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Water
An eight-year-old is sent to live in a community of widows in India, and finds a new purpose there, in a novel by “a writer of enormous talent” (Newsday).
Set in 1938, against the backdrop of Gandhi’s rise to power, Water follows the life of eight-year-old Chuyia, abandoned at a widow’s ashram after the death of her elderly husband. There, she must live in penitence until her death. Unwilling to accept her fate, she becomes a catalyst for change in the widows’ lives. When her friend Kalyani, a beautiful widow-prostitute, falls in love with a young, upper-class Gandhian idealist, the forbidden affair boldly defies Hindu tradition and threatens to undermine the ashram’s delicate balance of power. This riveting look at the lives of widows in colonial India is ultimately a haunting and lyrical story of love, faith, and redemption.
Set in 1938, against the backdrop of Gandhi’s rise to power, Water follows the life of eight-year-old Chuyia, abandoned at a widow’s ashram after the death of her elderly husband. There, she must live in penitence until her death. Unwilling to accept her fate, she becomes a catalyst for change in the widows’ lives. When her friend Kalyani, a beautiful widow-prostitute, falls in love with a young, upper-class Gandhian idealist, the forbidden affair boldly defies Hindu tradition and threatens to undermine the ashram’s delicate balance of power. This riveting look at the lives of widows in colonial India is ultimately a haunting and lyrical story of love, faith, and redemption.
240 pages, Paperback
First published January 1, 2006
64 people are currently reading
1912 people want to read
About the author
Bapsi Sidhwa
21 books374 followersBapsi Sidhwa was a Pakistani novelist who wrote in English and was resident in the United States.
She was best known for her collaborative work with Indo-Canadian filmmaker Deepa Mehta: Sidhwa wrote both the 1991 novel Ice Candy Man which served as the basis for Mehta's 1998 film Earth as well as the 2006 novel Water: A Novel, on which Mehta's 2005 film Water is based. A documentary about Sidhwa's life called "Bapsi: Silences of My Life" was released on the official YouTube channel of " The Citizens Archive of Pakistan" on 28 October 2022 with the title " First Generation -Stories of partition: Bapsi Sidhwa".
She was best known for her collaborative work with Indo-Canadian filmmaker Deepa Mehta: Sidhwa wrote both the 1991 novel Ice Candy Man which served as the basis for Mehta's 1998 film Earth as well as the 2006 novel Water: A Novel, on which Mehta's 2005 film Water is based. A documentary about Sidhwa's life called "Bapsi: Silences of My Life" was released on the official YouTube channel of " The Citizens Archive of Pakistan" on 28 October 2022 with the title " First Generation -Stories of partition: Bapsi Sidhwa".
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March 28, 2021
Water
is the third film in Deepa Mehta's trilogy of socially relevant historical films, the others being
Fire
and Earth. The book was commissioned as a complement to the film to be released at the same time. Mehta had already adapted Sidhwa's The Ice Candy Man into a film, so the choice of author for novelising the film seemed obvious.
Water tells the story of Chuyiya, a young girl who is married off at the age of six and becomes a widow at eight. Abandoned by both her birth and her marital families, Chuyiya is thrown into an ashram to while away her life in colourless gloom. But India is on the cusp of independence and things are changing. Not everyone is hidebound in filthy traditions, but the emancipation comes too late for some.
Religion is generally shit, and Hinduism is rather shittier than others in its treatment of women. A woman's only role is to procreate and serve her husband's family, according to scriptures. She does not even have the right to worship and perform rituals. Widows lose this purpose and became complete outcasts in society. Even if not abandoned, they were considered inauspicious and kept away from normal life. Even today, this practice continues and I see it in a mild form around me all the time. Weddings and other functions bring out this nastiness in full force in extremely insidious ways. Anybody who says so otherwise is only fooling themselves.
Having seen the film and liked it, I found the novel lacking. It is basically a copy of the film script into novelised form and that is not very interesting. Whereas a film can give you a lot of information in a few scenes, the same needs to be depicted differently in a novel to give the same impact. This was not done by Sidhwa. She also had the option of developing on some of the characters and making up for the flaws of the film but she did not do that either. She stuck faithfully to the story and ultimately did not add anything to the discussion.
I also found the research lacking. In one instance, someone informs a character that a law has been passed allowing remarriage of widows, which prompts the climax of the book. But the Hindu Widows Remarriage Act was passed in 1856 by Lord Dalhousie, exactly 80 years before the events of the story, set in 1936. Gandhi was not even born when it occurred!
I really recommend watching the film instead of reading this book. Also, I highly recommend (indeed, I insist on it if you want more knowledge on this subject) Deepa Mehta's brother, Dilip Mehta's documentary on the same subject: The Forgotten Woman . It's a more modern look at widows in India (still undergoing the same shit!).
Water tells the story of Chuyiya, a young girl who is married off at the age of six and becomes a widow at eight. Abandoned by both her birth and her marital families, Chuyiya is thrown into an ashram to while away her life in colourless gloom. But India is on the cusp of independence and things are changing. Not everyone is hidebound in filthy traditions, but the emancipation comes too late for some.
Religion is generally shit, and Hinduism is rather shittier than others in its treatment of women. A woman's only role is to procreate and serve her husband's family, according to scriptures. She does not even have the right to worship and perform rituals. Widows lose this purpose and became complete outcasts in society. Even if not abandoned, they were considered inauspicious and kept away from normal life. Even today, this practice continues and I see it in a mild form around me all the time. Weddings and other functions bring out this nastiness in full force in extremely insidious ways. Anybody who says so otherwise is only fooling themselves.
Having seen the film and liked it, I found the novel lacking. It is basically a copy of the film script into novelised form and that is not very interesting. Whereas a film can give you a lot of information in a few scenes, the same needs to be depicted differently in a novel to give the same impact. This was not done by Sidhwa. She also had the option of developing on some of the characters and making up for the flaws of the film but she did not do that either. She stuck faithfully to the story and ultimately did not add anything to the discussion.
I also found the research lacking. In one instance, someone informs a character that a law has been passed allowing remarriage of widows, which prompts the climax of the book. But the Hindu Widows Remarriage Act was passed in 1856 by Lord Dalhousie, exactly 80 years before the events of the story, set in 1936. Gandhi was not even born when it occurred!
I really recommend watching the film instead of reading this book. Also, I highly recommend (indeed, I insist on it if you want more knowledge on this subject) Deepa Mehta's brother, Dilip Mehta's documentary on the same subject: The Forgotten Woman . It's a more modern look at widows in India (still undergoing the same shit!).
June 6, 2023
So this was a pretty interesting project, in that this book was commissioned to supplement the movie. I’m sure, in retrospect, that there must be multiple other examples of this particular scenario, but what makes this one interesting are the interwoven links between the visual and the written medium for this particular series. Deepa Mehta (the film director of the movie version of this book) is actually most popular for her Elements Trilogy, the first part of which, a movie called Earth, was based on Bapsi Sidhwa’s novel Cracking India. In return, when Metha directed this movie, Sidhwa wrote the novel.
It’s a nice little give and take between different spheres of storytelling which appeals to my Mass Communications graduate side, since it allows both kinds of art lovers, the viewers and the readers, to enjoy the same art depending upon their tastes. And even though movie adaptations are all the rage these days, there’s something particularly pleasing to me about the idea of two women, the director and the author, choosing to tackle controversial, bold topics while supporting each other in their artistic endeavours.
And controversial this book must have been, given that it is talking about the treatment of widows in pre-partition India. While Gandhi and politics form part of the background, it is truly the story of an eight-year-old child bride named Chuyia (Why, though? Why name your child a literal mouse?! Sometimes parental decisions make absolutely zero sense). Chuyia is married off when she’s SIX YEARS OLD, in a super wtf moment, even more horrifying because within the setting of the story her parents, and especially her father, seem to think it a great decision to be marrying off their very tiny daughter.
