Course Title:

Pakistani literature in English

Course Instructor:
Mam Ayesha
Short story:
The Needle woman’s calendar by Aamer Hussain
Biography:
Aamer Hussein (born 1955 in Karachi, Pakistan) is a British-Pakistani short story
writer, critic, and academic. He moved to London in 1970 and studied Urdu, Persian, and
History at SOAS, University of London. Known for his elegant storytelling, he has published
several short story collections, including This Other Salt (1999) and Insomnia (2007), as well as
the novella Another Gulmohar Tree (2009). Hussein has also taught at various universities and
contributes literary reviews to major publications. In 2004, he was elected a Fellow of the Royal
Society of Literature.

The Needlewoman’s Calendar by

Aamir Hussain: Summary

The needlewoman’s calendar

 Aamir Hussain

(1)

Tabinda was embroidering flower on bedspread for her youngest sister in law, when she
heard that her husband SUHAYL had come back from London with his second wife Charity
Bunce. Tabinda’s father in law asks her to stay in home and she will be privileged as first
and formal wife. Her mother in law also forbade her to leave for her parents.
 Tabinda was a needlewoman. She was not agree to marry with Suhayl but her mother’s
cousin had chosen Suhayl for him. She was forced to marry with Suhayl. Seven weeks after
marriage, Suhayl left for England and she found herself caring suhayl baby. She was fed wit
fruits, nuts and milky sweets until she gave birth to a girl named Nasreen. Her in-laws were
not happy on daughter birth but by passage of time her relation became stronger with her
daughter.

Now when she know that her husband has a new wife, she used to think about a story of a
prince, layed in enchanted garden with needles covering his full body. Than princess came
and she removed needles from whole body but not from the eyes. She went for taking bathe
in near river. When she came back she found servant woman having needles in her hand and
she was claiming as prince wife.

Tabinda had already seen Charity’s photo in Suhayl’s jacket. She compared herself with
princess and Charity with the woman servant who removed needles from prince eyes.

(2)
Tabinda has been planning her escape. She dressed Nasreen and she also pulldown Burqa on
her cloth. She sent gatekeeper for Tanga and she left a message for her mother in law that
she is going to visit family jeweler for repairing some jewelry.

She sold two heavy gold braclets and a gem to jeweler in a very little price for purchasing a
train ticket from Lahore to Karachi. She booked a third class seat and started her journey to
Karachi. This was the first time, she was out alone. Through the way she brought some
snacks, chickpeas and potatoes for her Nasreen.

After a journey of one day and one night she arrived at Karachi. Now she take a rickshaw
for going to Llukhet, where her family is living.

(3)
 Although she haven’t tell anything to his family, not even about the second marriage of
Suhayl nor about her coming to home. Tabinda decided to wrote Suhayl for divorce. But her
father Sheikh Usman Hunfi told her that she can also claim for alimony pledged to you in
your marriage contract.

But she only demanded for divorce. But they wanted custody of Nasreen. Nasreen was
below than seven than she will be kept by her mother. She was angry that why Suhayl did
not ask me about his second marriage.

(4)

Now the problem is what she should do for earning? She was good at reciting Koran, she
decided to teach Koran to the children but this job was suited to her. She decided to start
sewing business. Soon she got fame in society because of her great work.
Once her mother protested that she should stop this job and should think about her married
life instead of sewing people’s cloth. A woman should not become a seamstress.

She quoted from Bahisti Zevar that The Holy Prophet sallah o alihe wasilm praised Fatima
bint Jhash for her long hands and HE sallah o alihe wasilm praised her working with hand.
Her father added from Bahisti Zever that virtuous should work at home like Calligraphy,
Bookbinding, teaching the alphabet etc.

Now when she used to have a large number of customers, she asked her father for covered
veranda in which she want to teach her students.

Now in neighbor she made a new shop in a room, where she shifted all her things through
camel cart and hanged a poster outside claiming NAUBHAR: ladies and children’s garments
and fancy needlework.

(5)

Now five years has passed, she is able to rent a building in P.E.C.H.S neighbor town in
Karachi. It is difficult for many customers, who are living in city to visit Llukhet, which is
far away from them. She left some female workers behind in Lalukhet, who are not feeling
comfortable in working far away from their home. For working in city she required more
workers, so she call on job refuge’s woman, living nearby them.
 Two year ago, she sent back the sum she recived for selling bracelet and ring back to her
parents in law. She also received some money in lieu, which she saved in bank in account
named with Noreen.

