The Henna Artist

Fiction | Novel | Adult | Published in 2020

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Summary

Background

Chapter Summaries & Analyses

Prologue-Part 1, Chapter 3

Part 1, Chapter 4-Part 2, Chapter 8

Part 2, Chapter 9-Part 3, Chapter 15

Part 3, Chapter 16-Epilogue

Character Analysis

Themes

Symbols & Motifs

Important Quotes

Essay Topics

Book Club Questions

Tools

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Discussion Questions

Symbols & Motifs

Henna Art

The art of henna designs figures prominently in the novel. These aren’t simply pretty geometric shapes without meaning. Each picture is unique and meaningful. Lakshmi is celebrated for her intricate designs, and her skills are in demand among the Jaipur elite. The designs have a variety of symbolic meanings, some of which are tied to folk magic. In one instance, Lakshmi paints a design of frolicking babies on Kanta’s abdomen intended to encourage pregnancy. Other clients use the designs for different purposes, such as disguising arthritic hands so that they will appear more attractive to their spouses.

Although henna may also be worn by men for medicinal and spiritual purposes, it is primarily an art reserved for women, making it key to the depiction of The Role of Women in Traditional Society. The fact that henna art is inscribed on women’s bodies indicates that it possesses sexual associations. Lakshmi decorates Pavarti’s feet with this purpose in mind: “On her soles, intended for a husband’s eyes alone, I was painting a large fig, plump and sensual, split in half” (21). Before she came to Jaipur, Lakshmi plied her craft among the courtesans of Agra. She painted designs on their bodies that were meant to excite amorous interest in their clients: “Nautch girls […] concealed their names within the henna design on their body. If a man found it, he won a free night in their bed. If he didn’t, the women were paid double rate” (95).

The erotic association with henna art is further amplified by Samir, who frequents the high-end bordellos of Agra. This is where he first sees Lakshmi’s talent and offers to set her up in business in Jaipur. Ironically, Lakshmi, an artisan gifted at exciting men’s sexual interest, is intent on helping women reclaim control of their own bodies through her contraceptive sachets.

Herbal Medicine

Aside from Lakshmi’s skill as a henna artist, she is also a well-trained herbalist. When she visits her clients, she frequently distributes essential oils and other botanicals to ease their aches and chronic pains. The book makes frequent mention of the specific plant combinations that are known to cure everyday ills. Although Lakshmi’s herbal knowledge is mentioned frequently in the book with respect to contraceptives, she also carries a pharmacopeia of other remedies in her head. Her relationship with Dr. Kumar brings this knowledge to the forefront. His training in Western medicine has indoctrinated him with the belief that the folk remedies of his homeland hold no value, but because he is open-minded, Kumar is willing to respect Lakshmi’s knowledge and heeds her advice about how best to treat his rural patients.

The motif of herbal medicine is thus central to the novel’s exploration of Traditional Values Versus Western Influences and the tensions that result from this cultural clash. The resistance of the local population to Western medicine makes it impossible to heal people who need help. When Lakshmi reaches out to them using herbal remedies that they can understand, she bridges the gap between tradition and science. The blending of India’s past with its future is best symbolized in the collaboration of Kumar and Lakshmi. They plan to create an herb garden containing traditional medicinal plants within the boundaries of a Western hospital in Shimla.

The herbs also represent a bridge between Lakshmi’s old life as a dispenser of remedies to rich city women and her true calling of being a village healer like her mother-in-law. As Kumar says at the end of the story, “Every day the people ask me when you’re arriving. Many remember you from the clinic. You left an impression on them—a good one—judging from the way they talk about you. They, and I, look forward to welcoming you back” (282).

Gossip

Gossip is a recurring motif in the novel, starting from its first page. The villagers of Ajar call Radha the Bad Luck Girl. She, in turn, refers to them contemptuously as the gossip-eaters. The description is an apt one. People in the story frequently consume gossip with an avidity suggesting that they are starving for it. This tendency isn’t limited to rural inhabitants. Lakshmi’s landlady is curious about her business dealings, her visitors, and her sister. That curiosity then translates into rumors spread all around the neighborhood.

Gossip can be both a positive and a negative force in the book. Parvati’s recommendation of Lakshmi to her rich friends ensures the henna artist a steady stream of business. The dowager maharani does the same thing at a later point. Pleased with Maharani Latika’s improvement, the old woman tells all her wealthy friends about Lakshmi’s skills as a healer and artist. The endorsement from the palace causes Lakshmi’s henna business to skyrocket.

A reputation built on word-of-mouth and gossip, however, is tenuous. Lakshmi constantly frets about the opinions others hold of her. One negative comment could wreck her business as easily as a positive one can build it. Her paranoia is justified when Parvati begins to spread rumors that Lakshmi has been stealing. Appointments dry up overnight. Parvati callously remarks, “I had thought at least a portion of your clientele would think the accusations too ridiculous to believe. I was wrong. People are more gullible, and less compassionate, than any of us want to believe, don’t you agree?” (227-28). Lakshmi realizes that a reputation built on the bubble of gossip is too fragile to last. She moves herself beyond the reach of further malicious rumors by relocating to Shimla.