“A girl is destined to leave her parents’ home early or she will bring disgrace to it. She is safe and happy only in her husband’s care.”
Early marriages have always been a plague of South Asian communities, and it’s only the law these days which prevents a significant number of families from marrying off their very young daughters. Even now, a lot of people marry their girls with fake birth certificates, or with the argument that as long as her guardians give approval, it’s alright (and I say this with experience, having seen our maid’s daughter married at 13, with two kids at 16). Overall, it’s a convoluted mess of interpreted-as-convenient religious teachings (ironically enough, both Hindus and Muslims, who seem to disagree on a very basic level about the number of gods, seem very eager to agree on the concept of early marriages) and a patriarchal culture that really, really likes to view women solely as child producing and house cleaning machines. In fact, I’m pretty sure one could easily write a story about a Muslim girl caught in the same situation, because Islamic teachings can and have been manipulated for the same sick purposes since years.
“In the Brahmanical tradition,” said Somnath, “a woman is recognized as a person only when she is one with her husband. Only then does she become a sumangali, an auspicious woman, and a saubhagyavati, a fortunate woman.”
But the child marriage isn’t even the worst part of the whole tale. Even before Chuyia has started menstruating and is thus still living with her parents instead of her forty-four-year-old husband, he passes away. Thus, at eight years old, Chuyia is declared a widow, and sent to live in an ashram. Her head is shaved, she’s given a single piece of unstitched cloth to wear, and unceremoniously shoved into a place filled with women of all shapes and sizes, all bound together by one single fact: a dead husband.
I’m not really going to spend a lot of time going over how sickening all of that is. It’s disturbing on so many levels, and even more so because treating widows like discarded material is a still a common practise today. But the book doesn’t really spend too much time focusing on Chuyia’s bad luck. It instead brings our attention to the characters in the Ashram: the iron-fisted Madhumati, the sycophantic Kunti, the patient and wise Shakuntala, and the beautiful Kalyani, whose lack of baldness is explained by her furtively being bartered as a prostitute. For a book with such a heavy topic, it would have been easy to be didactic, but it’s fascinating how quickly the plot keeps moving forward, ensuring we are propelled along as a young Gandhi-lover falls for Kalyani, aided by Chuyia’s role in the love story.
As a protagonist, Chuyia is an interesting pair of eyes to view the story from, because she is inherently naïve, and unable to view the misogynistic, unfair world that she resides in from the perspective of an adult. Thankfully, the point of view does shift to other people, who can tell a different version of the story, and who provide greater insight into the lives and desires of those who live in or are connected to the ashram.
“You must take care of yourself,” Madhumati cooed, and Kalyani noticed she was stroking her thigh. “You are the jewel of this house,” the woman said, gazing at her fondly. “If you are happy, our clients are happy. And when they’re happy, I am happy!”
Kalyani couldn’t take it any more. “This is an ashram, didi, not a brothel,” she said quietly.
There is also bound to be some politics in any book based in the 1940’s in the subcontinent. Ignoring the politics of that decade is almost impossible, given how tumultuous it was and how huge an impact it had on the futures of two separate countries. But I love books like these, which bring the political down to a very personal level. I had expected that the politics would mostly stay in the background, but the ending really does fold the story into the upheaval of the subcontinent, with a climax that is heart-breaking but that I really should have seen coming, given the tone of the whole narrative, and how brutal the lives of the women within the tale truly are.
“Outside of marriage the wife has no recognized existence in our tradition. A woman’s role in life is to get married and have sons. That’s why she is created: to have sons! That is all!”
Honestly, at the end of the day it’s hard to say whether the book measures up to the movie, mainly because I haven’t seen it. It’s entirely possible that the book is a sub-par effort at describing what the movie tries to express. But on its own, the book is a great read, albeit horrifying on multiple levels. Still, I’m a proponent of reading things that make you uncomfortable, if only to get over your own privilege, and there can be no greater privilege than to be born a woman protected by time and space from the dictates of a society which could potentially decide that an eight-year-old deserved to be cast aside for being a widow. Things aren’t great, but they’re getting better in some places, and at the end that’s all we can hope for.
***
I review Pakistani Fiction, and talk about Pakistani fiction, and want to talk to people who like to talk about fiction (Pakistani and otherwise, take your pick.) To read more reviews or just contact me so you can talk about books, check out my Blog or follow me on Twitter!
It’s a nice little give and take between different spheres of storytelling which appeals to my Mass Communications graduate side, since it allows both kinds of art lovers, the viewers and the readers, to enjoy the same art depending upon their tastes. And even though movie adaptations are all the rage these days, there’s something particularly pleasing to me about the idea of two women, the director and the author, choosing to tackle controversial, bold topics while supporting each other in their artistic endeavours.
And controversial this book must have been, given that it is talking about the treatment of widows in pre-partition India. While Gandhi and politics form part of the background, it is truly the story of an eight-year-old child bride named Chuyia (Why, though? Why name your child a literal mouse?! Sometimes parental decisions make absolutely zero sense). Chuyia is married off when she’s SIX YEARS OLD, in a super wtf moment, even more horrifying because within the setting of the story her parents, and especially her father, seem to think it a great decision to be marrying off their very tiny daughter.
“A girl is destined to leave her parents’ home early or she will bring disgrace to it. She is safe and happy only in her husband’s care.”
Early marriages have always been a plague of South Asian communities, and it’s only the law these days which prevents a significant number of families from marrying off their very young daughters. Even now, a lot of people marry their girls with fake birth certificates, or with the argument that as long as her guardians give approval, it’s alright (and I say this with experience, having seen our maid’s daughter married at 13, with two kids at 16). Overall, it’s a convoluted mess of interpreted-as-convenient religious teachings (ironically enough, both Hindus and Muslims, who seem to disagree on a very basic level about the number of gods, seem very eager to agree on the concept of early marriages) and a patriarchal culture that really, really likes to view women solely as child producing and house cleaning machines. In fact, I’m pretty sure one could easily write a story about a Muslim girl caught in the same situation, because Islamic teachings can and have been manipulated for the same sick purposes since years.
“In the Brahmanical tradition,” said Somnath, “a woman is recognized as a person only when she is one with her husband. Only then does she become a sumangali, an auspicious woman, and a saubhagyavati, a fortunate woman.”
But the child marriage isn’t even the worst part of the whole tale. Even before Chuyia has started menstruating and is thus still living with her parents instead of her forty-four-year-old husband, he passes away. Thus, at eight years old, Chuyia is declared a widow, and sent to live in an ashram. Her head is shaved, she’s given a single piece of unstitched cloth to wear, and unceremoniously shoved into a place filled with women of all shapes and sizes, all bound together by one single fact: a dead husband.
I’m not really going to spend a lot of time going over how sickening all of that is. It’s disturbing on so many levels, and even more so because treating widows like discarded material is a still a common practise today. But the book doesn’t really spend too much time focusing on Chuyia’s bad luck. It instead brings our attention to the characters in the Ashram: the iron-fisted Madhumati, the sycophantic Kunti, the patient and wise Shakuntala, and the beautiful Kalyani, whose lack of baldness is explained by her furtively being bartered as a prostitute. For a book with such a heavy topic, it would have been easy to be didactic, but it’s fascinating how quickly the plot keeps moving forward, ensuring we are propelled along as a young Gandhi-lover falls for Kalyani, aided by Chuyia’s role in the love story.
