politics of Silence

One of the strongest critical insights is the novel’s treatment of silence as a gendered

expectation. Deshpande demonstrates how silence does not merely suppress speech—it

constructs womanhood.

Women like Jaya, Ajji, Kusum, and Vanitamami represent a lineage of silenced female voices.

Silence becomes:

•

a survival strategy

•

a cultural inheritance

•

a method of control

•

a sign of internalized patriarchy

Deshpande’s feminist critique avoids melodrama; instead, it exposes the quiet violence of

expectations.

2. Psychological Realism: The Inner Theatre

The novel is a study of psychological realism, where the entire emotional conflict unfolds inside

Jaya’s mind.

The fragmented narrative mimics:

•

her suppressed memory

•

her fractured identity

•

her internal turmoil

This introspective mode captures how patriarchy operates not only through external

restrictions but through internal psychological conditioning.

3. The Middle-Class Indian Ethos

A critical insight lies in Deshpande’s portrayal of the Indian middle class, a world governed

by:

•

fear of scandal

•

obsession with reputation

•

pressure to maintain normalcy

•

rigid domestic roles

Mohan’s crisis is symbolic of middle-class fragility: respectability is everything, and any crack

threatens the family’s entire social standing.

Thus, the novel critiques how respectability itself becomes a form of imprisonment.

4. Deconstruction of Marriage

Deshpande de-romanticizes marriage.

She presents it not as an emotional bond but as a social performance.

Marriage in the novel is built on:

•

routine

•

duty

•

appearances

•

silence

The lack of communication between Jaya and Mohan is not incidental—it is the very structure

of their marriage. Their relationship illustrates how patriarchal marriages often thrive only

when women suppress their individuality.

5. Fluid Narrative Structure

The non-linear narrative is not a stylistic experiment but a thematic necessity.

The fragmented chronology mirrors Jaya’s mental state:

•

Past bleeds into present

•

Memories intrude uninvited

•

Trauma and guilt resurface

•

Identity is layered, not sequential

This technique also reflects how women’s histories are often told in fragments, whispers, and

recollections rather than formal, documented narratives.

6. Alternative Masculinities: The Kamat Counterpoint

Kamat represents an alternative male figure—empathetic, intellectually engaging, emotionally

present.

His presence highlights everything Mohan lacks and everything Jaya suppresses.

His sudden death reinforces the novel’s central truth:

spaces that allow female selfhood are fragile and easily erased.

Deshpande uses Kamat not as a romantic foil but as a critical contrast to Mohan’s conventional

masculinity

7. The Everydayness of Oppression

A striking critical feature of the novel is its focus on ordinary life.

Deshpande deliberately avoids dramatic incidents. Instead, she exposes how women’s

oppression lies in:

•

daily adjustments

•

unspoken fears

•

silent compromises

•

emotional labour

•

constant self-erasure

This focus on the quotidian makes the novel both relatable and politically sharp.

8. The Writer’s Block as a Metaphor

Jaya’s inability to write is not merely creative stagnation—it is symbolic of the silencing of

women’s intellectual agency.

Writing becomes a metaphor for selfhood.

Every time Jaya suppresses her feelings, she loses language.

Her rediscovery of voice is therefore also a literary resurrection.

9. Open Ending: Realism Over Revolution

Deshpande avoids a dramatic feminist ending.

Instead of leaving Mohan or rebelling publicly, Jaya chooses to speak honestly.

This choice is not weakness—it is realism.

The novel implies:

•

real change begins in private spaces

•

feminist transformation is gradual

•

breaking silence is itself a radical act

The open ending respects the complexity of women’s realities.

10. Social Commentary Without Didacticism

Deshpande does not preach; she unveils.

Her critique emerges through:

•

subtle interactions

•

ordinary conversations

•

domestic routines

•

internal monologue

This understated style gives the novel immense credibility and universality.

CRITICAL INSIGHTS: A CONCLUDING VIEW

That Long Silence is powerful not because it shouts, but because it listens—to the quiet

sufferings, muted fears, and unspoken dreams of women. It reveals how patriarchy survives

through everyday habits and inherited silences.

Deshpande crafts a narrative where the personal becomes political, and where a woman

reclaiming her voice is an act of profound cultural defiance.

The novel remains significant for its emotional honesty, feminist depth, and realistic portrayal

of contemporary Indian womanhood.

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