Now the NAUBAHAR is a famous shop o its kind.

(6)

Shamim is teacher, she is assigned a job to take Noreen to school and drop her back at her
mother shop. Shamim is a talkative woman. Once she gave Tabinda volume of verses
written by her brother, Omer Baig. She also asked tabinda for her photograph one day.

Six year has passed, she never thinks about her marriage life. it’s going to ten years that she
has not seen her husband. Is he come back in Lahore or he returned back to London. She
used to spent her time alone.

Nasreen was nine and Tabinda was nearly thirty. She used to spent her time with Nasreen in
a room that she specially furnished for her. She also furnished a big room for her daughter.
At the weekend she used to visit his parents in Lalukhe, where Nasreen used to play with
her cousins.

Once Tabinda’s sister in law asked her to arrange second marriage for her. It will be good
for her future and even for the future of Nasreen. But after Suhayl she never thinks about
marriage. Sometimes she received proposals but she refused to marry.
 For a year she work on embroidering a bedspread, a tree with two birds on its branches, a
blue and gold stem flowed beside it. She made it for Nasreen marriage.

(7)

It was a March afternoon; she is waiting for Shamim to bring back Nasreen to home. She is
also listening to a song played nearby in Noorjahan’s voice.

Now instead of reading digests or religious phamplet from table, she took the volume given
to her by Shamim. Two verses captured her restless eye, one spoke about the seasons: how
the poet has asked, could those who suffered winter’s winds ever forget the smell of jasmine
in spring? The other celebrated the blue of the sea. To those eyes that had never seen the
blue sky look at its reflection in the sea’s waves.

Shamim told that her brother took her to Clifton to see the sea. Tabinda also desired to visit
the sea shore. Shamin asked her to be prepared she will ask her brother to borrow a car and
take them to visit sea shore.

(8)
While Shamim and Nasreen were taking camel’s ride. Omer spoke to Tabinda. He told her
about his age, twenty seven and also about his job. He also told her that he is living with his
family in Bhadurabad, wher they came from Deccan. He also offers her to marry with him.

Tabinda was quite silent and listening to him. She could only make one comment about the
sea.

(9)

Omer sends her parents to Lalukhet to visit Tabinda’s parents with gifts. They agreed for
marriage and Omer and Tabinda got married in June. They’d known each other from March.
Marriage was simple, only the two families attended the marriage ceremony.
 Tabinda dressed in red chiffon sari. She was forced to wear the jewelry sent to her by her
mother in law. Omer’s part was also very simple. Omer’s gave a mehar of twenty five
thousands to Tabinda. Tabinda said at the movement that Omer will live in the room she had
furnished so far.

(10)

Now the life started changing. Omer used to come back from job after two hours of sunset,
when Nasreen always used to go to sleep. Tabinda used to arrange two chairs at corridor,
which she called gallery. Where she used to sit with her husband. Omer used to tell her
about his day stories, he also told her about Ayub’s governments. She also learned some new
terms.

Sometimes Omer’s friends used to visit them. Some of them are ports, some are painters and
other are journalists. They used to take tea and they used to read poetry. She also used to sit
with them but mostly she after passing a smile used to went back.

Once or twice they went outside to participate in some programs. Once they heard a qwali
and Tabinda decided to ask Omer to call them at home. Once at night she dreamed and got
frightened.

(11)

It was raining in Karachi and water came inside the home. She is waiting for Omer to come
back to home. When two policemen came in and they started throwing everything on floor.
 But they could find what they want. At that night Omer did not come home. She called
Shamim and asked her to avoid sharing this news to parents and told them that Omer went
to Sakker for some job.

Omer did not come home for twenty-nine nights. She visits Ashraf, the editor of newspaper
where omer was working. He told that police captured him for witting to poems. He also tell
her that don’t worry he will be free. She also offered Ashraf some money for the sake of
bail. But he refused to take it.

She now realized that she is caring Omer’s child in her belly. It was thirtieth night when
Noreen came to her and asks Tabinda that someone is at the door. She opened the door and
found Omer at the door. Omer was badly injured and his one arm was hanged in his neck.
He first took bath and then told Tabinda about the whole incident that they took him to
Hadrayabad jail. They investigated the issue but due to no prove they escaped him.