As a protagonist, Chuyia is an interesting pair of eyes to view the story from, because she is inherently naïve, and unable to view the misogynistic, unfair world that she resides in from the perspective of an adult. Thankfully, the point of view does shift to other people, who can tell a different version of the story, and who provide greater insight into the lives and desires of those who live in or are connected to the ashram.
“You must take care of yourself,” Madhumati cooed, and Kalyani noticed she was stroking her thigh. “You are the jewel of this house,” the woman said, gazing at her fondly. “If you are happy, our clients are happy. And when they’re happy, I am happy!”
Kalyani couldn’t take it any more. “This is an ashram, didi, not a brothel,” she said quietly.
There is also bound to be some politics in any book based in the 1940’s in the subcontinent. Ignoring the politics of that decade is almost impossible, given how tumultuous it was and how huge an impact it had on the futures of two separate countries. But I love books like these, which bring the political down to a very personal level. I had expected that the politics would mostly stay in the background, but the ending really does fold the story into the upheaval of the subcontinent, with a climax that is heart-breaking but that I really should have seen coming, given the tone of the whole narrative, and how brutal the lives of the women within the tale truly are.
“Outside of marriage the wife has no recognized existence in our tradition. A woman’s role in life is to get married and have sons. That’s why she is created: to have sons! That is all!”
Honestly, at the end of the day it’s hard to say whether the book measures up to the movie, mainly because I haven’t seen it. It’s entirely possible that the book is a sub-par effort at describing what the movie tries to express. But on its own, the book is a great read, albeit horrifying on multiple levels. Still, I’m a proponent of reading things that make you uncomfortable, if only to get over your own privilege, and there can be no greater privilege than to be born a woman protected by time and space from the dictates of a society which could potentially decide that an eight-year-old deserved to be cast aside for being a widow. Things aren’t great, but they’re getting better in some places, and at the end that’s all we can hope for.
***
I review Pakistani Fiction, and talk about Pakistani fiction, and want to talk to people who like to talk about fiction (Pakistani and otherwise, take your pick.) To read more reviews or just contact me so you can talk about books, check out my Blog or follow me on Twitter!
January 29, 2017
I cried thrice while reading this heartbreaking ,heart wrenching piece. It gives a picture of Hindu widows and their miserable lives. how they are forced to choose a path of self deprivation in their tender ages. just go through it. read the book and then watch the movie. a very good adaption of the book. though I am little confuse about the casting of JOHN ABRAHAM as Narayan. I swear after reading the book if anyone listen to the songs of the movie adaption, he/she would cry an ocean. the reader can relate the lyrics with the story after reading it so perfectly that it aches in the heart.
September 22, 2020
She ceased to exist as a person; she was no longer daughter or daughter-in-law.
While I initially gave this book four stars, I'm bumping it up to five stars.
Why, you ask? Because I can - but also because I had time to sit on my thoughts for a couple of days and because this book tells a stunning tale of how widows were treated in India in the 1930s. I don't know much about the practice in this day and age but widows back then did not have much of a place in the society once their husbands died.
The widows were sent away to an ashram, where they had their heads shaved, dressed completely in white unstitched clothes, led a life of self-denial which included eating no fried foods including sweets. In this set-up, we find 8-year-old Chuyia, a child bride who becomes a child widow after the demise of her husband.
The reason I initially gave this book four stars was because it's not a perfect book. The character of Narayan was very underdeveloped and his storyline wasn't as fleshed out as the women in the book. This book is unique because it's based on the movie - Sidhwa was given three months to finish the novel to coincide the release of the book with the movie, since the controversial movie faced backlash in India. Because of the time-crunch, I can't fault Sidhwa for the shortcomings of the book. Working with the script might have tied her hands a little bit, which is why this book is not as developed in some parts as it is in others. While watching the movie, I felt a little bit underwhelmed by it because Sidhwa draws such a vivid picture of the time, the treatment of the widows at the hands of men, and at the hands of the other women. The patriarchal setup is suffocating but so brilliantly executed that you really can't stop reading the book.
Sidhwa has explored religion and its interpretations well, and she has shown us female bonding in this book. The movie is great too, but I feel like the book has more of an impact on me.
While I initially gave this book four stars, I'm bumping it up to five stars.
Why, you ask? Because I can - but also because I had time to sit on my thoughts for a couple of days and because this book tells a stunning tale of how widows were treated in India in the 1930s. I don't know much about the practice in this day and age but widows back then did not have much of a place in the society once their husbands died.
The widows were sent away to an ashram, where they had their heads shaved, dressed completely in white unstitched clothes, led a life of self-denial which included eating no fried foods including sweets. In this set-up, we find 8-year-old Chuyia, a child bride who becomes a child widow after the demise of her husband.
The reason I initially gave this book four stars was because it's not a perfect book. The character of Narayan was very underdeveloped and his storyline wasn't as fleshed out as the women in the book. This book is unique because it's based on the movie - Sidhwa was given three months to finish the novel to coincide the release of the book with the movie, since the controversial movie faced backlash in India. Because of the time-crunch, I can't fault Sidhwa for the shortcomings of the book. Working with the script might have tied her hands a little bit, which is why this book is not as developed in some parts as it is in others. While watching the movie, I felt a little bit underwhelmed by it because Sidhwa draws such a vivid picture of the time, the treatment of the widows at the hands of men, and at the hands of the other women. The patriarchal setup is suffocating but so brilliantly executed that you really can't stop reading the book.
Sidhwa has explored religion and its interpretations well, and she has shown us female bonding in this book. The movie is great too, but I feel like the book has more of an impact on me.
Read
February 11, 2022Taking this off my CR because it's v badly written. It has an interesting perspective reference Hindu marriage and the position of the wife - which is that she belongs to the husband. Husband dies the widow is NOT permitted to remarry. In the past, she would have been burnt (alive) with her husband. No - this story set in 1938 follows 8 year old Chuyia placed in an Ashram after her husband's death. We might as well say incarcerated there.
It's a book which draws attention to this religious custom - which I think underscores how women are commonly thought of as property irrespective of culture, continent or religion. But I cannot continue - the narrative structure is v clumsy.
It's a book which draws attention to this religious custom - which I think underscores how women are commonly thought of as property irrespective of culture, continent or religion. But I cannot continue - the narrative structure is v clumsy.
April 4, 2011
This is a wonderful story, a painful story, of young widows and old widows, who were deserted by their in-laws when their husbands died, to live out their lives in an ashram. An ashram or a brothel? You need to read this book to find out the terrors and injustice that befell widows in India during Colonial times. Sati had been outlawed, (widows would put themselves on a pyre of fire and die for their husbands), but terrible injustices prevailed for widows. This book portrays the pain, the unhappiness, and the injustices shown to widows. (Many of India's widows were young children, as young as six years old). Bapsi Sidwa is Pakistani and tells the stories of India with truth and compassion.
January 28, 2018
"She ceased to exist as a person; she was no longer either daughter or daughter-in-law."
".... a widow's head is shaved, her ornaments removed, and she is expected to remain in perpetual morning. She is to observe fasts, give up eating 'hot' foods in order to cool her sexual energy, avoid auspicious occasions because she is considered inauspicious (for having caused her husband's death), and to remain celibate, devout and loyal to her husband's memory."
This is my first book by an Indian author and I loved it. However, this is a heartbreaking story. Bapsi managed to give readers glimpses of the Brahmin religious views and how widows, and even women, were (in some places still are) unjustly treated in India - unworthy of anything humane. Forcing a young child into marriage (often to men who are old enough to be her grandfather), belittling her worth and purpose in life to simply satisfying the needs of her husband and reproducing sons, denouncing her as family or even human for that matter and ostracising her when her husband dies, deeming her unworthy of love and viewed as cursed, and blaming her for being such bad luck and for causing the death of her husband as a result. On the other hand, widowers are free to live their life with respect and are not at all responsible for the death of their wives. Reading this book made me feel sad and angry at the same time.
