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The keyword “Sunday relationships” is key here. Traditionally, Sunday is a day of rest, reflection, and often, anxiety about the coming week. Khushi hijacks this emotional lull. She uses Sunday as a narrative device—a time when defenses are down, and the audience is most receptive to deep emotional engagement. Her stories don’t just entertain; they mirror the quiet conversations we have with ourselves on lazy afternoons. : Gaining recognition in adult-themed series like Gandu
: Portraying characters like Jwala Pari in Baalveer Returns and Kaikeyi in Kahat Hanuman Jai Shri Ram . Traditionally, Sunday is a day of rest, reflection,
Khushi Mukherjee has emerged as a distinctive voice in contemporary romance, not merely for her lush prose or complex characters, but for her unique narrative architecture that privileges a specific temporal setting: the Sunday. This paper examines Mukherjee’s recurring trope of the “Sunday Relationship”—a romantic dynamic defined by cyclical separation, scheduled intimacy, and the emotional weight of the weekly Sabbath. By analyzing three of her seminal works ( The Seventh-Day Stranger , Monsoon in the Afternoon , and Residual Light ), this paper argues that Mukherjee uses Sunday as both a literal plot device and a metaphysical metaphor for the negotiation between sacred devotion and secular love. The paper concludes that Mukherjee’s storylines challenge the conventional “happily ever after” by positing that the most profound romances are not defined by daily presence, but by the ritualistic, almost liturgical, anticipation of reunion.