The Henna Artist

It’s 1955 in the bustling Indian city of Jaipur, and Lakshmi reflects that India’s recent independence from the British “changed everything” and “changed nothing.” Lakshmi has been in Jaipur for 10 years, and she finds comfort in its consistency even as she notices how much newfound pride her countrymen display. She and her assistant Malik weave through foot traffic, including a group of hijras (“sari-clad, lipstick-wearing men”).

Malik hails a tonga (a rickshaw), and Lakshmi marvels that such a small boy can be so powerful and efficient. The tonga takes the pair through the center of Jaipur, also known as the Pink City, where families live close together in shared compounds. But today, Lakshmi is going to the Singh household, which is a sprawling estate outside the center of the city. As Lakshmi takes in the marble floors and luscious vines, she notes that the Singhs—part of a Rajput caste of rajas, princes, and army officers—have had power “before, during, and even after” British colonization.   

Lakshmi exits the tonga and approaches the house, where Lala, the Singhs’ longtime servant and nanny, greets her. The two are old friends, so Lakshmi asks about Lala’s niece, who has recently come to work for the Singhs. But at the mention of her niece, Lala’s face darkens, worrying Lakshmi.

Parvati Singh summons Lakshmi, so Lakshmi goes to her client’s elegant bedroom. As always, Lakshmi has to wait while Parvati finishes her tasks, which include writing to Prime Minister Nehru and participating in calls for the Indo-Soviet league. Once Parvati has finished, she summons Lala and is displeased when Lala’s niece greets her instead. The young servant girl is terrified, and she looks to Lakshmi for help. But Lakshmi, reflecting that “Parvati was my mistress, too,” feels powerless.

Normally, low-caste Shudra women do henna. But while Shudra henna artists traditionally do simple patterns, Lakshmi’s designs tell stories; her henna paste is darker and more moisturizing. Years ago, Parvati credited Lakshmi’s designs with her ability to conceive her youngest child. Ever since then, Lakshmi has been in high demand in Jaipur society, as women believe that her henna makes them more fertile and more desirable to their husbands. Because of her skill, Lakshmi can charge 10 times what Shudra artists charge.

Lakshmi paints her henna onto Parvati’s foot: a split fig being fertilized by a wasp. Parvati is delighted by Lakshmi’s work, but she also notices that the fig is Turkish and wonders aloud how Lakshmi knows what such a fruit looks like. Lakshmi shakes the question off, and Parvati looks forward to an erotic night with her husband. Other than Lakshmi, he is the only person who will see the design.

While Lakshmi works on her feet, Parvati comments on the henna artist’s unusual blue eyes. Lakshmi, anxious, jokes that maybe she is related to Marco Polo or Alexander the Great. Lakshmi explains that she and Parvati are from the highest castes—Lakshmi is a Brahmin, and Parvati is a Kshatriya (the warrior caste). However, because Lakshmi touches people’s feet, she has now lost status. To the wealthy women of Jaipur, therefore, she is seen as a “fallen Brahmin.”

This difference in status does not usually bother Lakshmi, however—what matters is that she can save up enough money to pay for the house she is building. Lakshmi recalls her painful youth: she was married off at 15, when her parents could no longer afford to feed her. Now, Lakshmi is proud that she has enough money to feed (and eventually house) her parents, even though they refuse to respond to any of the letters she has sent them. But though they have not accepted her money, Lakshmi is confident that once her house is finished, they will join her in it. Lakshmi vows to be positive instead of vengeful. As Gandhi said, “an eye for an eye makes the whole world blind.”

Lakshmi’s thoughts are interrupted by a cricket game that Parvati’s son Ravi is playing with his younger brother. Lala hurries in shortly after. Parvati is angry, insisting that Lala should already have sent her niece away. Lala begs Parvati to change her mind, but Parvati stands firm. Lakshmi distracts herself through the painful exchange, turning her back on it as (she remembers) she once turned her “back on the gods.”

Parvati starts drinking her tea, and Lakshmi follows suit, noticing that the cup is a British design. Pre-independence, British objects were a sign of reverence for the colonial power, but now they show mockery. Lakshmi muses that “only a fool lives in water and remains an enemy of the crocodile.” Parvati begins gossiping to Lakshmi, whom she always speaks freely around. Parvati assumes that Lakshmi’s husband has abandoned her, and she both trusts and pities this 30-year-old, childless woman.

Lakshmi raises the subject of Ravi’s marital future—though he will go to college in the U.K., Lakshmi thinks that his marriage should be arranged now. Parvati is hesitant, though she feels that her own arranged marriage, to her husband Samir, is a happy one. Lakshmi doubts this inwardly, but outwardly she agrees with Parvati, sliding a homemade treat into her mouth. Though Lakshmi does not tell her clients, these treats are aphrodisiacs, designed to make them have better sex with their husbands. 