".... a widow's head is shaved, her ornaments removed, and she is expected to remain in perpetual morning. She is to observe fasts, give up eating 'hot' foods in order to cool her sexual energy, avoid auspicious occasions because she is considered inauspicious (for having caused her husband's death), and to remain celibate, devout and loyal to her husband's memory."
This is my first book by an Indian author and I loved it. However, this is a heartbreaking story. Bapsi managed to give readers glimpses of the Brahmin religious views and how widows, and even women, were (in some places still are) unjustly treated in India - unworthy of anything humane. Forcing a young child into marriage (often to men who are old enough to be her grandfather), belittling her worth and purpose in life to simply satisfying the needs of her husband and reproducing sons, denouncing her as family or even human for that matter and ostracising her when her husband dies, deeming her unworthy of love and viewed as cursed, and blaming her for being such bad luck and for causing the death of her husband as a result. On the other hand, widowers are free to live their life with respect and are not at all responsible for the death of their wives. Reading this book made me feel sad and angry at the same time.
January 20, 2013
This story is heart wrenchingly sad. Life in a widow's ashram in India in 1939 is not a pretty story. Rules of the Brahmin caste state widows must go through a life of seclusion and separation if their husbands die. They live out their lives in ashrams with shaved heads and white saris.(white being the colour of mourning)
'Water' is the story of a child, who was married off at 6yrs (but remained at her family home until puberty). Fortunately or unfortunately her 45+yrs husband dies before she ever gets to leave her own family and go to his house. She has no or little memory of her wedding except the food she enjoyed and the attention lavished upon her at the time. With the death of her husband she is caste off to the ashram at around 8 yrs of age. The story is about the lives of the child and other widows in the ashram and how their relationships evolve.
Bapsi Sidhwa has an amazing capacity to relay her knowledge of Indian life (and Pakistani life written about in her other books) and in this case, the story is sad beyond words. Sad, because from my culture, religion, and perspective widows are to be cared for and loved and given uplifted status; not, in the culture described in this story, cast out and thrown onto the garbage heap. They instantly change from a "person" or a "she" to a "thing" or an "it".
When I finished this story I immediately did some research into the treatment of widows in India in 2012. Sadly, not a lot seems to have changed. Thanks to NGOs, some caring religious organziations, and other caring Indian people, some kind of a basic existence is offered to some of the 40,000,000 widows of India.
If you have not read any of Bapsi Sidhwa's books then do yourself a favour and pick one up. Dont start with this one, though. Try 'Cracking India'.
'Water' is the story of a child, who was married off at 6yrs (but remained at her family home until puberty). Fortunately or unfortunately her 45+yrs husband dies before she ever gets to leave her own family and go to his house. She has no or little memory of her wedding except the food she enjoyed and the attention lavished upon her at the time. With the death of her husband she is caste off to the ashram at around 8 yrs of age. The story is about the lives of the child and other widows in the ashram and how their relationships evolve.
Bapsi Sidhwa has an amazing capacity to relay her knowledge of Indian life (and Pakistani life written about in her other books) and in this case, the story is sad beyond words. Sad, because from my culture, religion, and perspective widows are to be cared for and loved and given uplifted status; not, in the culture described in this story, cast out and thrown onto the garbage heap. They instantly change from a "person" or a "she" to a "thing" or an "it".
When I finished this story I immediately did some research into the treatment of widows in India in 2012. Sadly, not a lot seems to have changed. Thanks to NGOs, some caring religious organziations, and other caring Indian people, some kind of a basic existence is offered to some of the 40,000,000 widows of India.
If you have not read any of Bapsi Sidhwa's books then do yourself a favour and pick one up. Dont start with this one, though. Try 'Cracking India'.
December 31, 2017
Why does something has to happen in a person's life when it doesn't need to happen? Is it karma? Is it the penance of the sins from the last life? These heartwrecking questions are asked again and again in Bapsi Sidhwa's widely recognized novel Water. The renowned novel was adapted from Deepa Mehta's controversial movie of the same title.
The plot is set in 1938, as Gandhi rises to power in the background of the story, Water follows the struggles of eight-year-old Chuyia,as she is married off and as her distress follows the death of her elderly husband, she is abandoned at a widows' ashram. There, she is forced to live a life without any kind of behaviour/activity which may arouse the 'sinner' in her. Defiant and feisty Chuyia, the little mouse, gradually starts to accept her fate but at the same time, unknowingly takes part in changing the lives of others around her. When Kalyani, the beautiful widow-prostitute, falls in love with a young, upper-class Gandhian idealist, Narayan, the forbidden affair threatens the Hindu tradition and the ashram’s maintenance of hypocrisy. In attempt to keep things balanced, Kalyani and Chuyia must sacrifice something beyond their imagination.
This is a novel that will make you love those moments depicted in the scripts, break your heart and make your eyes run a river. The way the the lives of the widows in colonial India is portrayed here, it makes you want to question the boundaries and restrictions that question love, penance and existence.
The plot is set in 1938, as Gandhi rises to power in the background of the story, Water follows the struggles of eight-year-old Chuyia,as she is married off and as her distress follows the death of her elderly husband, she is abandoned at a widows' ashram. There, she is forced to live a life without any kind of behaviour/activity which may arouse the 'sinner' in her. Defiant and feisty Chuyia, the little mouse, gradually starts to accept her fate but at the same time, unknowingly takes part in changing the lives of others around her. When Kalyani, the beautiful widow-prostitute, falls in love with a young, upper-class Gandhian idealist, Narayan, the forbidden affair threatens the Hindu tradition and the ashram’s maintenance of hypocrisy. In attempt to keep things balanced, Kalyani and Chuyia must sacrifice something beyond their imagination.
This is a novel that will make you love those moments depicted in the scripts, break your heart and make your eyes run a river. The way the the lives of the widows in colonial India is portrayed here, it makes you want to question the boundaries and restrictions that question love, penance and existence.
November 25, 2022
Encontré este libro en la biblioteca de mi jefa y no pude resistirme, “me lo llevo para el fin de semana, el lunes te lo devuelvo”. Pues aquí estoy, sábado por la mañana y ya lo he terminado.
Es un libro duro pero precioso, cuenta la historia de una niña viuda de la India. Sinceramente, sabía de niñas que mueren en la noche de bodas, pero no sabía que una viuda tenía que quedar recluida de por vida, aunque ni siquiera hubiera llegado a conocer al hombre con el que la obligaron a casarse.
Está muy bien escrito y se le rápidamente, he conocido ciertos aspectos de los “templos” que no podía ni imaginar. Menos mal que muchas personas han luchado por cambiar un poco las cosas, pero sé que queda mucho por hacer. Los personajes son muy nítidos y la trama bien construida. Me gustaría saber más de Chuyia, de su futuro, si ha tenido hijos... pero luego recuerdo que no es real.
Cuando las tradiciones hacen daño a niñas de 9 años, algo no se está haciendo bien.
Un libro que merece la pena ser leído y más conocido.
Es un libro duro pero precioso, cuenta la historia de una niña viuda de la India. Sinceramente, sabía de niñas que mueren en la noche de bodas, pero no sabía que una viuda tenía que quedar recluida de por vida, aunque ni siquiera hubiera llegado a conocer al hombre con el que la obligaron a casarse.
