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Woman, a Search, Through the
Protagonists of ‘Stench of Kerosene’
and ‘the Weed’
Abstract
When woman peeps through the literature in the social values,
oftentimes, she is found enlightened and revolution personified. She is
wailing, submissive of pitiable condition but with the burning tears rolling
from their eyes, when she touches the blank pages then each page starts
to flutter by the effect of truth. Truth, the mirror of society, in which
intentionally, society itself does not want to look because there are
thousands of thousand scratches of malpractices of society framed in it.
For centuries, history repeats itself in the sense of women‟s condition.
With the passage of time, many things changed, we put the glistened
remark upon the forehead of development but the woman is still at the
same place. It is thoughtful to understand the reality behind it. Amrita
Pritam, who was brought up and nourished in the Punjabi blood, had
shown such calibre to pour the harsh reality of women‟s condition in
society on the paper.
Keywords: Enlightened, Revolution Personified, Malpractices of Society,
Woman, And Punjabi Blood.
Introduction
“Society attacks anyone who dares to say its coins are counterfeit,
but when it is a woman who says this, society begins to foam at the mouth.
It puts aside all its theories and arguments and picks up the weapon of filth
to fling at her.” (Page no. 160, Lines 27-30, Women Writing in India: The
twentieth century) In this statement, Amrita Pritam, in sarcastic tone, talks
about digestive system which becomes unhealthy for society when a
Shweta Maurya woman raises her voice and seeks freedom of her own part. Woman‟s
Research Scholar, freedom which is visible to all of us is actually not freedom but a designed
Department of English and pattern of chain prepared by patriarchy. In the original sense of term, the
Modern European Languages, freedom of woman has been curtailed for centuries. A man can live his life
University of Allahabad, at his own conditions but a woman cannot even if she dares to imagine.
Allahabad, India Objective of the Study
Amrita Pritam was a sensitive writer towards the gender issues.
Women in Indian society are victim of the gender difference. Patriarchy is
playing a major part in the society and generating some critical and severe
condition in society. The present paper is also dealing the issues of gender
discrimination, loss of identity and suppression of female sexual desires.
Review of Literature
1. Women are actually nothing but a body to be played by the male
dominated society. Being in society, she must be entitled of equal
rights and respect but she is fighting for her rights for decades. She is
thought as commodity and a piece of beauty and art which is only for
display. (From The Skeleton, written by Amrita Pritam – 1987)
2. Amrita Pritam had the feeling of pain of every pitiable woman. It was
the power of her writing that each woman can find her own existence
in her prose and poems. She was veteran of life and what she learned
through the lessons of life, she projected everything in her writing. It
will not be wrong to say that her writing is a confessional path. (From
Women Writing in India: The twentieth century Volume II edited by
Susie Tharu and K. Lalita – 1993)
3. Women characters in the stories of Amrita Pritam never go beyond the
duties inflicted upon them by the society. They deal with their
responsibilities according to their capacities which show the power of
Indian women. The Indian women are actually the pillar and nation
builder not only from the point of a woman but also from the
perspective of wife, mother, administrative officer, government officer,
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doctor, social worker etc. Being in such deplorable culture and tradition adopted in normal way. Man‟s
condition, they are never less than men. Even they first, second, third and so on marriage is acceptable in
have challenged the male dominated society to prove our society without any kind of hindrance and oppose.
their own part. (From the article “49 Days: The Novel, No one fingers out or raises voice against this
Describing the Complex and Critical Aspects of Love, tradition. In major cases, a large age gap is found
Friendship, Religion, Society, Scriptures and System” between man and woman in such traditions still it is
by Shweta Maurya – 2018) accepted. In many cases, it has perceived that if wife
Amrita Pritam was such great Indian writer dies, the man gets married to her younger sister.
who stroke over society fearlessly. She never took Practically, it is injustice and a kind of taboo in society.
back her steps from the responsibilities as a writer. The great writer, critic and feminist, Tasleema
Here responsibilities as writer mean not only Nashreen has also advocated this issue to figure out
amusement but to give a new way to society to show that if a man desirously can have two or more wives,
its wrongs and rights and to give the suggestions and why a woman cannot? If a man, being so old can
solutions of the issues also through which society is marry a woman at the cost of necessity, why a woman
dealing. Being a woman, a female writer, a lover, a cannot? Why is it not easy for woman as much as for
social member, she felt and experienced the closed man living in society? Why is there a double and
and uncovered layers of problems, evils and different standard for man and woman while both are
malpractices. Whatever way she crossed, she felt that living in society and creator of society? Feminist
scary face of patriarchy of society was the biggest concludes this issue considering “Patriarchy” as only
impediment among them. In Kala Gulab, Amrita reason. If we could think deeper with reality then we
Pritam says, “I felt as though the whole of womankind can perceive that this patriarchal society is more
had gathered together its mental anguish and molded difficult for alone woman than a man because every
my soul from it.” (Page no. 162, Lines 6-7, Women custom and tradition, every rule and standard, every
Writing in India: The twentieth century). She uttered character and morality is woven around the
through pen and revolutionized the Indian literature. patriarchal sphere. And everyone knows how much
“In the name of home, society, religion, and politics… difficult for alone woman to survive in this patriarchal
those shadows were wrapped around the doors and society. Each day, she is criticised and she has to
walls. Somewhat deliberating, this book reaches that prove the clauses of morality through giving exams of
desired destination- when the shadows of inner her character. It seems impossible to define the word
consciousness may not be captured in words- yet “Character” especially in the sense of Indian society
conserving about them are these few pages- which that is only applicable to a woman not to man.
