46 pages • 1 hour read
Thrity UmrigarA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: Honor mentions anti-gay bias and ableism and depicts misogyny, racism, religious discrimination, sexual assault of children, and violence (including burning and stoning).
Honor starts with a fictional article by journalist Shannon Carpenter about Meena, a Hindu woman who is suing her two brothers, Govind and Arvind, for burning her and honor killing her Muslim husband, Abdul.
Protagonist Smita Agarwal has just arrived in India. She has come to help her friend Shannon Carpenter, a fellow journalist who had an accident and is currently in the hospital. Smita covers the gender beat for their publication, and her job requires that she travel. Although she is Indian, she has been away from India for 20 years, and her Hindi is out of practice. She arrives with little luggage and looks for the driver whom Shannon sent to pick her up from the airport. Smita is picked up by Mohan, who is annoyed that she thinks he is a driver. He is an IT executive at the successful Tata corporation. As they leave the airport, Smita looks out the car window at Mumbai.
Smita compares the blue of the Atlantic Ocean that surrounded her interrupted vacation at the Maldives to the brown of the Arabian Sea, commonly used as waste disposal by Indian people. She is currently staying at the fancy Taj Mahal Palace Hotel, where she and her family dined when they lived in Mumbai. This stay brings up memories of her father, brother, and deceased mother. As Smita eats breakfast, her waiter proves sycophantic, which makes her think of class issues in India. She wonders if her mother stayed in touch with their old cook from South India while alive. The waiter speaks of his desire to go to America, which she has heard throughout her travels. After finishing breakfast, Smita is ready to visit Shannon in the hospital.
Smita notes that Shannon’s hospital is dirty. Mohan is also present, taking charge of Shannon’s treatment, and Smita wonders if she truly needed to interrupt her vacation. Shannon explains that she wants Smita to cover the trial verdict of Meena Mustafa’s suit against her brothers. There is a fellow reporter in India, but as Meena is from a conservative village, she will likely feel uncomfortable being alone with a man. Nandini, Shannon’s translator, shows up to assist Smita. Smita reluctantly agrees to cover the trial verdict but wants to do so alone. She and Nandini do not get along, as Nandini’s loyalty to Shannon makes her want to stay in Mumbai. Smita and Mohan go to the cafeteria for a snack, and she perceives him as a nationalist. Mohan wants her to claim India as her homeland.
The narrator reveals Nandini’s poor background and the importance of her employment by Shannon, which explains her loyalty. Shannon’s own childhood growing up in foster homes is also revealed. Smita realizes Shannon needs her professional commitment, not personal friendship. She speaks with Meena’s female lawyer, Anjali, and learns the trial verdict has been delayed. She decides to go to Meena’s former village to interview people involved in the trial. Anjali warns Smita to be wary of Meena’s brothers, Govind and Arvind, and especially the head of their village council, Rupal Bhosle. Smita asks her taxi driver to take her to a market where she can buy more conservative clothing. She decides not to tell her father that she is in India.
Smita finds herself in her old neighborhood and experiences extreme anxiety. She debates exploring or letting the past remain the past. She also wonders if anyone still feels guilty over an unspecified past event. Despite her fear and anger, Smita ultimately decides to visit her old apartment. She finds herself at the door of her mother’s former friend, Pushpa Auntie. After ringing the doorbell, she thinks she has made a mistake. Then, someone answers the door.
Pushpa Auntie proves to be racist, being impressed that one of Smita’s two brothers, Rohit, married a white woman. Smita exaggerates her sister-in-law’s whiteness and tells other lies to impress the woman. It is revealed that Smita’s family was driven away from Mumbai. She and Pushpa Auntie begin to bicker, and Smita is told to leave. She wanders to a nearby restaurant, the Leopold Café; there are bullet holes from an earlier terrorist attack in the walls. Smita ponders her lack of ties to India and how Shannon was able to form ties in only a few years.
The next day at the hospital, Shannon is slated for surgery. Nandini is hostile to Smita, asking why she cannot investigate alone if she was born and raised in India. Smita explains that she left India as a teenager and never drove in Mumbai. She and Mohan go for a walk to look at the sea and buy more conservative clothes. He asks why she was upset when Shannon asked her to cover Meena’s story. Smita says she simply did not expect the request. Meanwhile, the reader learns her mother died by cancer. Smita calls her father and lies about where she is, saying she is still in the Maldives. She talks to lawyer Anjali again, who says the court should be announcing the trial verdict soon. Anjali warns her that Rupal, the head of the village council, was the mastermind behind Meena’s attack; Meena’s facial scars, caused by her brothers’ burning, are described. Smita decides India’s core problem is not necessarily corrupt, violent people but a culture that perpetuates corruption and violence. She realizes gendered violence is everywhere but does not usually stay in one place long enough to become involved in it.
