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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She had warned her nephew about him, Baby Kochamma said, but never -in her wildest dreams had she thought that it would ever come to this. A beautiful child was dead. Two children were missing.

Baby Kochamma broke down.

Inspector Thomas Mathew gave her a cup of police tea. When she was feeling a little better, he helped her to set down all she had told him in her First Information Report. He assured Baby Kochamma of the full cooperation of the Kottayam Police. The rascal would be caught before the day was out, he said. A Paravan with a pair of two-egg twins, hounded by history-he knew there weren’t many places for him to hide.

Inspector Thomas Mathew was a prudent man. He took one precaution. He sent a Jeep to fetch Comrade K. N. M. Pillai to the police station. It was crucial for him to know whether the Paravan had any political support or whether he was operating alone. Though he himself was a Congress man, he did not intend to risk any run-ins with the Marxist government. When Comrade Pillai arrived, he was ushered into the seat that Baby Kochamma had only recently vacated. Inspector Thomas Mathew showed him Baby Kochamma’s First Information Report. The two men had a conversation. Brief, cryptic, to the point. As though they had exchanged numbers and not words. No explanations seemed necessary. They were not friends, Comrade Pillai and Inspector Thomas Mathew, and they didn’t trust each other. But they understood each other perfectly. They were both men whom childhood had abandoned without a trace. Men without curiosity. Without doubt. Both in their own way truly, terrifyingly adult. They looked out at the world and never wondered how it worked, because they knew. They worked it. They were mechanics who serviced different parts of the same machine.

Comrade Pillai told Inspector Thomas Mathew that he was acquainted with Velutha, but oI~TIitted to mention that Velutha was a member of the Communist Party or that Velutha had knocked on his door late the previous night, which made Comrade Pillai the last person to have seen Velutha before he disappeared. Nor, though he knew it to be untrue, did Comrade Pillai refute the allegation of attempted rape in Baby Kochamma’s First Information Report He merely assured Inspector Thomas Mathew that as far as he was concerned Velutha did not have the patronage or the protection of the Communist Party. That he was on his own.

After Comrade Pillai left, Inspector Thomas Mathew went over their conversation in his mind, teasing it, testing its logic, looking for loopholes. When he was satisfied, he instructed his men.

Meanwhile, Baby Kochamma returned to Ayemenem. The Plymouth was parked in the driveway. Margaret Kochamma and Chacko were back from Cochin.

Sophie Mol was laid out on the chaise longue.

When Margaret Kochamma saw her little daughter’s body, shock swelled in her like phantom applause in an empty auditorium. It overflowed in a wave of vomit and left her mute and empty-eyed. She mourned two deaths, not one. With the loss of Sophie Mol, Joe died again. And this time there was no homework to finish or egg to eat. She had come to Ayemenem to heal her wounded world, and had lost all of it instead. She shattered like glass.

Her memory of the days that followed was fuzzy. Long, dim, hours of thick, furry-tongued serenity (medically administered by Dr. Verghese Verghese) lacerated by sharp, steely slashes of hysteria, as keen and cutting as the edge of a new razor blade.

She was vaguely conscious of Chacko-concerned and gentlevoiced when he was by her side-otherwise incensed, blowing like an enraged wind through the Ayemenem House. So different from the amused Rumpled Porcupine she had met that long-ago Oxford morning at the cafâ.

She remembered faintly the funeral in the yellow church. The sad singing. A bat that had bothered someone. She remembered the sounds of doors being battered down, and frightened women’s voices. And how at night the bush crickets had sounded like creaking stars and amplified the fear and gloom that hung over the Ayemenem House.

She never forgot her irrational rage at the other two younger children who had for some reason been spared. Her fevered mind fastened like a limpet onto the notion that Estha was somehow responsible for Sophie Mol’s death. Odd, considering that Margaret Kochamma didn’t know that it was Estha-Stirring Wizard with a Puff-who had rowed jam and thought Two Thoughts, Estha who had broken rules and rowed Sophie Mol and Rahel across the river in the afternoons in a little boat, Estha who had abrogated a sickled smell by waving a Marxist flag at it. Estha who had made the back verandah of the History House their home away from home, furnished with a grass mat and most of their toys-a catapult, an inflatable goose, a Qantas koala with loosened button eyes. And finally, on that dreadful night, Estha who had decided that though it was dark and raining, the Time Had Come for them to run away, because Ammu didn’t want them anymore.

Despite not knowing any of this, why did Margaret Kochamma blame Estha for what had happened to Sophie? Perhaps she had a mother’s instinct.

Three or four times, swimming up through thick layers of druginduced sleep, she had actually sought Estha out and slapped him until someone calmed her down and led her away. Later, she wrote to Ammu to apologize. By the time the letter arrived, Estha had been Returned and Ammu had had to pack her bags and leave. Only Rahel remained in Ayemenem to accept, on Estha’s behalf, Margaret Kochamma’s apology. I can’t imagine what came over me, she wrote. I can only put it down to the effect of the tranquilizers. I had no right to behave the way I did, and want you to know that I am ashamed and terribly, terribly sorry.

Strangely, the person that Margaret Kochamma never thought about was Velutha. Of him she had no memory at all. Not even what he looked like.

Perhaps this was because she never really knew him, nor ever heard what happened to him.

The God of Loss.

The God of Small Things.

He left no footprints in sand, no ripples in water, no image in mirrors.

After all, Margaret Kochamma wasn’t with the platoon of Touchable policemen when they crossed the swollen river. Their wide khaki shorts rigid with starch.

The metallic clink of handcuffs in someone’s heavy pocket. It is unreasonable to expect a person to remember what she didn’t know had happened.

Sorrow, however, was still two weeks away on that blue cross-stitch afternoon, as Margaret Kochamma lay jet-lagged and still asleep. Chacko, on his way to see Comrade K. N. M. Pillai, drifted past the bedroom window like an anxious, stealthy whale intending to peep in to see whether his wife (‘Ex-wife, Chacko,’) and daughter were awake and needed anything. At the last minute his courage failed him and he floated fatly by without looking in. Sophie Mol (A wake, A live, A lert) saw him go.

She sat up on her bed and looked out at the rubber trees. The sun had moved across the sky and cast a deep house-shadow across the plantation, darkening the already dark-leafed trees. Beyond the shadow, the light was flat and gentle. There was a diagonal slash across the mottled bark of each tree through which milky rubber seeped like white blood from a wound, and dripped into the waiting half of a coconut shell that had been tied to the tree.

Sophie Mol got out of bed and rummaged through her sleeping mother’s purse. She found what she was looking for-the keys to the large, locked suitcase on the floor, with its airline stickers and baggage tags. She opened it and rooted through the contents with all the delicacy of a dog digging up a flower bed. She upset stacks of lingerie, ironed skirts and blouses, shampoos, creams, chocolate, Sellotape, umbrellas, soap (and other bottled London smells), quinine, aspirin, broad-spectrum antibiotics. Take everything, her colleagues had advised Margaret Kochamma in concerned voices, you never know, which was their way of saying to a colleague traveling to the Heart of Darkness that

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