Thirty Days in September by Mahesh Dattani summary and analysis

 

Mahesh Dattani, one of India’s most influential modern playwrights, uses this play to expose the unspoken trauma endured by survivors of child sexual abuse, particularly within the family. The play revolves around Mala, a young woman who struggles with emotional wounds caused by sexual abuse in her childhood by a trusted uncle, and how this experience affects her relationships, especially with her mother Shanta and her lover Deepak.

 ACT ONE

The first act opens with Mala talking to her therapist about her life and relationships. She is in her early thirties, attractive but emotionally scarred. Through her fragmented dialogue, we learn that Mala has a pattern of engaging in short-term sexual relationships with men, all of which end abruptly—usually after thirty days. This behavioral pattern becomes symbolic of her deep-seated trauma.

Her latest relationship is with Deepak, a sensitive man who genuinely loves her. But Mala is unable to trust or commit emotionally. The relationship begins to crack under the weight of her emotional instability and unpredictable behavior. She often oscillates between affection and anger, tenderness and withdrawal.

We are then introduced to Shanta, Mala’s mother, who appears to be a quiet, conservative woman. There is visible tension between mother and daughter. Their conversations are marked by bitterness, blame, and avoidance. Mala accuses her mother of indifference and emotional neglect. Shanta, in turn, is unable to articulate her guilt or confront the truth.

Gradually, through flashbacks and emotional recollections, the audience discovers that Mala was sexually abused by her own uncle (Shanta’s brother) when she was a child. The abuse continued for years, while Shanta remained silent—either out of fear, denial, or social pressure.

Mala’s trauma is revealed through monologues and emotional outbursts, showing her fragmented psyche. She equates love with exploitation and cannot distinguish affection from abuse. This emotional confusion haunts her adult life and relationships.

The act ends with Mala’s increasing frustration and alienation, and with Deepak’s growing helplessness. He realizes that Mala is hiding something painful but does not yet know what it is. The final scene of the act leaves the audience with a disturbing silence—a silence that mirrors the years of unspoken suffering.

The first act establishes the central motif of silence—the silence of the victim, the silence of the mother, and the silence of society. Mahesh Dattani exposes how Indian families often suppress uncomfortable truths under the guise of honor and propriety.

Mala is portrayed as both victim and survivor. Her adult behavior—her inability to maintain relationships and her tendency toward self-destruction—reflects the psychological scars left by abuse.

Shanta represents the generation of women conditioned to suppress pain. Her silence is not mere ignorance but an internalized helplessness. Her inability to confront her brother or support her daughter highlights how patriarchy silences even the protectors.

 Symbolism of “Thirty Days”:

The title itself, Thirty Days in September, symbolizes Mala’s cycle of emotional instability and relationships that last just a month—suggesting the periodic recurrence of trauma and her inability to sustain love beyond a certain emotional threshold.

 Psychological Realism:

Dattani employs a realistic style of dialogue and fragmented memory to depict the workings of a traumatized mind. The therapy sessions act as a framing device to reveal suppressed memories.

Through subtle references to family, respectability, and denial, Dattani critiques Indian society’s refusal to acknowledge sexual violence within the home.

ACT TWO 

Act Two begins with a sense of confrontation and revelation. Deepak, frustrated by Mala’s behavior, decides to leave her. He loves her but cannot understand her emotional distance. Mala, realizing she may lose the one person who truly cares for her, begins to open up.

The narrative moves between present events and painful recollections. Mala finally confesses the truth of her childhood trauma—the sexual abuse she suffered at the hands of her uncle. She recounts how the abuse began when she was just seven years old and how it continued for years, masked as affection and play. The abuser manipulated her with kindness and gifts, creating confusion between love and violation.

Deepak’s reaction is initially one of shock and disbelief. But gradually, he becomes compassionate and supportive, representing the possibility of understanding and healing.

Meanwhile, Shanta is forced to confront her own silence. In a deeply emotional scene, Mala accuses her mother of betrayal—not for committing the act, but for allowing it to happen through her silence. Shanta breaks down, confessing her guilt and fear. She reveals that she herself was also a victim of sexual abuse by the same brother. This shocking revelation exposes the generational cycle of trauma and silence.

In the final moments of the play, Mala and Shanta share a moment of reconciliation and understanding. It is not a happy ending, but a cathartic one. The truth is finally spoken; the silence is broken. The play closes with a faint glimmer of hope—the possibility that healing begins only when one dares to confront the past.

The act represents emotional release and catharsis. By confronting her past, Mala begins the process of reclaiming her identity. The act dramatizes how truth-telling becomes an act of liberation.

The strained relationship between Mala and Shanta reaches its emotional climax. Dattani’s portrayal of their reconciliation is not sentimental but psychologically authentic—reflecting pain, guilt, and a hesitant hope.

Shanta’s revelation that she too was a victim shows how trauma perpetuates across generations. The silence of one victim enables the suffering of another, revealing how patriarchal authority thrives on suppression.

Deepak’s character contrasts with Mala’s past abuser. He embodies empathy, understanding, and the possibility of emotional restoration. Through him, Dattani offers a glimpse of positive masculinity—rare in a patriarchal setup.

The sessions with the therapist act as a structural frame for memory reconstruction. Dattani uses them to bring inner thoughts and emotions to the surface, blending realism with psychological introspection.

The dialogue in the second act is charged with emotion yet retains a tone of realism. Dattani’s restrained style allows the emotional truth to emerge naturally without melodrama.