Está muy bien escrito y se le rápidamente, he conocido ciertos aspectos de los “templos” que no podía ni imaginar. Menos mal que muchas personas han luchado por cambiar un poco las cosas, pero sé que queda mucho por hacer. Los personajes son muy nítidos y la trama bien construida. Me gustaría saber más de Chuyia, de su futuro, si ha tenido hijos... pero luego recuerdo que no es real.
Cuando las tradiciones hacen daño a niñas de 9 años, algo no se está haciendo bien.
Un libro que merece la pena ser leído y más conocido.
September 3, 2021
Lectura muy recomendada que te hará pensar en las injusticias que AUN EXISTEN en el mundo.
September 26, 2020
The last of Bapsi Sidhwa’s novels I had left to read so a bittersweet experience but still another engaging and insightful read from an author I admire. Based on the film Water, this novel did feel a little different to her others, the language more simplistic, the characters less fleshed out but at the same time there is a cinematic quality to the descriptions of the scenery, particularly the Ganga and the ghats that line its sides at Rawalpur. I like to know nothing about the plot before going in so if you’re one of those people I won’t spoil it except to say that this book focuses on widowhood in India and what that experience is like for a whole range of women. It will make you angry and frustrated yet there is hope and a bond between the women that enables you to transcend the despair. It takes place during the rise of Ghandi but this is very much in the background and it is the relationships between the women and their oppression that is the heart of the book.
January 11, 2016
This is a shocking novel dealing with the plight of widows in Brahmin culture, exemplified by the child Chuyia who is married to a middle-aged widower at the age of six, becomes a widow at eight and is then dumped into a dilapidated ashram to spend the rest of her life in poverty, misery and perpetual mourning for the husband she never knew.
Due to bad Karma accumulated during a previous sinful life a widow is responsible for the death of her husband and can only atone for this by being disowned by her family and in-laws, shaving her head, living at near-starvation level, wrapping herself in a piece of (unstitched, of course !) white cloth, wearing no ornaments, sleeping on the floor, begging, ceasing to exist as a person, not even thinking of remarriage, regretting her continued existence and remaining celibate (which doesn’t stop the head-widow in the ashram from forcing the prettier widows into prostitution). The saddest thing is that there seems to be no female solidarity in that society whatsoever, not even among the widows themselves.
The child Chuyia enters the ashram without any preconceived notions and her innocent questions reveal the absurdity of the tradition, as when she asks : “Where is the house for the men widows ?” and the women are aghast at the thought that a fate as horrible as theirs should befall a man.
Widowers, of course, are in no way responsible for the death of their wives, and old men may happily marry young children, as the holy texts say that Brahmins can sleep with whomever they want (including sinful, inauspicious and polluted widows) and the women they sleep with are blessed. Didn’t Krishna marry 8.000 women and take up with any of the milkmaids that took his fleeting fancy ?
Unfortunately, Bapsi Sidhwa’s writing is not up to her usual standard, maybe because she wrote the novel based on a film or maybe because of deadline pressure.
The love story between Kalyani and Narayan is contrived and melodramatic.
Due to bad Karma accumulated during a previous sinful life a widow is responsible for the death of her husband and can only atone for this by being disowned by her family and in-laws, shaving her head, living at near-starvation level, wrapping herself in a piece of (unstitched, of course !) white cloth, wearing no ornaments, sleeping on the floor, begging, ceasing to exist as a person, not even thinking of remarriage, regretting her continued existence and remaining celibate (which doesn’t stop the head-widow in the ashram from forcing the prettier widows into prostitution). The saddest thing is that there seems to be no female solidarity in that society whatsoever, not even among the widows themselves.
The child Chuyia enters the ashram without any preconceived notions and her innocent questions reveal the absurdity of the tradition, as when she asks : “Where is the house for the men widows ?” and the women are aghast at the thought that a fate as horrible as theirs should befall a man.
Widowers, of course, are in no way responsible for the death of their wives, and old men may happily marry young children, as the holy texts say that Brahmins can sleep with whomever they want (including sinful, inauspicious and polluted widows) and the women they sleep with are blessed. Didn’t Krishna marry 8.000 women and take up with any of the milkmaids that took his fleeting fancy ?
Unfortunately, Bapsi Sidhwa’s writing is not up to her usual standard, maybe because she wrote the novel based on a film or maybe because of deadline pressure.
The love story between Kalyani and Narayan is contrived and melodramatic.
August 13, 2013
These are some of the last words Chuyia hears from anyone familiar to her, as her condition abandons her in an ashram for Hindu widows to spend the rest of her life in renunciation. Chuyia, failing to realize her condition upon arrival, enters the ashram innocent and naive, as the elderly widows surround her and one proceeds shave her soft head. Watching Chuyia begin to understand her circumstance as she terrifyingly runs for escape screaming for her family, one can only feel a tragic catharsis watching an eight year old being sentenced to life in prison for a “crime” she did not commit. The ideas and criticisms that come to one’s mind are undoubtedly what writer and director, Deepa Mehta, aimed to evoke – injustice, patriarchy, and oppression by way of religion.
"Unwilling to accept her fate, Chuyia becomes a catalyst for change in the lives of the widows. When her friend, the beautiful widow-prostitute Kalyani, falls in love with a young, upper-class Gandhian idealist, the forbidden affair boldly defies Hindu tradition and threatens to undermine the delicate balance of power within the ashram." Water offers an examination of the lives of widows in colonial India, but ultimately it is a haunting and lyrical story of love, faith and redemption.Do you remember getting married? Your husband is dead. You’re a widow now.”
Water is an excellent book and is worth reading. I highly recommend it. You can also watch the movie which is wonderfully done.
"Unwilling to accept her fate, Chuyia becomes a catalyst for change in the lives of the widows. When her friend, the beautiful widow-prostitute Kalyani, falls in love with a young, upper-class Gandhian idealist, the forbidden affair boldly defies Hindu tradition and threatens to undermine the delicate balance of power within the ashram." Water offers an examination of the lives of widows in colonial India, but ultimately it is a haunting and lyrical story of love, faith and redemption.Do you remember getting married? Your husband is dead. You’re a widow now.”
Water is an excellent book and is worth reading. I highly recommend it. You can also watch the movie which is wonderfully done.
December 18, 2007
Based on the script. Terribly written. The movie is in subtitles which qualifies it as a book. Read the movie instead.
May 19, 2019
The book has been started with normal scenery of village and the cheering sound of children. Story has been following the 6-7 year old girl name as Chuiya (little mouse) who was sharp and stubborn girls. She played in streets with childern, with dog (tun tun). The year of 1938 was going on in the era Gandhi was prevailing in Indian society through his follower and the teachings.
Ghandi has been proven as catalyst towards hindu religion as well as old traditions which were strict to happen but inadequate for the change of time. He started his mission by visiting various places of India as well as preach Hindus about change is required in their society. Furthermore many followers of Ghandi were with him vis-a-vis opponents particularly religous leaders were against him because they consider him rebel of traditional Hinduism.
As far as the story is concern, has been consist of miserable lives of widows in hindu society, while they don't know when their husband have been died and from which year they are living in Ashram.
Chuiya the main character of the book got married to an old man almost of her father's age Hiralal only reason of marriage were that she is a burden over her parents because she was a girl. Mother of chuiya was against this marriage but she have not deny her husband and she also know the reality of society. The old man who has married to Chuiya bear all expenses of wedding as well as no dowry will be taken from the parents of Chuiya and she can live with her parents untill she reached at the age of went to in laws. Saddest thing happened soon after two year the old man have been died and leave chuiya a nine year old girl as his widow for all her life.
Widows in hindu society have only 3 options to live (i) to leave all colors of life and start living in religous devotion without any liberation (ii) if the family is agreed then to get married with the younger brother of deceased husband (iii) to burn herself with the body of husband (Satti) But no other option have been left for her if she remained alive she can't wear any color, eat any delicious food, attend weddings or any thing happen in normal life.