Shannon decides Mohan will accompany Smita to Meena’s former village. Nandini refuses to leave Shannon’s side, and Shannon thinks traveling with a man will help Smita navigate the conservative, rural region. Smita and Mohan drive to the village and discuss cultural differences: Mohan believes Americans “throw out” their children when they turn 18, and Smita thinks he is the same as all the pampered Indian men she knew in America. They have trouble finding their chosen hotel, and when they do, Smita is unable to sign into her room as a woman; Mohan, her assumed husband, must do this for her. They pretend their ordered beers are for Mohan, as it is not “proper” for a woman to drink. When Smita tells Mohan that she feels like she has traveled 50 years back in time, he tells her that the village will feel like traveling 200 years back in time.
This section of Honor introduces most of the characters, with protagonist Smita Agarwal being the first to physically appear. The novel follows Smita’s story through a third-person narrator. One of her conflicts involves an unspecified past event, which remains hidden until a later confession to her foil and love interest, Mohan. The pair argue throughout the novel, as differences in their belief systems emerge. Smita also resists growing feelings for him and contends with the dichotomy of Old India/New India. A traveling journalist, she constantly compares her current experience in India to her life in America and other countries: For example, she compares the blue Atlantic Ocean to the brown Arabian Sea. As for Mohan, he might dress like a “modern” (Westernized) man but is a “Mumbai boy” at heart. Still, he reminds Smita of pampered Indian men in Brooklyn. Because she has unresolved issues with her former homeland, she has difficulty accepting what she sees and hears in India. This leads to arguments with characters like Mohan, translator Nandini, and former neighbor Pushpa Auntie.
The theme of old India/new India appears toward the end of Chapter 8 as Smita and Mohan travel to Meena’s former village. Smita feels like she is traveling back in time, as her and Mohan’s hotel supports hierarchies based on caste and gender. The hotel thus reinforces the theme of Izzat (Honor) and Patriarchy in the Indian Subcontinent. The theme is technically introduced by Shannon Carpenter’s article, which details the trial of two Hindu men who burned their sister, Meena, and killed her Muslim husband, Abdul. According to Thrity Umrigar, the novel is based on a real article by Ellen Barry in the New York Times, “In India, a Small Band of Women Risk It All for a Chance to Work.” This inspiration grounds the novel and makes Smita’s stay at the hotel a transition, preparing her and the reader for entry into the conservative, patriarchal world of Indian village life. The theme of Family Dynamics and Secrets is also introduced through Smita’s banter with Mohan and everything the hotel represents. She buries her unspecified (hierarchy-related) trauma but also goes out of her way to explore her old neighborhood. She lies to her father about being in India yet approaches former neighbor Pushpa Auntie and exaggerates her sister-in-law’s whiteness to impress her.
This section foreshadows both Meena’s story and Smita’s past through Meena’s female lawyer, Anjali, who warns Smita about the potential dangers of investigation. Shannon’s translator, Nandini, also advises Smita to dress conservatively, with Shannon herself believing having a man (Mohan) around will help Smita in the long run. These concerns suggest that Smita, as a South Asian woman, could be in physical danger in Meena’s former village. Her lack of freedom in the hotel suggests that women are seen as inferior to men. This informs her desire to forget her life in Mumbai. Likewise, the bullet holes in the Leopold Café are a reminder of the 2008 Mumbai terrorist attacks and are still preserved in the real-life café. This four-day attack by the Lashkar-e-Taiba group, a militant Islamist organization from Pakistan, took place in 12 locations across Mumbai—including the Taj Mahal Palace Hotel where Smita initially stays. The bullet holes symbolize real and potential violence in India, fueled by communal hatred such as that between Hindu and Muslim people. Meena’s romantic and sexual relationship with a Muslim man—a transgression of gender norms—is what motivated her brothers to kill her husband.
This section also introduces cultural stereotypes, often born of experiencing different worlds. Smita stereotypes Mohan, finding him pampered like other Indian men she knows. However, when she stereotypes a waiter at the Taj Mahal Palace Hotel, finding him reminiscent of people who want to emigrate to America, she herself is stereotyped by a Leopold Café waiter who refers to her as “America” rather than American. Likewise, Mohan expects her to have more luggage because such is how Indian people typically travel. When the pair go to the hospital cafeteria, he tells Smita to eat dosa, a crepe made from ground black lentils and rice, as she has probably “missed the taste of home” (30). This street food thus becomes a symbol of belonging. Mohan accentuates his assumption by using the Hindustani word desi, meaning someone or something with an Indian origin. He often punctuates his English with Indian terms, a form of code switching between two cultures.
By Thrity Umrigar
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