Arundhati Roy - The God of Small Things

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This highly stylized novel tells the story of one very fractured family from the southernmost tip of India. Here is an unhappy family unhappy in its own way, and through flashbacks and flashforwards The God of Small Things unfolds the secrets of these characters' unhappiness. First-time novelist Arundhati Roy twists and reshapes language to create an arresting, startling sort of precision. The average reader of mainstream fiction may have a tough time working through Roy's prose, but those with a more literary bent to their usual fiction inclinations should find the initial struggle through the dense prose a worthy price for this lushly tragic tale.
Rahel and Estha are fraternal twins whose emotional connection to one another is stronger than that of most siblings:
Esthappen and Rahel thought of themselves together as Me, and separately, individually as We or Us. As though they were a rare breed of Siamese twins, physically separate, but with joint identities.
Now, these years later, Rahel has a memory of waking up one night giggling at Estha's funny dream.
She has other memories too that she has no right to have.
Their childhood household hums with hidden antagonisms and pains that only family members can give one another.
Blind Mammachi, the twins' grandmother and founder of Paradise Pickles & Preserves, is a violin-playing widow who suffered years of abuse at the hands of her highly respected husband, and who has a fierce one-sided Oedipal connection with her son, Chacko. Baby Kochamma, Rahel and Estha's grandaunt, nurses deep-seated bitterness for a lifetime of unrequited love, a bitterness that plays out slyly against everyone in the family; in her youth she fell in love with an Irish Roman-Catholic priest and converted to his faith to win him, while he eventually converted to Hinduism. Chacko, divorced from his English wife and separated from his daughter since her infancy, runs the pickle factory with a capitalist's hand, self-deluding himself all the while that he is a Communist at heart even as he flirts with and beds his female employees. Ammu, the twins' mother, is a divorcee who fled her husband's alcoholism and impossible demands, a woman with a streak of wildness that the children sense and dread and that will be her and her family's undoing.
The family's tragedy revolves around the visit of Chacko's ex-wife, widowed by her second husband, and his daughter, Sophie Mol. It is within the context of their visit that Estha will experience the one horrible thing that should never happen to a child, during their visit that Ammu will come to love by night the man the children love by day, and during their visit that Sophie Mol will die. Her death, and the fate of the twins' beloved Untouchable Velutha, will forever alter the course of the lives of all the members of the family, sending them each off on spinning trajectories of regret and pain. The story reveals itself not in traditional narrative order, but in jumps through time, wending its way through Rahel's memories and attempts at understanding the hand fate dealt her family.
The God of Small Things has been favorable reviewed all over the place, generating a lot of excitement in the current literary establishment. What you think of it will depend heavily on your opinion of Roy's prose style – is it ostentatious, or is it brilliant? Whether or not you fall in love with her style, the truth of the heartbreaking story she tells and the lovable/hate-able characters who people it make this novel an experience not to be missed.

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“Are we going to become a Communist2” Rahel asked.

“Might have to.”

Estha-the-Practical.

Distant cake-crumbled voices and approaching Blue Army footsteps caused the Comrades to seal the secret.

It was pickled, sealed and put away. A red, tender-mango-shaped secret in a vat. Presided over by a Nowl.

The Red Agenda was worked out and agreed upon:

Comrade Rahel would go for her Afternoon Gnap, then lie awake until Ammu fell asleep. -

Comrade Estha would find the flag (that Baby Kochamma had been forced to wave), and wait for her by the river and there they would:

(b) Prepare to prepare to be prepared.

A child’s abandoned Fairy Frock (semipickled) stood stiffly on its own in the middle of Ammu’s darkened bedroom floor.

Outside, the Air was Alert and Bright and Hot. Rahel lay next to Ammu, wide awake in her matching airport knickers. She could see the pattern of the cross-stitch flowers from the blue cross-stitch counterpane on Ammu’s cheek. She could hear the blue cross-stitch afternoon.

The slow ceiling fan. The sun behind the curtains. The yellow wasp wasping against the windowpane in a dangerous dzzzz.

A disbelieving lizard’s blink.

High-stepping chickens in the yard.

The sound of the sun crinkling the washing. Crisping white bedsheets. Stiffening starched saris. Off-white and gold.

Red ants on yellow stones.

A hot cow feeling hot. Amhoo. In the distance.

And the smell of a cunning Englishman ghost, sickled to a rubber tree, asking courteously for a cigar.

“Umm… excuse me? You wouldn’t happen to have an umm… cigar, would you?”

In a kind, schoolteacherly voice.

Oh dear.

And Estha waiting for her. By the river. Under the mangosteen tree that Reverend E.John Ipe had brought home from his visit to Mandalay.

What was Estha sitting on?

On what they always sat on under the mangosteen tree. Something gray and grizzled. Covered in moss and lichen, smothered in ferns. Something that the earth had claimed. Not a log. Not a rock.

Before she completed the thought, Rahel was up and running. Through the kitchen, past Kochu Maria fast asleep. Thickwrinkied like a sudden rhinoceros in a frilly apron.

Past the factory.

