51 pages • 1 hour read
Megha MajumdarA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Lovely visits the office of a Mr. Jhunjhunwala, a film casting agent. She is surprised at how dirty and unglamorous his office is, but she hands over her demo CD hoping that he will help get her cast in famous director Kamal Banerjee’s new film. Lovely is disappointed that Mr. Jhunjhunwala has her in mind for the hijra character, but he reminds her that few people can simply walk into the film industry and become a star. Lovely is eager for the opportunity but further discouraged when she finds out she must pay Mr. Jhunjhunwala a fee. Despite the disappointing meeting, Lovely decides to try his agency. Feeling sad and vulnerable, Lovely walks to Azad’s house to catch a glimpse of him, but he is nowhere to be found. A nearby mechanic asks her to leave.
The attention Jivan’s case receives in the news motivates people to ask more about life in the prison Jivan is held. The inmates are forced to clean and beautify the prison so that a film crew can document their lives. Later, Jivan tells Purnendu about leaving school after grade 10. She told her mother that she wanted to get a job to help the family, but her mother was devastated that her daughter would not pursue the opportunities of school to the very end. Jivan studied hard for her class 10 exams, and her family threw her a little celebration as though she was graduating. She immediately got a job selling jeans and picked up smoking cigarettes, feeling very grown-up that she could afford her own bad habit. On the night of the train attack, she had snuck out near the station to smoke, a spot she knew her mother wouldn’t see. She witnessed the train burning, but when she saw a man locked in the fire trying to get his daughter out, Jivan ran away. Jivan tells Purnendu that the only thing she is guilty of is cowardice.
During an assembly at school, the microphone stops working. PT Sir would usually volunteer to fix it, but this time he stands to the side and sips tea with the other faculty members. The principal calls upon an assistant to help instead of asking PT Sir.
Jivan’s meetings with Purnendu end, and he says he will work on the story with his editor. When the article comes out, it takes Jivan’s story as evidence of her anger toward the government. The headline calls her a terrorist while the article twists Jivan’s story into evidence for her terrorist activities. Shocked and ashamed, Jivan cannot process the betrayal. But when her mother visits her, she shows Jivan another newspaper article written by someone who defends Jivan, pointing out that there is only circumstantial evidence against her and that her situation stems from Islamophobia. Still shaken, Jivan is surprised to discover that her mother’s positivity helps her avoid a complete breakdown.
Jivan’s mother and father sit to a meager meal together. Jivan’s mother admits that it took everything she had to smile for Jivan. Jivan’s father pats her reassuringly.
The day of Jivan’s trial arrives. She wears a sari she once bought for her mother, which is a small comfort as she moves through the press on her way to the courthouse. The prosecution begins, bringing in over 40 people who testify against Jivan. The witnesses are hidden by a white curtain in case seeing Jivan affects the witnesses’ testimonies. When Jivan hears PT Sir’s voice, she feels a flutter of hope. She remembers his kindness and is sure he will speak to her star athleticism and work ethic. Instead, PT Sir testifies that she left without so much as a thank you, and that it often happens that dropouts fall into criminality after leaving school.
A small victory occurs when the judge throws out Jivan’s signed confession as evidence, but Purnendu’s article serves almost the same purpose. Gobind advises Jivan against taking the stand and tries to poke holes in the prosecution’s evidence. Gobind calls Lovely to bear witness; Lovely testifies to Jivan’s kindness and accuses the court and public of unfairly judging a young girl. Though the court laughs at Lovely, she does not falter in her defense of Jivan. Ultimately, the judge finds Jivan guilty and sentences her to death. Jivan hears a scream behind her and watches with faltering comprehension as a stretcher is brought in for her mother, who has fainted.
Lovely is devastated about Jivan’s sentencing. She hears conversations about the trial around her, realizing that it is the public and the media that have essentially killed Jivan. Filled with sadness and guilt, Lovely walks to Jivan’s parents’ home to visit but finds them swarmed by the media. Jivan’s father is outside, demonstrating his crippled body to demonstrate the family’s dire situation. When the journalists leave, they make a mess of the street. Lovely cleans up their cigarette butts.
Bimala Pal’s assistant reflects on the Indian economy and his need to provide a good life for his family. He thinks about ensuring his family has everything they want, not just what they need, which requires side hustles. He uses the sad story of a Muslim family as an example of the insecure economy and infrastructure, since Muslims are consistently abused and displaced with nowhere to go. He calls India a “riot economy” and relates the harsh realities of making money with a straightforward, unironic tone.
Chapters 38-45 begin with a painfully ironic image: The female prisoners cleaning and beautifying their prison to show others an inauthentic display of their lives. These women are not only prisoners but also slaves to a lie about their destitution. This cruel manual labor is designed to give the media and the public what they want instead of the truth of how things are. Once again, Majumdar uses prison to symbolize both a physical and a metaphorical space. The women can never truly explain what prison feels like, and now they cannot show what it looks like either. This dehumanization of their experience places the responsibility of pretense on the prisoners, who are already under pressure to fight for their freedom. They cannot say no, and they know they are selling a narrative that is far from the truth, one that makes their lives seem better than it is, preventing any public sympathy that could have improved their circumstances.
These chapters also highlight the enormity of Jivan’s prejudicial society. When the train attack happens, Jivan is just starting out in life. She has some education and a job, she hangs out with other young women, and she’s even tasted some daring habits. Jivan’s whole future was ahead of her, and she’ll never know if she would have made new friends, advanced to the middle class, or found work she enjoyed. The attack on the train derails her new life. Majumdar nips this bud to ask the reader: What do people expect from Jivan? How can she defend herself if people have already decided what type of person she is? How is a young girl with many acquaintances but few friends supposed to fight against this system of oppression?
Jivan is not only fighting against social media that wants something juicy to talk about—she is also fighting against severe Islamophobia. Hinduism, the majority religion in India, is both spiritual and political. Years of fighting against neighboring Pakistan (a majority Muslim country), years of struggle to find common ground between two very different religions, and a widespread belief that Muslims are inherently violent have created an oppressive environment for Muslims in India. Part of the problem is that Muslims cannot be part of India’s caste system, at least not the way it was first established. There is no space for a Muslim in the caste system, not even on the lowest rung. This same identity crisis faces many countries in our contemporary world of multiculturalism and globalism. Nations must reevaluate what makes their country uniquely theirs, as in, what makes India India? It’s easy to turn Jivan into a scapegoat because the story she tells Purnendu fits the stereotypes of Muslims in India, and her trial enables Indian authorities to use her as a symbol of the violence expected from Muslims. Because she does not belong to the social, economic, or religious majority, Jivan’s intersectional identities make acquittal almost impossible. Jivan’s ending is inevitable—of course the poor Muslim girl with no friends and an unstable childhood would be seduced into inciting violence against the nation-state she doesn’t really belong in.
As the trial begins, Majumdar helps the reader see that there was no chance Jivan would be found innocent. Jivan and Lovely’s voices cannot overcome the 40 other voices testifying against Jivan. Jivan herself acknowledges that people simply do not believe her. Media outlets like Purnendu’s newspaper have their own investment in vilifying Jivan, since covering such a sensational case sells stories. By selling stories, the media controls Jivan’s narrative, no matter what Jivan does. The monster she is fighting is too big—one girl cannot defeat Islamophobia, xenophobia, sexism, disdain for the poor, or the need for a scapegoat. The judge’s guilty verdict is inevitable and so entirely predictable. The public and the media are ultimately responsible for Jivan’s death, and this is a crucial element to Majumdar’s overall argument about the individual versus society.