Tabinada also tells her about his baby in Tabinda’s belly and Omer asks that he will invite
Qawwals on the child birth. Now Noreen also starts calling Omer as his Abu.

(12)

Now the storm has stopped. Tabinda re-embroided the bedspread. Omer insists that Noreen
will become scientist one day because her interest in insects. Tabinda asks Omer to start his
bookshop. He finds a place nearby for his shop. Shamim is still doing his job of taking
Noreen to school and takes her back at home. Omer’s parents decided to have pilgrim to
Mecca.
 Tabinda and Omer sometime used to have chocolate and caked outside. They used to eat
biryani near Jinnah’s tomb, whom Tabinda calls rice. Sometime they used to go to P.E.CH.S
for eating kababs

Character analysis:
In The Needlewoman’s Calendar by Aamer Hussein, the protagonist, Tabinda, undergoes a
transformative journey from a submissive wife to an independent woman.
1. Traditional & Submissive Beginnings
At the start of the story, Tabinda is depicted as a conventional woman who conforms to societal
norms. She enters an arranged marriage with Suhayl without resistance, accepting her role as a
wife despite not being given a choice. When Suhayl moves to England, she remains behind,
upholding the traditional image of a patient, dutiful wife.
Traits:
Obedient and compliant.
Emotionally restrained, accepting of her circumstances.
Reliant on others, especially her husband and in-laws.
This phase represents the traditional expectations imposed on South Asian women—to endure
silently and remain devoted, regardless of personal happiness.
2. Motherhood & Emerging Strength
Tabinda’s life takes on new meaning when she gives birth to her daughter, Nasreen. However,
her in-laws express disappointment because they expected a son. Instead of letting their
disapproval weaken her, she finds strength in her bond with Nasreen.
Traits:
Protective and devoted mother.
Emotionally strong despite societal pressure.
Begins to question her role and future.
Motherhood marks the beginning of her realization that she must take control of her life to
ensure a better future for her daughter.
3. Betrayal as a Turning Point
Tabinda’s world is shattered when Suhayl returns from England with a new wife, Charity
Bunce. His betrayal makes it clear that she is no longer valued in the household. Rather than
resigning to humiliation, she makes a bold decision to leave.
Rejects the idea of being a secondary wife.
Asserts her dignity by refusing to stay in a household where she is unwanted.
This moment is pivotal, as it marks Tabinda’s first major act of defiance. Betrayal pushes her
toward independence rather than resignation
4. Journey to Independence
Leaving Lahore for Karachi with Nasreen symbolizes Tabinda’s physical and emotional break
from her past. Traveling alone as a woman is an act of bravery in a society that expects women
to depend on men.
Financial instability.
Social stigma of being a divorced, single mother.
Adjusting to a life where she must survive on her own.
Her journey represents transformation—she is no longer defined by her past but is actively
shaping her future.
5. Rebuilding Through Needlework
Tabinda’s skill in sewing and embroidery becomes her means of survival. The needle, a small
but powerful tool, symbolizes her ability to mend, create, and sustain herself.

Traits:
Hardworking and resourceful.
Uses her craft to gain financial independence.
Finds personal fulfillment beyond marriage.
Through her work, Tabinda reclaims her identity. Unlike before, when she relied on her husband
for security, she now provides for herself and Nasreen.

6. Challenging Patriarchy & Seeking Justice

Tabinda does what many women in her position fear—she demands a divorce and alimony. In a
patriarchal society where divorced women face stigma, her actions are bold and revolutionary.
Rejects Suhayl’s attempts to keep her as a secondary wife.
Fights for her legal and financial rights instead of leaving quietly.
Her defiance challenges societal norms, proving that women can demand respect, justice, and
agency over their own lives.
7. Symbol of Strength & Self-Reliance
By the end of the story, Tabinda emerges as an empowered, self-sufficient woman. She is no
longer defined by her past suffering but by her resilience and determination.
No longer a victim, but an agent of her own destiny.
Represents modern womanhood—one that seeks independence and refuses oppressions
Proves that a woman’s worth is not tied to marriage but to her own strength and capabilities.

Conclusion

Tabinda’s character arc in The Needlewoman’s Calendar is one of resilience, empowerment,

and transformation. She begins as a passive, submissive woman but evolves into a symbol of
strength, proving that personal agency and self-reliance can overcome societal constraints. Her
story reflects the struggles and triumphs of many women navigating a patriarchal world, making
her an inspiring and relatable character.

