In The Henna Artist, Lakshmi seems childless at the beginning but as the book progresses, one realises that she is childfree by choice. This is an unusual choice for women in the 1950s as well as now. What inspired you to add this dimension to Lakhsmi’s character?
I think there would have been some women in the 1950s who would have chosen to remain childfree if they had that choice. I myself am childfree by choice. I think it would have been a travesty had I been forced to marry and have kids because of societal expectations. Even in the US, I was asked throughout my 20s, 30s and 40s when I would have children. I remember feeling uncomfortable having to defend my choice, as if there were something wrong with me. I wanted Lakshmi to have that choice and to be able to create bonds outside of familial connections.

Lakshmi’s quest for individuality and her struggle to be financially independent resonate with the experiences of women today. Was it a deliberate choice to make Lakshmi’s struggles reflective of contemporary issues?
I think that it’s not just reflective of contemporary issues. There were courageous women in that era doing exactly what Lakshmi was doing. However, they had to navigate these societal norms carefully. Often, they had to downplay their knowledge and avoid appearing to defy tradition.

I discovered wonderful articles in newspapers from the ’50s and ’60s in the US, featuring interviews with Indian women, some of whom were the authors themselves. They spoke about the importance of financial independence as a crucial aspect of freeing themselves from societal expectations.

I was struck by the realisation that many might not consider that women from that era were thinking and voicing these concerns. But they were—and I wanted Lakshmi, who belonged to the same era, to reflect this same spirit of autonomy.

Your book depicts India in transition, moving away from colonial times but not yet rid of colonial trappings. What kind of research went into building this world?
I did different kinds of research. I spoke to people who were alive during that time, such as my father who was born in the 1930s, who participated in [Mahatma] Gandhi’s civil disobedience marches. He was also an engineer actively involved in rebuilding the country’s infrastructure in the immediate aftermath of the independence in 1947. He was able to explain the sociopolitical climate, the power struggles and the shifting dynamics vividly. I spoke to educators to get a sense of the colonial hangover. I also read books by [Indian diplomat and writer] Shashi Tharoor on the aftermath of the devastation that the British bore on India. And I wrote about and critiqued the colonial hangover that I witnessed firsthand in India, about how the western way of thinking is sometimes thought to be a better one.

You have referred to esoteric Indian customs (such as Teej festival, cooking customs) and the book is also strewn with Hindi and Urdu words. How did you strike a balance between capturing these Indian elements authentically and making it easy for an international readership to understand?
I did it so naturally that I didn’t even fully realise what I was doing. I’ve always been drawn to novels set in other countries, so I have seen how writers balance cultural vocabulary and the necessary explanations for wider audiences. Growing up between India and the US also helped me understand both perspectives. So, I could judge where to use a quick brushstroke and where to add a line or two to explain a custom. A part of what makes writing fun for me is that I get to highlight these Indian traditions to my readers.

With The Henna Artist being adapted by Netflix, are you involved in the process, and what do you hope for from this adaptation?
One of the first things I learnt about productions is that producers don’t want authors to be involved. The reason for this—and I found myself doing this too—is that writers can be really protective of their work. So they give you more money to not be involved, and that is the option that I took. So I am not involved in the production process. But as a viewer I hope people will walk away realising that Indian women in ’50s—and all the people in India—were feeling so much hope at having their country back from colonial rule.

I also know that Freida Pinto might be playing Lakshmi onscreen, and I am excited to see her portrayal of the character.

Your book was picked by the Reese Witherspoon book club. What is the importance of celebrity book clubs for authors?
Celebrity book clubs have done so much, especially for female authors who don’t get the kind of promotional budget that male authors enjoy. I am grateful to celebrities like Reese Witherspoon or Jenna Hager or Oprah Winfrey for their book clubs. For example, Reese only picks female authors. She noticed that just like in the film industry, in the publishing world too, women age out faster, and many women writers never receive any kind of publicity. Kudos to her for using her platform to champion female writers and even backing some of these works as movies or TV series.

You published your first novel at the age of 62, giving hope to many that age is just a number. What motivated you to take up a second career somewhat later in life, and what advice would you have for anyone contemplating such a career move?
Actually, novel writing is my fourth career. I'm just a very curious person—I have always taken classes to learn something new. Curiosity stands you in good stead because it opens up these avenues. In my case, when the recession happened in 2008, many of my clients in the advertising and marketing agency pulled out. So I thought, “I could twiddle my thumbs or learn something new”. My husband encouraged me to take up writing. I joined an MFA programme in creative writing and at the end of it, I had the bare bones of The Henna Artist. Then it took 10 more years to get it published. By the time it reached Harper Collins, I had made 826 revisions. My advice to anyone contemplating another career is that curiosity, patience and perseverance are key. And also the ability to recognise when you need help, because sometime you can’t do it all by yourself, and there are a plenty of people out there who are willing to help.

NOW READ

Rituals: Finding success at the intersection of wellbeing, mindfulness and sustainable luxury

Beauty brand founder Natasha Moor’s journey is a masterclass in resilience

How Nadya Hutagalung balances wellness and self-care with environmental advocacy