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In 1921, Perveen accompanies Alice and her family to their home, a lavish, newly built mansion in an old and established neighborhood. Alice is unimpressed with the house and seems unhappy to be home. While they are touring her new room, they look out the window, and Lady Hobson-Jones tells her about the neighbors. Perveen realizes that one of the homes in the neighborhood is the Farid bungalow.
The two friends speak privately, and Alice explains that her family plans to keep her in Bombay because they are worried about her lesbian identity and her bohemian activities in London. She fears that they want to force her to marry a man. Perveen tries to comfort her.
After tea, Perveen makes her excuses and leaves for home. Sir David insists that she use his driver, and she asks if she can stop by to visit a client. At the Farid bungalow, the watchman is unfriendly but allows her in when she says that she is a solicitor and Mukri requests her. Mukri is hostile, especially because Perveen is a woman, and is reluctant to give her the papers and receipts she asks for. He repeatedly insists that the widows want to give their money to the wakf and that all outstanding household bills have been paid, following Muslim custom. Perveen is not convinced, and she finally persuades him to allow her to return the next day and visit the widows herself.
Returning home to the Parsi Colony, the neighbors, who call the Mistrys “English lovers,” jeer at the government car. Perveen is annoyed when her brother continues teasing her at dinner. She defends her choice to ride home in the car and says that Alice is her friend, and she cares for her apart from her father’s high status in the government. After dinner, she returns to her room and feeds Lillian, her parrot, who belonged to her grandfather.
At work the next day, Perveen pores over a Muslim law text and prepares for her meeting with the Farid widows. She translates Mukri’s letter into Hindustani and has the translation notarized so that the widows will be able to read it themselves.
Jamshedji returns to the office, and he and Perveen chat about the Farid case. She must try to establish that all the widows have their mahr, or dowry, in their possession but is troubled to discover that Razia was given four acres of land and that there is no deed in her name for them. The other issue is that the land now houses the Farid company’s mills. Jamshedji says that they could make the land a trust and lease it back to the mills, but that this will require complicated legal work. He and Perveen agree to wait until the widows decide what to do with the mahr.
At the Farid residence, Perveen is admitted to the zenana entrance for women only. A young girl opens the door, explaining that she and her brother are the household’s servants. Their father, Mohsen, is the unfriendly guard who admitted Perveen yesterday. Though Perveen knows that child servants are a fact of life, she is troubled by the fact that the young girl is not in school. Perveen also meets the three widows and their children, including Razia’s daughter, Amina, who is excited about Perveen’s visit and curious about the outside world. She wants to practice her English with Perveen and asks her about the difference between Parsis and Muslims. Mumtaz, the youngest wife, entertains the children with a music lesson while Sakina says she will speak to Perveen first. Perveen is taken aback that Sakina, as the second wife, is taking the authority to go first.
Perveen gently questions Sakina about what visitors they have had and if they can access the household’s telephone. Sakina is prickly about this and reminds her that they choose purdah. Perveen feels chastised but still worries about how isolated they are, thinking that they are vulnerable to Mukri’s manipulations if he is unscrupulous.
Sakina shows Perveen her jewelry and asks her to explain the rest of the papers. Perveen tells her that the second part of her mahr is a sum of money, and Sakina says that it should go to the wakf and benefit Muslim boys for school. Perveen explains that the purpose of the wakf cannot be changed without paperwork, but that it is Razia’s decision since she oversees the wakf. Sakina is horrified to discover this and says she believed that Mukri oversaw it since it was originally her husband’s. She cries, saying that this must be proof that their husband loved Razia best. Perveen reminds her that if she doesn’t give the jewelry and money to the wakf, it could provide security for herself and her daughters. She leaves Sakina to think it over.
Perveen meets next with Razia, who insists that Amina remain with her. She teaches Amina the word “confidential,” and explains that whatever she hears there must remain private. Razia explains that she founded the wakf with her husband because their fabric company made so much money from military uniforms. She felt guilty for profiting off death and set up the fund to help wounded soldiers and the surviving families of soldiers who were killed. She is shocked when Perveen mentions Mukri’s plan for the madrassa, or educational institution, and explains that she was never told about this. Perveen privately thinks that the women need to get rid of Mukri as their agent since it seems clear that he is not being honest with the women.