can be anointed as an inner journey.” (Preface to In „The Weed‟, Amrita Pritam has explored
Shadows of Words) the gender discrimination and female sexuality. These
In the short stories: „Stench of Kerosene‟ and are the relevant issues of society injected in the
„The Weed‟, Amrita Pritam has flauntingly explored superstitions by the patriarchy. Angoori, the
the patriarchal set up of society. Both stories are protagonist of the story, is a young, beautiful but
sketched in different way but the pathos structured in uneducated woman, who is taught to believe that the
these stories are quietly same. Both the stories deal reading and writing are the sinful practices by which
with two female characters: Guleri and Angoori, the the village women must be far away. But the women
two beautiful and young women. Both the names of cities are not considered in such way. Angoori says
relate with the rural natural folk touch and seems like to Bibiji, “It is a sin for a woman to read.” Then she
a garden full of flowers and fruits. Being ignorant of says, “No, it is not a sin for a woman of the city. But it
cruel patriarchal rules, standards and behaviours, is sin for a village woman.”
both get crushed in the jaws of their fate which was Angoori is ignorant about the reality of world.
drawn by the dominant patriarchal hands. The She does not know about love and sexual desires.
patriarchal society, feminine encroachment by the Only what is taught to, she knows and believes. She
cruel masculinity, individual definitions of identity and believes that it is sin to love another man except her
desires are the prominent themes in the prose and husband. She tells to Bibiji about a tradition that a girl
poems of Amrita Pritam. child, when five or six, “adores someone‟s feet.” In
„Stench of Kerosene‟ and „The Weed‟ both this, the girl is directed by father‟s wishes because he
are remarkable short stories written by Amrita Pritam has placed money and flowers at the man‟s or boy‟s
regarding gender discrimination, female sexuality, feet. In this way, it is decided whom the girl will marry
female barrenness prevailing in the society rooted in later in life. The same tradition was also done to
the superstitions and strongly conditioned by Angoori and she became wife of old Prabhati. In the
patriarchal standards and values. initial stage, Angoori is happy to marry to Prabhati
“Angoori was the name of the very new wife because she is taught only husband is everything.
of the very old servant of the neighbours of my She is taught that it is sin to have love affairs. Those
neighbours.” The statement is sarcastic in two ways girls, who have love affairs, are thought to have eaten
that Angoori is new in two senses: firstly, she is newly a kind of unknown “wild weed” that is given by those
married young woman and secondly, she is the newly men, who love them, in sweet or betel. Angoori tells
wife of her very old husband whose first wife has died. about her friend who had eaten this “wild weed” then
The rigid fashion of society is sarcastically ridiculed by she fell in love and she used to sing sad song whole
Amrita Pritam in this story. In our Indian society, this is day and night without caring her own self.

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Angoori is like a blank paper and ignorant to The second marriage condition also occurs
this world but after facing the reality of life, she starts in „Stench of Kerosene‟. Guleri has been married for
to understand everything. Her sexual desires and the seven years but she has no child. Manak, her
need of her beautiful ripen youth were crushed under husband loves her so much. First time, when Manak
the patriarchal traditions and values. Prabhati is too had seen her in the fair of Chamba, he had subdued
old to suit her. He is neither able to fulfil his desires by the beauty of Guleri. At once he complimented
nor he is physically capable of it. Ram Tara, who was Guleri in metaphorical tone, “You are like unripe corn-
chowkidar, oftentimes, used to take tea at Angoori full of milk”. Then, Guleri had replied, “Cattle go for
home. Before coming of Angoori, he begs tea from unripe corn. Human beings prefer it roasted. If you
home to home of colony but when Angoori came to want me, go and ask my father for my hand.”
city, Angoori, Prabhati and Ram Tara started to enjoy Guleri‟s father was prosperous. They wanted
morning tea altogether. Ram Tara was “a quick grace, only the happiness of her daughter. And thus, Guleri
soft features and eyes that smiled shyly. He also and Manak married each other. They were living a
spoke very well.” Angoori felt love for Ram Tara. She happy life but Manak‟s mother was demanding a
liked the gestures, smiles, jokes of Ram Tara. child. Here in Manak‟s mother, the patriarchal values
Unknowingly, Ram Tara was the man who had could be seen. Girls, women are always brought in to
sprinkled the feeling and fragrance of love in patriarchal atmosphere. In such condition, when any
Angoori‟s heart. The desires and love, which must woman becomes head and gets power, the
had been for Prabhati, were for Ram Tara. There patriarchal traits in her can be seen. The same thing
were many serious reasons which were inflicted upon is visible in Manak‟s mother. Being a woman, she is
her by society. Prabhati was so old and cooker in his unable to understand pain of her daughter- in- law.