Themes:
"The Needlewoman's Calendar" by Aamer Hussein intricately explores themes of female
empowerment, autonomy, and the defiance of traditional societal norms. The protagonist,
Tabinda, embarks on a transformative journey from subservience to independence, reflecting
resilience and determination.

Female Empowerment and Autonomy

Tabinda's evolution into an empowered individual is marked by her decision to leave her in-laws'
home after her husband's second marriage. She sells her jewelry to fund her escape,
symbolizing her willingness to sacrifice material possessions for freedom. Upon returning to her
parental home, she contemplates various means of earning a livelihood and ultimately chooses
to start a sewing business. Her mother protests, asserting that "a woman should not become a
seamstress." However, Tabinda counters by referencing religious texts that praise women who
work with their hands, thereby challenging societal expectations and asserting her autonomy.

Challenging Traditional Societal Norms

Tabinda's journey is marked by her defiance of patriarchal norms. Her mother's disapproval of
her sewing venture reflects societal resistance to women's independence. Despite this,
Tabinda's success leads her to establish 'NAUBAHAR: ladies and children's garments and fancy
needlework,' a shop that becomes renowned for its quality. Her ability to transform her passion
into a thriving business challenges traditional roles assigned to women and inspires others in
her community.

Resilience and Self-Determination

Throughout the narrative, Tabinda exhibits resilience in the face of adversity. Her decision to
divorce her husband and raise her daughter independently demonstrates her self-determination.
Over time, her business flourishes, allowing her to rent a building in a more affluent area and
employ other women, including refugees. This progression underscores her ability to overcome
societal constraints and build a supportive community for herself and others.

Resilience and Self-Determination

Tabinda's journey is marked by her resilience and determination. After leaving her in-laws, she
starts a sewing business, overcoming societal resistance and personal challenges. Her success
leads to the establishment of 'NAUBAHAR: ladies and children's garments and fancy
needlework,' a testament to her self-reliance and entrepreneurial spirit.

Transformation and Identity

The story illustrates Tabinda's transformation from a submissive wife to an independent

businesswoman. This shift not only alters her own identity but also challenges the traditional
roles assigned to women in her society. Her journey reflects a broader commentary on the
potential for personal growth and redefinition of self.

Community and Solidarity

As Tabinda's business grows, she employs other women, including refugees, fostering a sense
of community and solidarity. This aspect of the story highlights the importance of support
networks among women and the collective empowerment that arises from shared endeavors.
These additional themes enrich the narrative, offering a multifaceted exploration of a woman's
journey toward independence and the broader societal implications of her choices.

Literary devices:

1. Symbolism

Hussein uses symbolism to reflect Tabinda's emotions and circumstances. For instance, her act
of embroidering a flower on a bedspread at the story's outset symbolizes her constrained
domestic life and the traditional feminine roles she is expected to fulfill. This meticulous
needlework mirrors her initially confined existence, bound by societal expectations.

2. Imagery

Vivid imagery brings Tabinda's world to life, allowing readers to visualize her experiences.
Descriptions of her sewing business, such as the intricate patterns she creates and the vibrant
fabrics she selects, highlight her creativity and growing independence. This imagery not only
showcases her artistic talents but also symbolizes her journey toward self-reliance.

3. Flashback

The narrative employs flashbacks to provide context to Tabinda's current situation. Recollections
of her arranged marriage to Suhayl and his subsequent departure to England offer insight into
her past struggles and the foundation of her resilience. These flashbacks help readers
understand the depth of her character and the motivations behind her quest for autonomy.

4. Metaphor

Hussein utilizes metaphors to convey complex emotions. Tabinda's comparison of herself to a

princess in a story where a servant woman deceives a prince by removing needles from his
eyes reflects her feelings of betrayal and displacement upon learning of her husband's second
marriage. This metaphor encapsulates her sense of being usurped and her determination to
reclaim her agency.

5. Irony

Irony is present in the societal expectations placed upon Tabinda. Despite her family's initial
disapproval of her sewing venture—believing that "a woman should not become a
seamstress"—it is this very skill that empowers her to achieve financial independence and
social recognition. This irony underscores the story's critique of restrictive cultural norms.

6. Foreshadowing
Early hints in the story suggest Tabinda's burgeoning desire for independence. Her fascination
with tales of heroines who overcome adversity foreshadows her own journey toward
self-empowerment. These subtle cues prepare the reader for her eventual transformation.