After speaking with Razia, Perveen goes to the garden to speak with Mumtaz. She is horrified to find the woman lying slumped with her eyes closed. After she gives her water, Mumtaz insists that she is just tired and resting. She tells Perveen that she does not want to part with her musical instruments but does not mind giving up the other part of the mahr if she can stay in the home with the others. Perveen begins to tell her about her options, but Mukri, who was eavesdropping from the other side of the wall, interrupts them. He threatens to hit Perveen, and she flees in terror but realizes she left her briefcase inside. She convinces her driver to wait for her, and she sneaks in through the back. She hears women speaking in Razia’s room but cannot hear what they are saying. Inside the hall, she finds Mukri’s body slumped by the jali, or partition, with a knife protruding from him.
Part 3 of the novel focuses on Perveen’s attempts to speak with the Farid widows and continues Massey’s thematic exploration of The Struggle for Gender Equality and Women’s Rights from a different perspective. Notably, Perveen begins to learn about her prejudices and assumptions about polygyny as well as the lives of the widows. She is surprised to feel a kinship with the women due to their shared aesthetics: “Gazing into [the home], she was overcome by a sense of an old, elegant culture that seemed somehow familiar. Zoroastrians had ruled Persia before the Arab conquest in the middle of the seventh century” (82). This imagery reminds her that, despite the differences between them, the women have much in common and a shared struggle against sexist oppression. Sakina is especially vocal in defending their choice to live in seclusion. She compares their home to a “walled garden” where their daughters can grow “like roses” and insists that “this is a special, peaceful life” (89). Though Perveen is still doubtful about purdah and troubled by the fact that the young daughters are not in school, this interaction causes her to feel ashamed and realize that the women are not helpless or without agency. While Perveen as a character boldly asserts her right to be a solicitor in the male-dominated field and resists the strict societal values that limit her autonomy, here, she sees how the Faris widows are asserting their rights as women through the purdah.
Perveen’s ability to revise her thinking, as well as her compassion toward the Farid widows’ circumstances, are key traits that make her a compelling heroine as well as a good detective. These interactions also relate to the theme of The Impact of Cultural and Religious Traditions on Individual Lives. The Farid widows are shaped by their upbringings, which emphasize seclusion and religious modesty. Perveen is also shaped by her own upbringing, which pushed for her to be educated and work but also to be in an arranged marriage of her parents’ choosing. In an effort to advocate for the women, much to the chagrin of Mukri, Perveen’s character must be sensitive toward the widows’ way of living while also asserting her competency and right to provide them with legal counsel. Because a male lawyer cannot speak directly with the Farid widows, Perveen recognizes that she is in a unique position to hear and represent the women’s needs. Here, Massey introduces the theme of The Intersection of Law and Social Justice, establishing the continued role it will have in the novel. In grappling with the tensions between women’s autonomy and the societal forces around them, often threatened and policed by men like Mukri, Massey foreshadows the constrained ability of the law to advocate for women’s needs when broader society views their experiences and desires as subordinate.
Throughout the novel, Lillian the parrot represents female agency and independence, or lack thereof. Initially, Perveen thinks of the Farid widows as caged birds but comes to realize that they have more choices than she initially assumed. Similarly, while it may seem that Perveen is trapped in the Mistry home like Lillian, Perveen is happy with her family and finds more freedom with them than she did in her abusive marriage with Cyrus. In her mind, she and Lillian are both “prodigal daughter[s]” who always return to the place they came from (76). When meeting with Razia, Perveen says, “It seems that you are chained to some people and a large old house that you cannot fully enjoy,” and Razia responds, saying, “Is that not the meaning of family?” (105). Perveen shivers, remembering that a “few years earlier, she had felt exactly the same” (105). Now, she sees her home as a place of rest and freedom not confinement, demonstrating her character growth and changing attitudes toward her family home.
Perveen’s run-in with Mukri, moreover, highlights the misogyny she and many women face from men who do not see women as equals. Initially, he is dismissive of her, and then he threatens her, telling her to expect a beating from her father. When Perveen cooly responds that she is not afraid of her father, he threatens her: “He walked up very close to her and raised a flattened palm. In that awful instant, she knew he was going to hit her” (114-15). This moment triggers traumatic memories of her abusive marriage but also highlights Perveen’s strength, determination, and resolve. She will not allow men like Cyrus or Mukri to control her or other women, and she is certain that she can change the world through the law, further highlighting the role The Struggle for Gender Equality and Women’s Rights plays in the novel.



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