Shashi Deshpande is prose rhapsodists of feelings, sentiments and emotions passing through the human consciousness, like Virginia Woolf and Jane Austen. Their attention is focused also on feminine suffering in the complex cultural stresses and strains of Indian society. A new generation of women emerged, embracing the changed values in which women have a voice of their own, a voice that had been suppressed for centuries. An attempt has been made in the present study to identify the concept of domestic relationships with reference to three novels of Shashi Deshpande namely The Dark Holds No terrors (1980), That Long Silence (1988) and The Binding Vine (1992). The above excerpt from one of the study by the author herself truly portrays Shashi Deshpande, a name well known in literary circles for depicting the quotidian life of the average Indian Women. Deshpande is quite clear that for her finding her own voice meant not first a women’s voice but a literary voice of her own. No magic realism, no concessions to “Marketability”, no themes or situations that cater to so called western audience, no adapting her style to what a target readership might prefer, without the air of exotic element brewed in her style is marked by an absence of flamboyance or literary finish. She has been for the last three decades writing quietly about human predicament. Playing out the lives of ordinary people who we might encounter on streets, bringing into sharp focus the meaning of life itself. Though her writing is very Indian, the themes honour no borders. It is true indeed that Deshpande writes about women, but its human beings that link behind her characters. Her novels also reveal one very striking chord that human being is often a lonely one though not alone. It is needed true that most of her female characters have an incredible inner strength, which empowers them along their way through conflicts, turmoil’s and even absence conditions. Women in Shashi Deshpande’s novels seem to be hiding their own strength, their own capability probably to smoothen up their home-because the other believes that women’s strengths weaken man. It is clear from the study of each novel that the women of Shashi Deshpande novels are rebels and feminists, but they are unlike their western counterparts. In western countries, the women’s issues are mostly related to identity, jobs, equality and sexual roles. In India, for the majority of women, it is a question of stark survival. The few who have escaped the vicious existential circles through education and better opportunities, also find themselves in a constant tussle with inevitable social mores and with the oppressive weight of tradition behind. In the Indian milieu all the talks of transcending biology of reproduction. However, the Indian female is now beginning to stir out of her placid stoicism. In novel after novel, Shashi Deshpande treats Indian feminine consciousness turn into dissent. The woman of India now reflects a shift in sensibility in Shashi Deshpande fiction. She is no longer the paragon of virtue and chastity to be extolled by poets, priests and philosophers. She is a symbol of imagination, of sensibility itself, of nature arraigned versus the alien forces that are actively denaturing humanity. The Indian woman seeks to be emancipated. Even though poor, she wants to be independent though bound by affection, she craves for deliverance from manipulation. In short, what a woman wants, in India and elsewhere, is the same emancipation for the female as for the male. The question of superiority or inferiority to man is irrelevant. What is relevant is the modern woman’s endeavor to grapple with the particular, the concrete and the immediate. This is precisely, Shashi Deshpande message loud and clear, through her fictional corpus, and ESP.