So the chuiya's husband died and her father let her to the place where they burnt dead bodies as well as shaved her head and left her to Widows Ashram where all widows live in miserable life and have no option to go back to life. Because remarry of widow is considered as sin and she can not see any dream in her life as well.
In Ashram chuiya met various widows in which Kalyani and Kaushaliya. Kaushaliya played mother figure for chuiya in whole novel. Kalyani was a widow who have no idea from when she was living in Ashram. And she remain as prostitute-widow to Barhamn rich man for supporting Ashram financially.
In the novel a character Naryan came who was follower of Gandhi and met Kalyani and Chuiya while they were at ghat to give bath to Kalu(dog). He fall in love with her and meet him various time at night. They decided to get married but when head of widow ashram who was also a widow came to knoe she shaved Kalyani's head and locked her room after saying remarriage is sin for a widow.
Kashuliya who devoted her life for religion and always busy in serving Ashram and other widows. When she came to know about Kalyani and Naryan affair. She consult all these issues with the pandit came ghat. He told her that Ghandi is giving education of learning and to spread love for widows and remarry of a widow is her right. She is unaware of love society should allow these human beings for their rights.
When Kaushaliya know these she compel the head widow and open her and ask her to run away. When Naryan and kalyani reached at Naryan's home then she came to know she is already mistress of his father. She ask him to turn back and ask her father. When Naryan talked to his father he said she is no goddess just take her a mistress and live your life.
Kalyani reached ashram and met head of Ashram she ask her to go to that Barhman again she drowned herself in Ganga and do suicide. And end her life.
At the same night head of Ashram send chuiya for prostitution of that state. Kashuliya found her everywhere but when she came to know she ran towards ghat and ask boat man to take her otherside but no one listen to her at mid night. Suddenly chuiya and Gulabi(the dealer) came back. And chuiya became the part of lust if Barhamn at that time kaushaliya decided to take her anywhere she live a safe life from this ill custom society. Ghandi came to village and people went to see him. Kaushaliya took chuiya with her. When ghandi left she ask caravan to take her and handover her to Ghandi and take care of her from this miserable society and customs of this side. Naryan took her with himself and left the area.
This story made me cry various time om miserable condition of women in pre partition era. As well as we can say Ghandi is prophet for the time being in Hinduism. He ask them to change the life of women, talk about parallel rights of man and women and stop these child marriages which make little girls miserable and push her to live below the life style no matter of her age.
How critical that timr and place were for women one women can imagine all these thing after keeping her at that place.
Bapsi wrote this story very beautifully which kept reader capture and took reader towards past in that difficult time where girls were burden and for lessening the burdeb she married to old man and ruin her life.
Ghandi has been proven as catalyst towards hindu religion as well as old traditions which were strict to happen but inadequate for the change of time. He started his mission by visiting various places of India as well as preach Hindus about change is required in their society. Furthermore many followers of Ghandi were with him vis-a-vis opponents particularly religous leaders were against him because they consider him rebel of traditional Hinduism.
As far as the story is concern, has been consist of miserable lives of widows in hindu society, while they don't know when their husband have been died and from which year they are living in Ashram.
Chuiya the main character of the book got married to an old man almost of her father's age Hiralal only reason of marriage were that she is a burden over her parents because she was a girl. Mother of chuiya was against this marriage but she have not deny her husband and she also know the reality of society. The old man who has married to Chuiya bear all expenses of wedding as well as no dowry will be taken from the parents of Chuiya and she can live with her parents untill she reached at the age of went to in laws. Saddest thing happened soon after two year the old man have been died and leave chuiya a nine year old girl as his widow for all her life.
Widows in hindu society have only 3 options to live (i) to leave all colors of life and start living in religous devotion without any liberation (ii) if the family is agreed then to get married with the younger brother of deceased husband (iii) to burn herself with the body of husband (Satti) But no other option have been left for her if she remained alive she can't wear any color, eat any delicious food, attend weddings or any thing happen in normal life.
So the chuiya's husband died and her father let her to the place where they burnt dead bodies as well as shaved her head and left her to Widows Ashram where all widows live in miserable life and have no option to go back to life. Because remarry of widow is considered as sin and she can not see any dream in her life as well.
In Ashram chuiya met various widows in which Kalyani and Kaushaliya. Kaushaliya played mother figure for chuiya in whole novel. Kalyani was a widow who have no idea from when she was living in Ashram. And she remain as prostitute-widow to Barhamn rich man for supporting Ashram financially.
In the novel a character Naryan came who was follower of Gandhi and met Kalyani and Chuiya while they were at ghat to give bath to Kalu(dog). He fall in love with her and meet him various time at night. They decided to get married but when head of widow ashram who was also a widow came to knoe she shaved Kalyani's head and locked her room after saying remarriage is sin for a widow.
Kashuliya who devoted her life for religion and always busy in serving Ashram and other widows. When she came to know about Kalyani and Naryan affair. She consult all these issues with the pandit came ghat. He told her that Ghandi is giving education of learning and to spread love for widows and remarry of a widow is her right. She is unaware of love society should allow these human beings for their rights.
When Kaushaliya know these she compel the head widow and open her and ask her to run away. When Naryan and kalyani reached at Naryan's home then she came to know she is already mistress of his father. She ask him to turn back and ask her father. When Naryan talked to his father he said she is no goddess just take her a mistress and live your life.
Kalyani reached ashram and met head of Ashram she ask her to go to that Barhman again she drowned herself in Ganga and do suicide. And end her life.
At the same night head of Ashram send chuiya for prostitution of that state. Kashuliya found her everywhere but when she came to know she ran towards ghat and ask boat man to take her otherside but no one listen to her at mid night. Suddenly chuiya and Gulabi(the dealer) came back. And chuiya became the part of lust if Barhamn at that time kaushaliya decided to take her anywhere she live a safe life from this ill custom society. Ghandi came to village and people went to see him. Kaushaliya took chuiya with her. When ghandi left she ask caravan to take her and handover her to Ghandi and take care of her from this miserable society and customs of this side. Naryan took her with himself and left the area.
This story made me cry various time om miserable condition of women in pre partition era. As well as we can say Ghandi is prophet for the time being in Hinduism. He ask them to change the life of women, talk about parallel rights of man and women and stop these child marriages which make little girls miserable and push her to live below the life style no matter of her age.
How critical that timr and place were for women one women can imagine all these thing after keeping her at that place.
Bapsi wrote this story very beautifully which kept reader capture and took reader towards past in that difficult time where girls were burden and for lessening the burdeb she married to old man and ruin her life.
August 8, 2024
I didn’t read the synopsis properly, lol. Now that I know this is a novel based on a film, its flaws make much more sense to me.
The characters are very two dimensional and there are so many of them. The plot gets interesting in the second half.
The characters are very two dimensional and there are so many of them. The plot gets interesting in the second half.
October 25, 2021
A heart wrenching novel voicing the unvoiceds, the unheards, the victims of RELIGION and society. Shows how oppressed we are in the hands of society and religion. That we don't have the right to decide the very basic decisions of life even. Must read existentialism, before reading this novel.
March 24, 2013
Amazing book. She rips your heart out with the book in such a way that you enjoy it.
It's beautifully written, despite the fact that it's based on a movie, and not the other way round.
Beautiful book. I'd highly recommend it.
It's beautifully written, despite the fact that it's based on a movie, and not the other way round.
Beautiful book. I'd highly recommend it.
