Analysis of The God of Small Things

Previous: Works and Awards | Next: The Ministry of Utmost Happiness

Introduction

The God of Small Things, published in 1997, is Arundhati Roy’s debut novel and a literary phenomenon that catapulted her to international fame, winning the prestigious Man Booker Prize for Fiction in the same year. Set in Aymanam, Kerala, the novel is a richly layered and deeply poignant narrative that explores themes of forbidden love, caste, social injustice, and the devastating impact of historical events and societal rules on individual lives. It is celebrated for its lyrical prose, intricate structure, and its unflinching portrayal of a family’s tragedy.

Plot Summary

The novel centers on the lives of fraternal twins, Estha and Rahel, and their family, particularly their mother Ammu. The narrative moves non-linearly between 1969, the year of a pivotal tragedy, and 1993, when Rahel returns to Aymanam. The story unfolds through fragmented memories, flashbacks, and foreshadowing, gradually revealing the events that led to the family’s downfall.

Ammu, a divorced woman, returns to her ancestral home in Kerala with her twins, Estha and Rahel. They live with Ammu’s brother Chacko, their blind grandmother Mammachi, and their great-aunt Baby Kochamma. The family owns a pickle factory, “Paradise Pickles & Preserves.” The twins form a deep, almost telepathic bond, and their innocent world is shattered by the arrival of their English cousin, Sophie Mol, and the forbidden love affair between Ammu and Velutha, an “Untouchable” carpenter.

Their love transgresses the rigid caste boundaries and the “Love Laws” of their society, which dictate “who should be loved, and how. And how much.” This forbidden relationship, combined with a series of misunderstandings, betrayals, and the manipulative actions of Baby Kochamma, leads to a devastating chain of events. Sophie Mol drowns in a river, and Velutha is brutally beaten and killed by the police, instigated by the family to protect their honor and social standing. The twins are separated, and Ammu is ostracized and eventually dies alone.

When Rahel returns in 1993, she finds Estha silent and withdrawn. The novel concludes with the twins, now adults, reuniting and finding solace in their shared trauma, hinting at a continuation of their forbidden love, a final act of defiance against the “Love Laws” that destroyed their family.

Major Characters

Estha and Rahel: Fraternal twins, whose innocent perspective and deep bond are central to the narrative. They are the primary victims of the “Love Laws” and the family’s tragedy.
Ammu: The twins’ mother. A strong-willed, divorced woman who defies societal norms by falling in love with an “Untouchable.” She represents rebellion against patriarchal and caste constraints.
Velutha: An “Untouchable” carpenter, intelligent and gentle, with whom Ammu has a forbidden love affair. He symbolizes the oppressed and the victim of caste prejudice.
Baby Kochamma: The great-aunt, a manipulative and vindictive character who embodies the rigid social conservatism and hypocrisy of the family and society.
Chacko: Ammu’s brother, a Rhodes Scholar who runs the pickle factory. He is a complex character, often well-meaning but ultimately complicit in the family’s downfall.
Sophie Mol: The English cousin whose accidental death becomes the catalyst for the family’s tragedy.

Major Themes

Forbidden Love and the “Love Laws”: The central theme is the transgression of societal rules, particularly the rigid caste system, through forbidden love. The “Love Laws” are a metaphor for the arbitrary and destructive social codes that dictate human relationships.
Caste and Social Injustice: Roy is a fierce critic of the caste system, exposing its cruelty, its dehumanizing effects, and its role in perpetuating violence and inequality.
Loss of Innocence and Childhood Trauma: The novel vividly portrays the shattering of the twins’ innocent world and the profound, lasting impact of childhood trauma on their adult lives.
Memory and the Past: The non-linear narrative emphasizes the fragmented and subjective nature of memory. The past is not dead; it is constantly present, shaping the characters’ lives.
Colonialism and its Legacies: The novel subtly explores the lingering effects of colonialism on Indian society, including the adoption of Western values and the internal divisions it created.
The Personal is Political: Roy demonstrates how deeply personal lives are intertwined with larger political and social forces, showing how societal rules and historical events directly impact individual destinies.

Literary Style

Lyrical and Poetic Prose: Roy’s language is highly distinctive, characterized by its lyrical quality, rich imagery, and poetic rhythm. She uses evocative descriptions and sensory details.
Non-Linear Narrative: The fragmented and recursive narrative structure, with its constant shifts between past and present, mirrors the workings of memory and builds suspense.
Unique Use of Language: Roy employs unconventional capitalization, repetition, and wordplay to create a unique voice and emphasize certain themes.
Symbolism: The novel is rich in symbolism, with recurring motifs like the river, the pickle factory, and the “small things” themselves carrying deeper meanings.
Intimate and Empathetic Tone: Despite the tragic events, the narrative maintains a deeply empathetic tone, drawing the reader into the emotional lives of the characters.

Critical Reception and Legacy

The God of Small Things was a global literary sensation, winning the Booker Prize and becoming a commercial and critical success. It was praised for its originality, its lyrical prose, its complex narrative, and its powerful social commentary. The novel brought unprecedented international attention to Indian English literature and solidified Arundhati Roy’s reputation as a major voice in contemporary world literature. It remains a powerful and enduring work, cherished for its beauty, its emotional depth, and its unflinching critique of social injustice.