There is much anxiety over Saraswati’s imminent pregnancy. One day while doing her standard prayers, a sadhu tells her only the goddess Tripura at the small brick shrine by the river-bank can answer her prayers. Saraswati does and it so happens a son is born. There is great joy, but a few weeks later, the infant dies, causing great sorrow, anger, and guilt.

The once-happy family begins to break down. Saraswati becomes ill, deeply depressed, and begins to exhibit signs of “craziness.” When she finally goes back to the goddess who she believes gave her a son, only to cause her greater sorrow, the Sadhu (Hindu hermit) suggests she get “treated” by a particular Mata, the vehicle (of possession) of the goddess.

Parallelly, we learn that the Mata, though reputed as a healer, has a particular history. Her husband left her at a young age, and thwarted love had lead to great emotional turmoil and even breakdowns, until she was possessed – chosen – by the goddess. The emotional upheaval of the Mata, a beautiful woman, however remains unresolved within her. She is deeply ambivalent about her shamanic role, about being “chosen,” and convinced only human love will restore her psychic/emotional balance.

It is not only fate but their inner wants that sweeps these characters together. They begin as friends. Saraswati is drawn to the Mata because she temporarily cures her and is fascinated by a spirit medium, the Mata by an ordinary human being’s warmth, but eventually more so by the boyish innocence of Dipak, which serves as a foil for her misdirected passion, and Dipak by the allure of something greater than he can ever understand.

The story has a violent ending, in the background of a frenzied jatra (religious festival), where people dance in collective intoxication…