the god of small things research paper pdf

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CRITICAL ANALYSIS OF ARUNDHATHI ROY’S NOVEL GOD OF SMALL THINGS

Arundhathi Roy was born as Suzanna Arundhathi Roy on 24 November 1961. Mary Roy was her mother, a well - known social activist. They belonged to a Syrian Catholic family. Roy’s father Rajib Roy was a Bengali tea planter who married Mary Roy. She wrote some works like Power politics, The cost of living, The book of dissent, God of small things, War book, Listening to grasshoppers, The checkbook and The cruise missile. God of small things is the first novel written by Arundhathi Roy. It is a semi – autobiographical novel discussing the author’s childhood experience in Ayemenem. The setting of the novel is in a small village called Ayemenem in Kerala. The novel discusses the childhood experiences of two fraternal twins. The novel describes how their life is destroyed by the orthodox mentality of people living in the society. The readers can understand how the title of the novel has its influence over each and every character in relation to their small actions presented by the author. Arundhathi Roy’s endeavor in creating a Native novel like British writers should be appreciated among the readers. The novel focuses on emphasising the regional and national aspects in the country. She questioned the thinking pattern of Western writers. They considered eastern writers as inferior to them. The Anglicized mode of thinking had even affected the writer. The author itself represents the cultural blend of a postcolonial writer. Roy’s father Rajib Roy was a Bengali Hindu and mother Mary Roy was a Malayali Syrian Christian. Roy’s parents divorced and went back to kerala at the age of five. Roy and her mother stayed in kerala which influenced her in writing the novel. The author discusses the future situation of people living in the country. The

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This research paper focuses on exploring the fact and fiction in Arundhati Roy's The God of Small Things. The writer enormously utilized her creative freedom by adopting a magical realism in the narrative technique. Therefore, the writer has misplaced many things as per her creative purposes and created many imaginary characters and incidents in the novel. The character Sophie Mol and the misplaced presentation of Abhilash Talkies are the best examples.

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Historically, the Indian women have been leading a life of marginalization and oppression, more so because of a complex of other social factors like caste and class. Belonging to a particular caste furthers this marginalization by regaling them to the periphery of already sidelined castes. This marginalization is further complicated within the framework of a marriage that tends to work as the microcosm of the more general macrocosm, the society. This paper seeks to recover these historically repressed voices through a critical analysis of Arundhati Roy’s The God of Small Things where she gives voice to her women characters and highlights the prevalence of caste system in India. The analysis uses the postcolonial feminist perspective to study her representation of the marginalized and oppressed women characters. The three women characters, despite belonging to upper castes, are as marginalized as the one untouchable “man” in the novel. Collectively, they are representative of the sub...

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Arundhati Roy’s concern for women and the environment is to be found in her first novel itself.Women belong to one of the categories of small things portrayed by Arundhati Roy. Despite socio-economic development, women have not achieved an enviable position in the society. They were kept in subordination and relegated to the status of the second sex. The Indian society is based on male predominance and female subordination. Though woman is praised for her wife-mother role, she is treated as the legal economic and sexual property of her husband. Even parents did not treat male and female children equally.‘The God of Small Things’ is the plight of a woman called Ammu divorced by her husband and neglected by her own family members. The novel presents socio-cultural issues and the search for a personal, social and human identity in the society.

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Arundhati Roy plays the role of a social critic in The God of Small Things. She does not isolate herself from the society, the system, the violence and the injustices around. Roy has mingled history and imagination with sheer artistry to document the crude realities of the society. This paper is an attempt to study the characters in Roy's novels that become the mouthpiece of the writer herself-herself thoughts, ideologies, attitudes and sometimes her experiences emerging from the events, incidents and problems visible in their social milieu. Indian society is commanded by taboos, which at times tend to corrupt the social equilibrium. To worsen the scenario, it is sometimes backed by politics, political rivalry and an uncompromising ambition for power. The results are obviously predictable. Higher power and social status give ample reason to dictate and sway the oppressed, making their lives susceptible and defenseless. This paper is a sober attempt to ascertain a study of the socio-political conditions and the vulnerability of human lives.

SCHOLARS: Journal of Arts & Humanities

Prem Bahadur Dhami

This paper analyzes the novel The God of Small Things written by Arundhati Roy, which is the childhood reflection of her own. The novel reflects the seduction and solicitation and its psychological impacts on the characters as they are affected by the society, especially by the elite people and the government officials. The novel is analyzed using the concepts of childhood studies – particularly Joseph L. Zornado’s concept of “Black Pedagogy” as the tool for textual analysis. The self-cited statements of the characters provide additional strength to the tool. Roy by the help of various characters like Estha, Velutha, Ammu and Rahel depicts the suffering due to the caste and class differences among the society and the high profile people.

Jayshree Singh

The present research paper assesses (Herbert Blumers, 1969; 69) theory of social movement from the point of three dimensions in Arundhati’s novel - The God of Small Things. They are: 1. Social Discrimination through forced segregation or physical isolation. 2. In acquiring an ideology of human dignity and social equality. 3. Recognition of their collective will to survive and their desire to achieve equality with the majority rather to preserve their individual identity as minority. The novelist Arundhati Roy seeks ‘cognitive liberation and insurgent consciousness in the sparking conflict’ (Crossley, 2009; 113) to understand the political, cultural and social aspects of the caste-ridden society of India. Her path to activism and mobilization approaches the level of ideological commitment in terms of identity transformation, civil rights, cultural mobility through interaction, opportunity, cognition and structural conduciveness. Her novel ‘The God of Small Things’ postulates the process of social control through grievances and strains. Subsequently there occurs ‘a conflict between freedom and security’ (Meenakshi, 2000; 12). It also captures love, madness, hope, infinite joy. It is the aesthetic piece of creative writing that unravels social conditions and human condition. The lead character Ammu is subjected to trials and tribulations because of being in love with Velutha, a Pravan, a low caste servant. This manifests the gendered conventional sensibility of the upper caste factional society. The novel surfaces the most burning political issue in the character Velutha, “whose mind is without fear and the head is held high” (Tagore, Geetanjali, 1910) and whose knowledge is free from narrow caste-ridden segregation. The novel exposes the social-political situation that disavows brutality, cruel indifference of ‘Touchables’ towards untouchables of Kerala. The characters Estha and Rahel’s sufferings reflect the ‘dark colours of life’ that forms the dualistic approach of society. The disjointed, fractured and disillusioned Baby Kochamma’s bitter personality interfaces the intra-national precipitating factors of social discrimination and ostracism in context of caste, creed, sex, birth and gender. The novel frames contention for the marginalised and disenfranchised natives; of Kerala. Their concern for freedom and security, resistance and social movement present challenge, transformation and perpetual disagreement between domination and subordination. But at the same the author’s self-conscious process of contestation (McLead, 2007; 5) suggests the post-colonial relevant mental mode. She attests that decolonization can only be possible with ‘the annihilation of casteism’ (B. R. Ambedkar Writings; 271) and with ‘the assertion of cultural assimilation’ (Doughlas, 2009; 8).

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