Skillfully, Lakshmi swings the conversation back to matchmaking. She suggests Sheela Sharma, a wealthy girl. Sheela’s father owns a construction company, whereas Samir Singh is an architect, so the marriage makes perfect business sense. But Sheela is a Brahmin—meaning that she is a different caste from Ravi. Though Lakshmi thinks Sheela is entitled and rude, she is also very beautiful, and Parvati only needs to know about the good stuff.

Parvati is interested in the potential match, but she has an agenda of her own: she wants Lakshmi to assist the maharani Latika, who has been depressed as of late. Lakshmi quickly sees what Parvati is suggesting: that instead of paying for matchmaking, Parvati will trade an introduction to the palace for Lakshmi’s services. Lakshmi bargains with Parvati, eventually getting Parvati to give her 9,000 rupees “for supplies.” To sweeten the deal, Lakshmi throws in a henna party for free—which will also be a great chance for Parvati to see Sheela Sharma up close.

Lakshmi leaves Parvati and asks Malik to call a tonga. As he does so, Lakshmi muses about how skinny Malik is. She found him when he was hungry and following her around, desperate to get a job and some food. Though the two work closely together, Lakshmi never asks Malik any questions about his life. Instead, she also pesters him to learn any news from her parents back home and is disappointed to learn there is nothing to report. 

While Lakshmi waits for the tonga, she plucks two frangipani blossoms and puts them in her hair. Then, she takes out her notebook to record the days’ earnings. Though Lakshmi feels her mind wander toward the possibility of a palace commission, she checks herself before the fantasy can get out of control.  She is amazed that 13 years ago, the only thing she wanted was to get away from her husband—and now, she has advanced so much further in life. 

Again, Lakshmi’s mind strays: to the indoor plumbing and terrazzo floor she will build, to the rich food she will treat her parents to. She cannot wait to feel their pride and astonishment in her work, and the thought makes her laugh out loud. Samir Singh, who has just walked up, interrupts Lakshmi’s reverie, teasing her about laughing at nothing.

Lakshmi is attracted to Samir, especially his eyes. The two trade proverbs back and forth, though Lakshmi’s come from her maa and Samir’s come from his years at Oxford. Samir also comments on the flowers in Lakshmi’s hair—“intoxicating”—and Lakshmi feels her belly flutter with desire. But though it has been 13 years since Lakshmi has been with a man, she knows Samir is off limits. Even the appearance of flirting with him could cost her reputation, not to mention her livelihood.

Lakshmi pulls away from the flirtation and turns her attention to business, slipping Samir three mysterious sachets. Samir pays her several hundred rupees—money Lakshmi desperately needs, as she is behind on her payments for the house. He also gives her a piece of paper with an Englishwoman’s address on it, noting that “at one time the British were over us. Now they’re just under our feet.”

The pair’s conversation is cut off by the arrival of Dr. Kumar, an old friend of Samir’s from Oxford. To Lakshmi’s dismay, Kumar mistakes her for Parvati. Lakshmi says her goodbyes, using the nickname “Sammy” for Samir, even though she fears it sounds ridiculous with her accent. As she walks out of the estate, Lakshmi trips, and she turns around to see Kumar looking at her. Lakshmi also notices Lala, who seems even more desperate. But instead of going to meet her, Lakshmi just gets into her tonga.  

Lakshmi’s other appointments take her to the Jaipur bazaar, where people sell all kinds of snacks and accessories. Since Partition, the market has gotten more crowded, as refugee Punjabi and Sindhi merchants join the stalls. Lakshmi gives Malik money for food and encourages him to eat healthily. She reflects again that she knows so little about his family life, because she has never asked.

Lakshmi considers going to see her house, which is still in progress. The builder, Naraya, cuts corners if she does not check in frequently. But she is exhausted, so she heads home, to the room she rents from a South Indian lady named Mrs. Iyengar. Mrs. Iyengar informs Lakshmi that a man with a “big-big scar” called for her today. Lakshmi feels her pulse quicken, but to distract Mrs. Iyengar, she promises her to massage her hands with some special oils. 

As soon as Mrs. Iyengar leaves, Lakshmi wonders how Hari—her abandoned husband—has found her. She never sent her address to either her maa or pitaji. Lakshmi wonders if her parents resent her so much that they sent Hari to fetch her home instead of coming to Jaipur. She looks out her window and sees Hari’s silhouette.

Lakshmi runs into her neighbor, a kind-hearted, charming music teacher named Mr. Pandey. They chat about Sheela Sharma, who is Mr. Pandey’s student. Though she is naturally very talented, Pandey is clear that her bad attitude is holding her back. Lakshmi writes a note to Hari and asks Pandey to give it to the man across the street. Then, she turns her lights off and watches the two men interact.