Arundhati Roy’s "The God of Small Things": How is it a the Story of a Once-prominent Syrian Christian Family’s Decline?

"The secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end, yet you listen as though you don’t. In the way that although you know that one day you will die, you live as though you won’t. In the Great Stories, you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again."

"The God of Small Things" 

Arundhati Roy

Arundhati Roy's novel, "The God of Small Things," which received widespread international acclaim upon its publication in 1997, masterfully captures the story of a once-prominent Syrian Christian family's decline through three successive generations. Set in the town of Ayemenem in Kerala, India, the narrative unfolds through a nonlinear structure, exploring the lives of the twins, Estha and Rahel, and their family.

The God of Small Things

The decline of the family is evident from the beginning. The Ipes, a Syrian Christian family, were once respected and influential in Ayemenem society. However, as the story progresses, their social status and economic prosperity steadily deteriorate. Roy uses various narrative techniques, such as flashbacks, foreshadowing, and symbolic imagery, to depict their downfall.

One significant aspect contributing to the family's decline is their adherence to a rigid social hierarchy. They are bound by strict caste and class divisions, which restrict their opportunities and limit their upward mobility. All the characters in "The God of Small Things" are trapped in "Social Stratification". They are somehow prejudiced by  Class, Status and Power (Worsley, 1970: 288). Particularly, the Syrian Christian family's unwillingness to challenge societal norms and their internal power struggles exacerbate their downfall.

The tragic death of Sophie Mol, an English cousin visiting Ayemenem, serves as a turning point in the family's decline. Sophie's death shatters the already fragile family dynamics and exposes their vulnerabilities to the outside world. The ensuing legal proceedings further destabilize the family, tarnishing their reputation and leading to their isolation.

Roy also explores the theme of forbidden love, as Estha and Rahel's mother, Ammu, falls in love with Velutha, a lower-caste Paravan. Their illicit relationship challenges social expectations and brings about dire consequences. The family's decline is exacerbated by the repercussions of this forbidden love, as it leads to betrayal, violence, and the ultimate disintegration of the family unit.

Through minute descriptions and  free verse language, Roy paints a poignant picture of the family's decline. She skillfully weaves together themes of love, loss, oppression, and the weight of history to illustrate how the Ipe family's once-prominent status crumbles under the weight of their own choices and circumstances. 

However, the novel's nonlinear narrative structure is no doubt challenging-  to follow the non-chronological order of events, leading to confusion and a sense of disjointedness. While many praised Roy's innovative storytelling technique, others felt that it hindered their engagement with the story. Another aspect of controversy surrounding the novel was the portrayal of Indian society and culture. Some critics accused Arundhati Roy of being an "Anti-India lobbyist," suggesting that she focused solely on the negatives and presented a sensationalized and distorted view of India to the international audience. They argued that her depiction lacked balance and failed to showcase the diverse and multifaceted aspects of the country.

Furthermore, the novel's frank exploration of taboo topics, such as forbidden love and the effects of the caste system, sparked controversy and conservative backlash in certain quarters. Roy's unflinching portrayal of sexuality and societal oppression challenged traditional norms and provoked strong reactions from some readers. "The God of Small Things" received harsh criticism from Carmen Callil, a judge of the 1996 Booker Prize, who described the novel as "execrable." The Guardian also labeled the book's context as "profoundly depressing." In India, the novel faced particular criticism for its explicit portrayal of sexuality, leading to charges of obscenity raised against Arundhati Roy by politicians of Kerala.

Despite these criticisms, it is important to note that "The God of Small Things" has also been widely celebrated for its lyrical prose, vivid imagery, and its powerful exploration of themes such as love, loss, and the impact of colonialism. The novel's international recognition, including the prestigious Booker Prize, highlights its significance and impact in the literary world.

Ardhendu De

References:

1. Worsley, Peter. 1970. Introducing Sociology. Baltimore: Cox & Wyman Ltd.

2.The god of small things : Roy, Arundhati, author : Free Download, Borrow, and Streaming : Internet Archive. (n.d.). Internet Archive. https://archive.org/details/godofsmallthings0000roya

3. The God of Small Things - Wikipedia. (2014, November 1). The God of Small Things - Wikipedia. https://en.wikipedia.org/wiki/The_God_of_Small_Things

4. "The scene is set for the Booker battle". BBC News. 24 September 1998. Archived from the original on 25 October 2011. Retrieved 18 May 2023. http://news.bbc.co.uk/1/hi/uk/179131.stm

5.  Kutty, N. Madhavan (9 November 1997). "Comrade of Small Jokes". The Indian Express. Retrieved 18 May 2023.

6.  Bumiller, Elisabeth (29 July 1997). "A Novelist Beginning with a Bang". The New York Times. Archived from the original on 1 June 2013. Retrieved 18 May 2023. https://www.nytimes.com/1997/07/29/books/a-novelist-beginning-with-a-bang.html