Aug 03, 2003 12:45 AM
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(Updated Aug 03, 2003 12:47 AM)
This perhaps is the most difficult book review I will write. How I wish I were Salman Rushdie, so that I could bring about the essence of The God of Small Things in the most proper way. There aren’t many books written to which there are only two thoughts – one who think this book is crap, and the other who think this book is a masterpiece. I am in the latter thought. I agree this is not one of the easiest novels to follow, but if you have patience and imagination of Roy, I am sure you will appreciate this book more than it deserves.
The God of Small Things
The God of Small Things is a story told in tragedy. It begins through the eyes of Estha and Rahel, the twins who are about to meet each other. The story then transcends into their childhood days and the life then. Estha and Rahel are the twins of Ammu, the central character of this story living in a small village in Kerala. They live with their relatives, namely their uncle, grandmother and their grand aunt, who don’t show much love nor respect to Ammu for having divorced her Bengali husband. We see the trials and tribulations of Ammu and her kids through the eyes of Rahel, the sister of the two.
It would be easier to put the whole story in a linear motion and in a concise way. The family owns a pickle factory and works in it, however they come in conflicts with the communists. At around the same time, the family is awaiting the arrival of Sophie Mol, the kid’s English cousin. While they await and make preparations for her arrival, oblivious to all of them is the fact that Ammu is quietly having an affair with the untouchable of the house – Velutha. Their love affairs largely remain a secret, for they meet behind a house largely deserted, on the other side of the river. Sophie Mol finally arrives and one day goes out with Estha and Rahel to play. However tragedy strikes when the waters increase and Sophie Mol slips away into the river. However Estha and Rahel survive and so they witness their Mother with Velutha.
What follows the death of Sophie Mol is a series of tragic events which leave the family completely shattered and helpless. Ammu decides that she cannot take care of both the children and decides to send Estha to his father. Estha does go back to his father, only to become dysfunctional and dumb; i.e. he never speaks again. Rahel too goes away to stay away from her mother. Ammu dies after couple of years after trying to get out of her helpless situation. One fine day, Rahel comes to know that Estha was to come back to her for her father doesn’t want to take care of him. An adult Rahel now comes back to old place, Aymanam, to see the barren household, hopelessly lost house.
That itself is the beginning of the book, a sad Rahel coming back to her decimated household to await her brother. It is this wait which sees the memories flying back.
The Style of Arundhati
Linearity perhaps was one of the most brilliant aspects of the novel and perhaps one of its most weakest points. Though the above story looks and feels pretty linear when read as a review, its execution in the book is entirely non linear. The book moves back and forth between different set of time periods with amazing ease and amazing confusion. Unless read carefully and understanding the time space of the events in the books, it is simply impossible to appreciate that book. I do think that not all of us like to read a book in this manner, but this is exactly what makes the book brilliant. The final love making between Ammu and Velutha and the symbolic reference to The God of Small Things is the last thing in the book you will read, however, occurs much earlier in time space. Once you understand the time space and its variations in time slice in which story moves forward, its then you will appreciate the beauty of the book. Roy must be the only author who had the whole story in her mind, and then broke down the events so brilliantly and mixed them up.
What would be the use of course if Roy had just wrote the whole book in a linear fashion?
The Language
Arundhati Roy manages to weave magic in her words. While she too resembles a style similar to Salman Rushdie, you will not have to run for a dictionary every few lines like it happens with Rushdie. Roy expresses the joy of monsoon, the pickle factory in sublime manner – it take time to digest her words and enjoy the beauty of them. This book is simply poetry in motion. The description of the village and events is so rich that I actually saw the story happening in front of me. The part of Ammu giving up her son at the railway station moved me to tears; it is one of the best written events I have come across in any books.
Who should read this?
People who love experimental books full of good language and prose
If you like Arundhati’s any other essays, you should read this
If you have a penchant for liking booker winners and serious stories
Most importantly, you are ready to read the book as the author wants you to and not as you want the book to be.
Who should not read this book?
Slow books and tragedies are not your cup of tea
You like stories which move in a linear fashion without getting too confusing
You like books which don’t digress away into explaining events in detail
Finally
This is one of the best books I have ever read in my life. I mention this book too in my review of 5 best books. Roy’s imagination and her style of interweaving the events in a most disjointed way and come off with it something truly remarkable. If you do like Arundhati’s speeches, then I suggest you read her speech on war she came to United States, or her essay on the Narmada Dam. If you love both of them, then its time for you to experience The God of Small Things.
Read this book – patiently – and read it as she wants you to read it.
