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Sexuality in literature
Female perspective events in the god of small things
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Although desire presents itself in many charged forms in The God of Small Things, we can view the plot of the narrative as a series of disrupted yet connected events that are propelled by, or a product of, individual resistance fuelled by a Desire to Transgress. This plot of individual resistance is represented through the female protagonist Ammu and her daughter Rahel, as a foil of her mother, and is most explicit in the ending of the novel, when they both commit sexual acts that violate the conditions imposed upon them by the power of their patriarchal society. Although developed somewhat subliminally, through language and symbolism, the fragmented conventions of this plot of desire to transgress (not to be confused with a plot of transgression), works to frame the sexual acts of the ending as the desired conclusion. The ending of the novel performs the function of settling this plot of desire by acting as an explicit manifestation of transgression in its ultimate form in the novel, an ultimate form which settles and creates a sense of contentment for the characters and the plot, whilst almost simultaneously problematising this calm with a literary undercurrent of suffering and punishment.
It is possible to view Ammu's desire to transgress in light of how Roy mystifies Ammu's ability to resist in small ways. We can see Ammu's resistance epitomized in the songs she plays on her `transistor shaped like a tangerine' (44):
Occasionally, when Ammu listened to songs she loved on the radio, something stirred inside her. A liquid ache spread under her skin, and she walked out of the world, like a witch, to a better, happier place (44)
It is interesting that the term `ache' is used, with its double entendre of dull pain and lon...
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Dhawan, R.K., "The Goddess of Small Things : Some Observations on the Fictional Technique of Arundhati Roy's First Novel" in Arundhati Roy the Novelist Extraordinary, (Delhi, 1998)
Kalpana Wilson "Arundhati Roy and Patriarchy - a rejoinder", originally an article appearing in Indian newspaper "Liberation" in January 1998, available at : http://angelfire.com/in/SASG/aroy.html (accessed 22/09/2004)
Somak Halder "My View of Arundhati Roy's The God of Small Things", Postcolonial Web, http://www.postcolonialweb.org/india/roy/halder1.html (accessed 23/08/2004)
Tirthankar, Chandra "Sexual/Textual Strategies in The God of Small Things" in
In Louise Erdrich’s The Round House and Arundhati Roy’s The God of Small Things, events from the past are used to develop the characters and plot lines in the novels. In The Round House, Mooshum’s stories of the windigoo that he tells in his dreams, the subplot involving Linda and Linden Lark, and the apparent negativity towards Catholicism shown on the reservation show the pervasive influence of the past on the present. In The God of Small Things, the inclusion of Pappachi’s moth throughout the novel, the constant referencing to the Love Laws, and continuing problems involving race relations show how much of an influence the past has on the present for the characters and the plot.
In classic literature, sexual influences depict a valuable and symbolic significance to the plot and theme of specific novels. In A Thousand Splendid Suns, Khaled Hosseini uses sex as a controlling act that dehumanizes and condemns his characters into the stereotypical role portrayed by women. Mariam and Laila--Hosseini’s main protagonists--both experienced frequent sexual trauma, among other methods of abuse, that molded them into victims of their environment and culture. Their culture--including the setting of the novel and the circumstances in which their culture functioned traditionally--provided this trauma to them through men, or a particular man, who felt that violence and sexual distress towards Mariam and Laila would help control
In the short story “Araby,” James Joyce uses religious and biblical allusions to portray a young narrator’s feelings about a girl. Through these allusions, readers gather an image of the narrator’s adoration of his friend’s, Mangan’s, sister. James Joyce’s allusions to the Bible and religion relate to the idolized image the narrator has of a girl.
Arundhati Roy’s The God of Small Things is a novel about how people’s pursuit of their own interests, influenced by the cultural and social contexts in which they live, ultimately determines their behavior. Through utilizing subthemes of self-preservation, the maintenance of social status/the status quo, and power, she portrays Velutha as the only wholly moral character in the story, who, because of his goodness, becomes the target of frequent deception. Roy argues that human nature is such that human beings will do whatever they feel is necessary to serve their own self-interests.
Marjara, Harinder Singh. Contemplation of Created Things: Science in "Paradise Lost". Toronto: University of Toronto Press, 1992.
Aim. The purpose of this paper is to clarify and analyze the meaning of the concept of pain. The paper will clarify the defining attributes of pain and identify the antecedents that influence the perception of pain and list the consequences of pain. It will also state the empirical referents in reference to pain.