master‟s home this was the reason that he used to eat Manak‟s mother is just following the patriarchal
there always not with Angoori. Angoori was living pattern of values to be in a society, that is completely
deserted life without any charm, love and happiness. embroidered by the thread of patriarchy. When Guleri
Only Ram Tara was the other one who often used to leaves for her home Chamba, Manak feels pain.
go Angoori‟s home. It was natural for Angoori to have Seeing her son, Manak‟s mother says, “Why do you
soft corner in her heart. Thus, when Ram Tara was croak like an old woman”? “Be a man.”
absent in colony for few days, everything had Gayatri Chakravorty Spivak, in her essay
withered inside of Angoori. She sings a sad song like “Can the Subaltern Speak?” talks about the thing that
her friend, is in “absence form”. Here “absence” is a mystique
“Meri mundri mein lago naginva, thing to understand. Someone who is present as an
Ho bairi kaise kaatoon jobanva.” alive figure to whom we can feel but cannot have
In such condition, Angoori recalls Ram Tara sense of that character. Being present in stories, such
and wants to read and write. She wants to write a characters do not show their real intention. We cannot
letter to Ram Tara. Angoori, who had usually adorned draw or understand the inner selves of such
jewelleries after her marriage from head to feet, now characters. Here Guleri is subaltern. We are unable to
she has forgotten all those jewelleries. Even it will be understand her grief and perplexities through which
much better to say that now she has become free she was going beyond.
from the chains of patriarchy. She has forgotten food, The story draws the grief and anguish of
water and sleep. Now, she wants to enjoy the pain Manak and Manak‟s mother but the clash between
and happiness of love. Being in pain of the beats of Guleri and unrequited demand of society is not shown
love, she says to Bibiji, „Curse on me!' she started in a in the story. Manak‟s second marriage will not be
voice trembling with tears, 'I never took sweets from decision of one day. Manak‟s mother‟s behaviour will
him... not a betel even.... but tea ...' not be changed suddenly. But yet like all hopeful and
A kind of superstition that was taught to patient married women of Indian society, being so
Angoori, actually that was nothing but love. But for close to harsh reality of patriarchal clutches, Guleri is
understanding this harsh reality, Angoori, still, has to ignorant of upcoming danger in her life.
experience the life closely. Angoori has to explore that Amrita Pritam was very eminent writer and
this is nothing but the patriarchal spell casted over iconoclast. Peculiar Indian rural tradition is beautifully
specially upon the girls and women. Not only this but projected by her. Demand of a boy baby, big hampers
there are also many other superstitions generated in of dowry, girls‟ dumb role in parent- in- laws home,
the society by patriarchy. Even, in the twentieth kitchen as the whole world for newly brides, husband
century, the patriarchy has spread many superstitions as the first worship and service for woman etc. are the
prevailing in the society as, girls must get marry in the typical peculiar Indian rural tradition and culture.
proper age otherwise they will elope or will do love Guleri had an unbreakable belief upon Manak and
marriage. Love is also a curse in society. Marriage Manak‟s love. At the time of departure from Manak,
must be happened within same caste not in inter Guleri asks with a smile, “Will you come and play it on
caste. Actually, patriarchy is nothing but the power the day of fair”? Here she asks about playing flute.
and rule over society and women. Thus, patriarchy is She was fond of music played on flute by Manak.
developing a healthy society while it is making society Without receiving any positive answer, having belief
like dustbin to whom termite like hallow values of upon Manak‟s coming in the fair at Chamba, she goes
patriarchal standards are eating. to her parents finally. She tells with privilege when
Manak will go to fair then she will return with him.

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Suddenly, beautiful happy life turns in tragic Conclusion
fate. She commits suicide to hear the news of Thus, through the stories „Stench of
Manak‟s second marriage. When Bhavani, friend of Kerosene‟ and „The Weed‟, Amrita Pritam has
Manak, returns from the fair of Chamba. He tells to portrayed the most relevant issues of society of
Manak, “Guleri is dead.” He also told to Manak, twentieth century. There are many girls like Angoori
“When she heard of your second marriage, she and Guleri, not only in the rural and lower society of
soaked her clothes in kerosene and set fire to them.” India but in the middle society also, who are
The strike of patriarchal standards and values fired victimized of typical Indian traditions and customs.
everything of peacefully, happily married life of Guleri Amrita Pritam was not only a writer but an iconoclast.
and Manak. Manak becomes isolated and goes Her own life was also a revolution which she bore and
through the pain of identity crisis. Manak grieves over experienced and evolved like eminent literary writer. A
the loss of Guleri to whom he had loved more than well known Indian critic Suresh Kohli told to define
anything else. Amrita Pritam, “It is the name of a yatra, a journey, a
In this story, Manak is also suffering by the travelogue of evolution, an odyssey of inner growth…”
hollow and decayed patriarchal values. While he is References
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desires and result brings the death of Guleri. He Discourse and Post – Colonial Theory: A
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