December 24, 2009
An amazing novel written by Bapsi Sidhwa! This books is basically a film script turned into a novel. It's about the young widows and customs surrounding them in India.
September 13, 2021
3.5⭐
🌊Water by Bapsi Sidh is based on a film with the same name. It is set in 1938, before the partition of Subcontinent when India was under British rule. It is centered around the lives of Hindu widows living their miserable lives in an ashram after being abandoned by their families.
✨Story: Chuyia, an 8 year old widow, is left at an ashram where she meets other widows. She's a kid & acts like one which isn't much appreciated there.
🌊The story is touching. It is sad, at points heart wrenching. It stirs one's emotions, making one feel miserable, helpless, angry, frustrated and sometimes hopeful & happy. Although the book talks about some quite unfortunate incidents, I still found it beautiful.
🌊The writing is soothing and delicate. Even though it has controversial topics, it doesn't seem harsh.
🌊The characters aren't really fleshed out, maybe because the book is based on a movie. It kinda felt like a movie, with not much details, just the necessary 'scenes'. I believe it could've been better. The author could've added some depth to the characters & to the story to make it seem like a novel. It didn't seem like one.The interaction between the characters was still good.
🌊One problem: It is said in the book that 'recently' (1938) law had started to allow widows to remarry, while the widow remarriage act was passed in 1856! It might've been intentional, to show how backwards the area was, and how such information was concealed from them for such a long time.
🌊I think it was really close to reality and I personally learned a lot about the religion, that I didn't know already (maybe because I've never watched Indian drama serials). I do think things are changing, have changed quite a bit since that time (hopefully) & this book isn't the reflection of what Subcontinent exactly is right now but of what it once was.
🌊I recommend it but make sure you check all the trigger warnings before picking it up. You might find it pretty disturbing.
🌊Water by Bapsi Sidh is based on a film with the same name. It is set in 1938, before the partition of Subcontinent when India was under British rule. It is centered around the lives of Hindu widows living their miserable lives in an ashram after being abandoned by their families.
✨Story: Chuyia, an 8 year old widow, is left at an ashram where she meets other widows. She's a kid & acts like one which isn't much appreciated there.
🌊The story is touching. It is sad, at points heart wrenching. It stirs one's emotions, making one feel miserable, helpless, angry, frustrated and sometimes hopeful & happy. Although the book talks about some quite unfortunate incidents, I still found it beautiful.
🌊The writing is soothing and delicate. Even though it has controversial topics, it doesn't seem harsh.
🌊The characters aren't really fleshed out, maybe because the book is based on a movie. It kinda felt like a movie, with not much details, just the necessary 'scenes'. I believe it could've been better. The author could've added some depth to the characters & to the story to make it seem like a novel. It didn't seem like one.The interaction between the characters was still good.
🌊One problem: It is said in the book that 'recently' (1938) law had started to allow widows to remarry, while the widow remarriage act was passed in 1856! It might've been intentional, to show how backwards the area was, and how such information was concealed from them for such a long time.
🌊I think it was really close to reality and I personally learned a lot about the religion, that I didn't know already (maybe because I've never watched Indian drama serials). I do think things are changing, have changed quite a bit since that time (hopefully) & this book isn't the reflection of what Subcontinent exactly is right now but of what it once was.
🌊I recommend it but make sure you check all the trigger warnings before picking it up. You might find it pretty disturbing.
March 13, 2025
For some people, religion nurtures faith by providing a foundation for spiritual growth. Though it can be a powerful source of spiritual growth, the novel ponders how its interpretations and applications in different societies and communities could be distorted, leading to perpetuation of shallow morals and hostile behaviors.
Reading Bapsi Sidhwa's "water" after "bride" made me wonder how much south Asian society has exploited women under the guise of religion/convention/morals - a disturbing reality that persists. Shakuntala's dilemma between her conscious-stricken awakening and inherent passive ideals forced upon her by society reflects how such narrow ideals kept women like her inalienable to oppression. Even if they learn to get out of it, social expectations dig them deeper in remorse. Something to be aptly felt by Pakistani and Indian women who throughout their lives are suffocated by societal obligations that govern their lives. For them liberation is a fleeting dream, achieved only with death. Shakuntala who has been nurtured by the same morals continues to stay in misery until she finds the courage to confront the system imposing these regressive morals. Though she couldn't liberate herself, she could set “Chuhiya” free. Adapted from a film “water” by Deepa Mehta, Sidhwa's narrative is eye-opening in disclosing the terrors and injustice descended upon widows in colonial India. Deprived of love, the isolated widows are subjected to society' hypocrisy who on the one hand denied all pleasures from their life but their treatment as a mere sex object under the guise of economic necessity is accepted.
Reading Bapsi Sidhwa's "water" after "bride" made me wonder how much south Asian society has exploited women under the guise of religion/convention/morals - a disturbing reality that persists. Shakuntala's dilemma between her conscious-stricken awakening and inherent passive ideals forced upon her by society reflects how such narrow ideals kept women like her inalienable to oppression. Even if they learn to get out of it, social expectations dig them deeper in remorse. Something to be aptly felt by Pakistani and Indian women who throughout their lives are suffocated by societal obligations that govern their lives. For them liberation is a fleeting dream, achieved only with death. Shakuntala who has been nurtured by the same morals continues to stay in misery until she finds the courage to confront the system imposing these regressive morals. Though she couldn't liberate herself, she could set “Chuhiya” free. Adapted from a film “water” by Deepa Mehta, Sidhwa's narrative is eye-opening in disclosing the terrors and injustice descended upon widows in colonial India. Deprived of love, the isolated widows are subjected to society' hypocrisy who on the one hand denied all pleasures from their life but their treatment as a mere sex object under the guise of economic necessity is accepted.
December 23, 2025
This historical novel dives into the tough lives of widows in colonial India during the 1930s. Set in 1938, when Mahatma Gandhi was gaining influence, the story examines strict patriarchal traditions and how society marginalizes women.
The narrative focuses on three main characters whose lives intersect at a widow's ashram in Varanasi:
- Chuyia: An eight-year-old girl (child!) who unexpectedly becomes a widow after her 50-year-old husband dies. She is left at the ashram to endure a life of penance.
- Kalyani: A young and attractive widow who is forced into prostitution by the head of the ashram, Madhumati, to provide financial support for the institution.
- Shakuntala: A deeply religious and wise widow who starts to question the traditional treatment of women.
Some major themes include:
- The struggles faced by widows, their mistreatment, and how they are pushed into poverty and isolation.
- The conflict between tradition and modernity, highlighting the clash between old social norms and the progressive changes advocated by Gandhi.
- Patriarchy and exploitation, demonstrating how religious and cultural customs are used to control women's sexuality and exploit vulnerable women.
- Resistance, redemption, faith, and the inner strength required to survive and challenge oppressive traditions.
That’s pretty much the gist of the story.
As for my take on it, I found it quite interesting to learn about a historical topic I was previously unaware of, although I also found it very unsettling.
I adored the character of Chuyia who I thought provided a clear view of the absurdity of the ashram's rules. The story felt haunting and emotionally impactful. It generated a strong sense of empathy in me for marginalized women and often left me feeling angry. While I appreciated the writing and the overall storyline, I thought that given the importance of the subject matter, it deserved and required a longer narrative. It felt rushed and too brief for the story being told. Overall, it was a solid read that I enjoyed. I just wanted more.
It seems this novel is based on Deepa Mehta's 2005 Oscar-nominated film of the same name, but I have not seen the film, so I cannot make a comparison.
“Outside of marriage the wife has no recognized existence in our tradition. A woman’s role in life is to get married and have sons. That’s why she is created: to have sons! That is all!” UGH!
