The God of Small Things

 About Arundhati Roy

Arundhati Roy is an Indian writer, activist, and public intellectual best known for her debut novel, The God of Small Things (1997), which won the Booker Prize for Fiction. Born on November 24, 1961, in Shillong, India, she grew up in Kerala, where much of her novel is set. Before becoming a novelist, she studied architecture and worked as a screenwriter.

Literary and Activist Work

While The God of Small Things brought her global recognition, Roy has also written extensively on political and social issues. Her non-fiction works focus on themes such as environmental justice, human rights, and government policies. Some of her notable non-fiction books include:

• The Algebra of Infinite Justice (2002)
• Listening to Grasshoppers: Field Notes on Democracy (2009)
• Capitalism: A Ghost Story (2014)
• Azadi: Freedom. Fascism. Fiction. (2020)

Her second novel, The Ministry of Utmost Happiness (2017), explores political and social struggles in contemporary India, including Kashmir’s conflict, gender identity, and marginalized communities.

Critical Analysis of The God of Small Things

Arundhati Roy’s The God of Small Things (1997) is a postcolonial novel that explores themes of caste, forbidden love, trauma, memory, and political history through a deeply personal lens. The novel, set in Kerala, India, follows the tragic fate of twins Rahel and Estha as they navigate a world shaped by rigid social hierarchies and personal betrayals. It is known for its nonlinear structure, poetic prose, and profound critique of societal norms.

1. Narrative Structure and Style

Roy employs a fragmented, nonlinear narrative that moves between past and present, reflecting the fractured memories of the protagonists. The story unfolds in a cyclical manner, with events being revisited multiple times, each revealing new details. This structure mirrors trauma and the inescapability of history, as the twins' childhood experiences continue to haunt their adult lives.

Her writing style is deeply lyrical, filled with neologisms, wordplay, and a childlike perspective that captures the innocence and confusion of the protagonists. This poetic approach intensifies the novel’s emotional depth and adds layers of meaning to ordinary events.

2. Themes and Symbolism

a) The Politics of Caste and Social Inequality

At the heart of the novel is a critique of India’s rigid caste system. The love affair between Ammu, a high-caste Syrian Christian woman, and Velutha, a Dalit (Untouchable) man, leads to catastrophic consequences. Their love is deemed illegal by societal and familial structures, emphasizing how deeply entrenched caste discrimination remains. Velutha’s brutal punishment reflects the violent enforcement of social order in India.

b) Love and Forbidden Desires

The novel explores various forms of love—familial, romantic, and illicit—while highlighting how society regulates these emotions. The phrase “the Love Laws” (what is allowed and what is forbidden) recurs throughout, suggesting that love is dictated by external rules rather than personal desires. The tragic fates of Ammu and Velutha, as well as the separation of Rahel and Estha, illustrate the consequences of defying these laws.

c) The Role of Colonialism and Postcolonial Identity

Roy also engages with postcolonial themes, examining how colonial legacies continue to shape Indian society. The Anglophilia of the upper-class Syrian Christians, the British-inspired education system, and the mimicry of Western ideals (as seen in Chacko’s Oxford experience) highlight the tensions between tradition and modernity. This duality is evident in the Ipe family’s complex relationship with power, privilege, and cultural identity.

d) Trauma, Memory, and Loss

The novel deals extensively with trauma and its lingering effects. Estha’s sexual abuse by the Orangedrink Lemondrink Man, Ammu’s rejection and suffering, and Sophie Mol’s death all leave lasting scars. Memory is not linear but fragmented, much like the storytelling itself. The past continuously intrudes upon the present, showing how trauma is inescapable and cyclical.

e) Gender and Patriarchy

Women in the novel—Ammu, Baby Kochamma, and Rahel—experience oppression in different ways. Ammu, as a divorced woman, is stripped of agency and autonomy, reinforcing the patriarchal restrictions placed on women. Even Baby Kochamma, who conforms to societal expectations, is ultimately left bitter and unfulfilled. Rahel, in contrast, carries the weight of generational trauma, showing how women inherit both suffering and resilience.

3. Postmodern and Poststructuralist Elements

Roy’s novel can be analyzed through postmodern and poststructuralist lenses:

• Intertextuality: The novel alludes to Heart of Darkness, The Sound of Music, and The Tempest, creating a layered narrative that engages with literary history.
• Play with Language: Roy deconstructs traditional language, using repetition, broken syntax, and invented words to challenge conventional storytelling.
• Nonlinear Time: By rejecting chronological order, the novel questions the idea of a singular truth, instead presenting multiple perspectives and fragmented realities.

4. Political Commentary

The novel subtly critiques political events in Kerala, including the rise of communism and the hypocrisies within political movements. Chacko’s admiration for Marxism contrasts with his privilege, showing the disconnect between ideology and practice. The novel also reflects on the Emergency (1975-77), a period of political repression in India, hinting at state violence and authoritarianism.

Conclusion

The God of Small Things is a powerful and multi-layered novel that weaves together personal tragedy with social critique. Through its unique narrative style, rich symbolism, and deep engagement with themes of caste, gender, and memory, Roy creates a haunting exploration of how society dictates human relationships. The novel’s lasting impact lies in its ability to blur the boundaries between the personal and the political, making it a landmark work in contemporary Indian literature.

Reference

Roy, Arundhati. The God of Small Things. IndiaInk, 1997.