The present paper is going to find out the social and familial obligations that marginalize the Third World Indian women ages after ages. These obstacles are child marriage, forged marriage, housework, domestic violence, gender disparity, discourage for education and degree, social taboos, family prejudice, religious patriarchy, sexual abuse and more. The obstacles interfere the Third World Women’s basic rights or human rights such as standard of living, academic education, reproductive health, marriage decision, child birth or abortion and slow or block their progress in typical social structure. Such social barriers are created by the cultures or taboos of a group or community in a traditional framework. A Married Woman (2002) is the second novel by Manju Kapur, Third World feminist writer. The story deals with the story of an educated, employed, upper middle class Delhi woman.
The novel tells the story of Astha, the protagonist and a talented painter who comes of a Delhi-artistic, culture-minded family. She is her parent’s only child. Her liberal progressive father wants to educate her, but problem creates her traditionalist mother who just wants to see her daughter settled in a safe arranged marriage. As a girl, Astha is brought up with large supplements of family teachings about her actual duty that is “to be married”.
A Married Woman (2002) centers round the life story of Astha from her adolescence to adulthood. The novel narrates her before marital and after marital love affairs. Like a romantic girl, she has her dreams and aspirations. As a common school going girl, she often imagines of handsome and romantic young lover. In her teenage period, she falls in love with a boy of her age, Bunty. They exchanged a number of love letters. It was her first love. But this love affair is interfered by her mother as she complained to Bunty’s father that his boy disturbs her daughter. Ultimately, there is the break up between Astha and Bunty.
Leaving behind all the memories with Bunty, she takes entry into a college. During her college days, she again falls in love with Rohan, a teacher of the college. She is emotionally engaged with Rohan. But this relationship is finished within a few days. Rohan refuses to marry her after passing time with Astha.
Finally, she decides to be settled in an arranged marriage and accepts one of her mother’s approved suitors. Her marriage is settled with Hemant who is America returned, educated and solvent. Hemant is the only son of his parents, except that he has two married sisters Seema and Sangeeta. Astha’s mother thought that it is a nuclear family like them. Besides, Hemant is a nice boy holding a position in society and self-governing business and property.
The wedding ceremony held after Astha’s MA exams. In her in-law’s house, Astha submerged herself in the role of daughter-in-law and wife. Her husband trains her to follow marital routine. Something like love develops between them, but gradually it starts to reflect a power structure where one is dominative and another is dominated.
They became the parents of a daughter. But like a traditionalist husband, Hemant wants a baby boy. Astha conceives again and gives borth to a son, Himanashu. Astha is honoured with heavy jewellery and all the family members think that the family is complete now. After Himanshu’s birth Hemant changes from an American father to an Indian father. Taking care of child goes to Astha and she is their both father and mother. In contrary, Hemant is busy with his business.
Astha’s love for painting and composing poems are always encouraged by Hemant. As life advances she becomes involved with Theatre Troupe run by Aijaz, a local political activist. All things run smooth. But problems appear when Hemant observes that his wife works for social movements in collaboration with a man. Hemant is liberal regarding Astha’s teaching profession and her art works. But he does not like his wife’s outside activities. Like a traditionalist husband, Hemant is not happy with her social and political awareness with Aijaz Akhtar Khan