In this chapter Mahasweta Devi’s anthology of short stories entitled Breast Stories to analyze representations of violence and oppression against women in name of gender. In her Breast Stories, Devi twice evokes female characters from ancient Hindu mythology, envisions them as subalterns in the imagined historical context and, creates a link with the female protagonists of her short stories. As the title suggests, Breast Stories is a trilogy of short stories; it has been translated and analyzed by Gayatri Chakraborty Spivak and, in Spivak’s view, the ‘breast’ of a woman in these stories becomes the instrument of a brutal condemnation of patriarchy. Indeed, breast can be construed as the motif for violence in the three short stories “Draupadi,” “Breast-Giver,” and “Behind the Bodice,”
Nanda, Serena. Neither Man nor Woman: The Hijras of India. 2nd ed. Belmont, CA: Wadsworth Pub., 1990. Print.
Literature is an amazing form of expression. A multitude of things can be said so in so many creative ways. Whether the story that is being told is true or fiction, the important thing is how it is told. The structure of a story is what gives it power, strength and the ability to move readers. Arundhati Roy and Chinua Achebe are two very talented authors who express their stories in two very different and unique ways. Although their stories are structurally different they have many similarities regarding class structure, societal issues, moral and family betrayals, and tragedy.
The God of Small Things is a novel that focuses on the events after the partitioning of India-Pakistan. The characters of Estha and Rahel are such that they symbolize this partition; they symbolize the two countries. The aftermath of the partitions affect both countries tremendously. Similarly, when Estha and Rahel were separated after Sophie Mol’s funeral, they felt a part of their identity was missing. “The emptiness in one twin was only a version of the quietness of the other… The two things fitted together. Like stacked spoons. Like familiar lovers’ bodies” (21). Once they were again reunited after 23 years, they felt the need for a closure in their relationship. Thus, Estha and Rahel have sex. This is something that must be hidden away, if not by the river like Ammu 's and Velutha 's affair, then in the silence behind closed doors. “They were strangers who had met in a chance encounter. They has known each other before Life began.” (pg.
Mishra, Vijay. "The Texts of Mother India." After Europe.Ed. Stephen Slemon and Helen Tiffin. Sydney: Dangaroo Press, 1989. 119-37.
The big things are no doubt powerful and able to control small things yet small things are no less important. The overall personality of a person is the results of various small things jointed together. The novel also talks about rules (big thing) and transgression (by small things), love laws and love, decisions and destructions. The novel clearly expresses that the world of decision-making is not a plain world where results tally with one’s assumptions. The result is an outcome of a number of inter-related factors and is always influenced by the meta-narrative of the society. The main characters of the novel i.e. Ammu, Velutha, Estha, Rahel, Chacko, Margaret Kochamma, Baby Kochamma, Pappachi, Mammachi and Sophie Mol are left in the novel (a miniature of the world) to create an identity of their own by accepting or denying the big things of life. “Neither is they chosen from the common rung of the society nor are their problems related to food, clothing and shelter. They are rebels and their rebellion is not so much directed against society as against individuals. Their problems are neither physical nor social. They are psychical and emotional” (Kunhambu 277). Of course in a society, knit with power relations, their places promise different level of freedom and consequences. The novel is important in displaying that in a universe of big things an individual can hardly find oneself
Allen, Charles. Kipling Sahib: India and the Making of Rudyard Kipling. New York: Pegasus Books, 2009. Print.
For women in India, the last century has marked a great amount of progress, but at times it has been as stubborn as all the centuries before it. Women have been expanding their roles in society, at home, and even politics with female Prime Minster Indira Gandhi. Gender roles are ingrained deeply, however, and that is no more apparent than in the current rape epidemic. Specifically the last 40 years have been some of the most promising for Indian women, but they have also seen an 875% increase in rape cases (Park). The answers to why this is happening, and why it is happening now may open up a much deeper issue. The social climate is changing; a power struggle between genders steadies the quantity of violence against women. Meanwhile, their empowerment to speak out and hold a rapist accountable brings it to the attention of the world. A longstanding injustice that has been occurring right bellow the surface for years may have reached its boiling point.
The God of Small Things by Arundhati Roy tells the story of the communist state of Kerala and the forbidden love between two castes, which changes the lives of everyone. In the novel an ‘Untouchable’, Velutha is a carpenter and works at Paradise Pickles and Preserves for much less than he deserves because of his status as an Untouchable in the caste system. Velutha falls into a forbidden love with a divorced woman, Ammu who is associated with an upper caste Syrian Christian Ipe family. Marriage was the only way that Ammu could have escaped this life, but she lost the chance when marrying the wrong man, as he was an alcoholic and this resulted in them getting a divorce. Ammu breaks the laws that state ‘who should be loved, and how and how much’, as their affair threatens the ‘caste system’ in India, which is a hierarchal structure and social practice in India in which your position in society is determined and can’t be changed. Arhundati Roy portrays the theme of forbidden love within the caste systems and shows how they are t...