The narrative focuses on three main characters whose lives intersect at a widow's ashram in Varanasi:
- Chuyia: An eight-year-old girl (child!) who unexpectedly becomes a widow after her 50-year-old husband dies. She is left at the ashram to endure a life of penance.
- Kalyani: A young and attractive widow who is forced into prostitution by the head of the ashram, Madhumati, to provide financial support for the institution.
- Shakuntala: A deeply religious and wise widow who starts to question the traditional treatment of women.
Some major themes include:
- The struggles faced by widows, their mistreatment, and how they are pushed into poverty and isolation.
- The conflict between tradition and modernity, highlighting the clash between old social norms and the progressive changes advocated by Gandhi.
- Patriarchy and exploitation, demonstrating how religious and cultural customs are used to control women's sexuality and exploit vulnerable women.
- Resistance, redemption, faith, and the inner strength required to survive and challenge oppressive traditions.
That’s pretty much the gist of the story.
As for my take on it, I found it quite interesting to learn about a historical topic I was previously unaware of, although I also found it very unsettling.
I adored the character of Chuyia who I thought provided a clear view of the absurdity of the ashram's rules. The story felt haunting and emotionally impactful. It generated a strong sense of empathy in me for marginalized women and often left me feeling angry. While I appreciated the writing and the overall storyline, I thought that given the importance of the subject matter, it deserved and required a longer narrative. It felt rushed and too brief for the story being told. Overall, it was a solid read that I enjoyed. I just wanted more.
It seems this novel is based on Deepa Mehta's 2005 Oscar-nominated film of the same name, but I have not seen the film, so I cannot make a comparison.
“Outside of marriage the wife has no recognized existence in our tradition. A woman’s role in life is to get married and have sons. That’s why she is created: to have sons! That is all!” UGH!
July 10, 2018
This book is based on Deepa Mehta’s movie with the same name. Quite contrary to the fashion, book was written after the film. Film was a success as it was nominated for most of the categories in Foreign Films of Canada and won them too. Already a huge success, writing this book must be a huge challenge for Bapsi Sidhwa. In my opinion, she didn’t do justice to the story telling. For a script of a film, this narration can do; but for a book writing, it lacks a lot of elements.
Despite of having a great story in hand in which she could have added a lot of background; Chuiya’s story could have many details. This shows a lazy writing. This was just an example; the author has skipped detailing at many places in the book.
Language was quite simple; no complex sentences were used throughout the text. The flow of the book could be twisted and not be a straight forward one. She didn’t take any liberty to twist or play about any character. For example, the love of Kalyani and Narayan was impromptu. It could have built up in a slow and better way.
Overall, this story had a lot of potential and could have been delivered better by Ms. Sidhwa.
Despite of having a great story in hand in which she could have added a lot of background; Chuiya’s story could have many details. This shows a lazy writing. This was just an example; the author has skipped detailing at many places in the book.
Language was quite simple; no complex sentences were used throughout the text. The flow of the book could be twisted and not be a straight forward one. She didn’t take any liberty to twist or play about any character. For example, the love of Kalyani and Narayan was impromptu. It could have built up in a slow and better way.
Overall, this story had a lot of potential and could have been delivered better by Ms. Sidhwa.
April 18, 2021
This book is a haunting portrayal— from the happy childhood scenes through the story of being a bride at 6 and a widow at 8. Seeing the experiences of widowhood through the eyes of a child helps the reader to understand as there is no assumption of knowing. It is a challenging story, one designed to bring the reader through periods of discomfort and confusion alongside the characters, though sprinkled with small scenes of happiness and moments of hope. Most certainly some tears flowed.
It is a very background heavy story for how long the book is— at times it felt like it was sacrificing the flow of the story for it a bit. Be aware that there is a glossary at the end to look up terms in— as I muddled my way through not knowing it was there until I had completed the book.
What stands out is the similarities and differences drawn between the characters in the story— connecting the young to the old, the rich to the poor, the privileged to those tossed aside. Some beautiful uses of similarity and call backs as well as peeks into deep personal journeys tie the story together nicely.
4/5
It is a very background heavy story for how long the book is— at times it felt like it was sacrificing the flow of the story for it a bit. Be aware that there is a glossary at the end to look up terms in— as I muddled my way through not knowing it was there until I had completed the book.
What stands out is the similarities and differences drawn between the characters in the story— connecting the young to the old, the rich to the poor, the privileged to those tossed aside. Some beautiful uses of similarity and call backs as well as peeks into deep personal journeys tie the story together nicely.
4/5
August 19, 2017
Lettura interessante, perché incentrata su una realtà che mi era completamente ignota: la condizione delle vedove nell'India braminica tradizionale, considerate colpevoli della morte dei mariti a causa del loro karma gravato dai peccati delle vite precedenti e di conseguenza mortificate dalla società, reiette e segregate; nel libro la cosa è se possibile ulteriormente appesantita dal fatto che la vedova protagonista sia una bambina di appena otto anni.
Quanto al modo, però, l'ho trovato davvero troppo precipitoso nel trattare alcuni aspetti e snodi fondamentali della storia; forse in conseguenza del fatto che questo libro sia stato scritto "su commissione", ispirato al film e non viceversa, in soli tre mesi. E si sente.
Quanto al modo, però, l'ho trovato davvero troppo precipitoso nel trattare alcuni aspetti e snodi fondamentali della storia; forse in conseguenza del fatto che questo libro sia stato scritto "su commissione", ispirato al film e non viceversa, in soli tre mesi. E si sente.
May 16, 2021
Nothing can prepare the reader for the heart-wrenching beauty of Sidhwa's rendition of Deepa Mehta's film masterpiece, Water. From the opening image of a young Indian girl's life of abject poverty and arranged child-marriage to the impossible hope of her saviors' bravery, Sidhwa is true to Mehta's depiction of the sweep of six-year old Chuyia's terrible life.
Sidhwa details the turbulent lives of widows in 1938 colonial India, who, historically shunned by society, are too often forced to live lives of prostitution by unscrupulous temple priests. The reader, unable to turn away, follows Chuyia's desperate tale of widowhood and orphaning. Sidhwa relays Mehta's powerful story of righteous friendship and honor, as Chuyia's sure degradation hangs in the balance.
Sidhwa details the turbulent lives of widows in 1938 colonial India, who, historically shunned by society, are too often forced to live lives of prostitution by unscrupulous temple priests. The reader, unable to turn away, follows Chuyia's desperate tale of widowhood and orphaning. Sidhwa relays Mehta's powerful story of righteous friendship and honor, as Chuyia's sure degradation hangs in the balance.
August 18, 2024
As always, Bapsi Sidhwa transports the reader into the past, enabling them to envision the cruelty inflicted upon people bound by the cultures of the subcontinent. Widowed at the innocent age of 8, little Chuyia is forced to a life of seclusion: head shaved, and allowed to dress only in a white, unstitched piece of clothing. In a land where widows are forced to live shunned lives with minimal rights, or tragically burnt to death, Chuyia strives to experience her childhood despite the setbacks she faces. Juxtaposed with the revolution brought about by Gandhi, this is a bold story about the plight of the widows who are believed to have been the bad luck that caused their husband's to have died.
November 25, 2017
This book mostly deals about the life of brahmin widows in the pre independence era. The surprising part of the book which I only found out in the end was that the book was made from the movie and not vice versa which is common.
The journey with chuiya the protagonist is unbelievable, and makes us thankful that all these policies and practices is done for. It makes us feel totally bad for the plight of widows especially young ones who don’t even remember their wedding.
The book is made more interesting with the love story of Kalyani and narayan, hateful madhumati, and chuiya s strong support system Shakunthala.
This is definitely short and recommended read.
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