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Just logic,” she says, and they skip away into the sunset, content with their mutual reasonableness, dismissing a 300-year-old fierce history of a socio-political movement. “Everything doesn’t need hi-fi labels like feminism. It should be humanist.” After her moment of self-actualisation, that’s the conclusion Bhagat’s protagonist, Radhika, also makes. It’s not men versus women, it’s human versus human. Bhagat’s politics are probably closer to that of his character Brijesh Gulati: “I think all human beings should have equal rights. One Indian Girl never set off to be a feminist book. It’s as though he assumes that it is completely normal for intelligent and successful women to be besotted with jerks. Who are we to dictate what Radhika should feel or not feel.The problem is that Bhagat never tells us why she is so hung up about men so unworthy of her.
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Women with low self-esteem issues do strange things, and I’m sure there are lots of high-achieving women out there heartbroken about men who do not deserve their attention. The only reason she could have for falling in love with them is that she is so insecure that she simply cannot believe that they chose her. But why would Radhika Mehta - successful, stylish, kind - want to choose any of these three moronic men is the question. The third is a highly desirable but entirely inappropriate older man. The second is a Bengali communist with an unfortunate penchant for the word “baby”. One is a self-confessed bore and cricket and Bollywood enthusiast. The central premise of the novel is no less formulaic: An immensely successful woman has to choose between three brainless-but-adorable men. Locations in New York, Hong Kong and London? Check, check, check. Comedy sequence with bumbling aunties? Check. The plot of One Indian Girl reads like a colour-by-numbers exercise book on Bollywood scriptwriting - Punjabi wedding? Check. They are there because it is their superstar’s film, not particularly because they think it is good.! Such is the case with Bhagat’s book: sales numbers mean very little when a book is given away for Res. Lakhs and lakhs of fans will queue up for tickets for the first-day first-show of a superstar’s film.
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This book is being sold by a brand, and people buy brands for all sorts of complex reasons. Yes, Chetan Bhagat did once revolutionise the Indian (English) publishing industry by speaking for the aspirations of a generation. Reviewers belong to one of two camps: they either want to burn it or they gesticulate wildly at the sales figures, mumbling about “publishing revolution” and a “new breed of readers”. Chetan Bhagat’s One Indian Girl is a polarising book.