Tumbling barefoot through the greenheat, followed by a yellow wasp.

Comrade Estha was there. Under the mangosteen tree. With the red flag planted in the earth beside him. A Mobile Republic. A Twin Revolution with a Puff.

And what was he sitting on?

Something covered with moss, hidden by ferns.

Knock on it and it made a hollow knocked-on sound.

The silence dipped and soared and swooped and looped in figures of eight.

Jeweled dragonflies hovered like shrill children’s voices in the sun. Finger-colored fingers fought the ferns, moved the stones, cleared the way. There was a sweaty grappling for an edge to hold on to. And a One Two and.

Things can change in a day.

It was a boat. A tiny wooden vallom .

The boat that Estha sat on and Rahel found.

The boat that Ammu would use to cross the river. To love by night the man her children loved by day.

So old a boat that it had taken root. Almost.

A gray old boatplant with boatflowers and boatfruit. And underneath, a boat-shaped patch of withered grass. A scurrying, hurrying boatworld.

Dark and dry and cool. Unroofed now. And blind.

White termites on their way to work.

White ladybirds on their way home.

White beetles burrowing away from the light.

White grasshoppers with whitewood violins.

Sad white music.

A white wasp. Dead.

A bntrlewhite snakeskin, preserved in darkness, crumbled in the sun.

But would it do, that little vallom?

Was it perhaps too old? Too dead?’

Was Akkara too far away for it?

Two-egg twins looked out across their river.

The Meenachal.

Graygreen. With fish in it. The sky and trees in it. And at night, the broken yellow moon in it.

When Pappachi was a boy, an old tamarind tree fell into it in a storm. It was still there. A smooth barkiess tree, blackened by a surfeit of green water. Driftless driftwood.

The first third of the river was their friend. Before the Really Deep began. They knew the slippery stone steps (thirteen) before the slimy mud began. They knew the afternoon weed that flowed inwards from the backwaters of Komarakom. They knew the smaller fish. The flat, foolish pallathi, the silver paral, the wily, whiskered koori, the sometimes karimeen.

Here Chacko had taught them to swim (splashing around his ample uncle stomach without help). Here they had discovered for themselves the discotinected delights of underwater fatting.

Here they had learned to fish. To thread coiling purple earthworms onto hooks on the fishing rods that Velutha made from slender culms of yellow bamboo.

Here they studied Silence (like the children of the Fisher People), and learned the bright language of dragonflies.

Here they learned to Wait. To Watch. To think thoughts and not voice them. To move like lightning when the bendy yellow bamboo arced downwards.

So this first third of the river they knew well. The next two-thirds less so.

The second third was where the Really Deep began. Where the current was swift and certain (downstream when the tide was out, upstream, pushing up from the backwaters when the tide was in).

The third third was shallow again. The water brown and murky. Full of weeds and darting eels and slow mud that oozed through toes like toothpaste.

The twins could swim like seals and, supervised by Chacko, had crossed the river several times, returning panting and cross-eyed from the effort, with a stone, a twig or a leaf from the Other Side as testimony to their feat But the middle of a respectable river, or the Other Side, was no place for children to Linger, Loll or Learn Things. Estha and Rahel accorded the second third and the third third of the Meenachal the deference it deserved. Still, swimming across was not the problem. Taking the boat with Things in it (so that they could Prepare to prepare to be prepared) was.

They looked across the river with Old Boat eyes. From where they stood they couldn’t see the History House. It was just a darkness beyond the swamp, at the heart of the abandoned rubber estate, from which the sound of crickets swelled.

Estha and Rahel lifted the little boat and carried it to the water It looked surprised, like a grizzled fish that had surfaced from the deep. In dire need of sunlight. It needed scraping, and cleaning, perhaps, but nothing more.

Two happy hearts soared like colored kites in a skyblue sky. But then, in a slow green whisper, the river (with fish in it, with the sky and trees in it), bubbled in.

Slowly the old boar sank, and settled on the sixth step.

And a pair of two-egg twin hearts sank and settled on the step above the sixth.

The deep-swimming fish covered their mouths with their fins and laughed sideways at the spectacle.

A white boat-spider floated up with the river in the boat, struggled briefly and drowned. Her white egg sac ruptured prematurely, and a hundred baby spiders (too light to drown, too small to Swim), stippled the smooth surface of the green water, before being swept out to sea. To Madagascar, to start a new phylum of Malayali Swimming Spiders.

In a while, as though they’d discussed it (though they hadn’t), the twins began to wash the boat in the river. The cobwebs, the mud, the moss and lichen floated away. When it was clean, they turned it upside down and hoisted it onto their heads. Like a combined hat that dripped. Estha uprooted the red flag.

A small procession (a flag, a wasp, and a boat-on-legs) wended its knowledgeable way down the little path through the undergrowth. It avoided the clumps of nettles, and sidestepped known ditches and anthills. It skirted the precipice of the deep pit from which laterite had been quarried, and was now a still lake with steep orange banks, the thick, viscous water covered with a luminous film of green scum. A verdant, treacherous lawn, in which mosquitoes bred and fish were fat but inaccessible.

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