In creating inequalities, making people susceptible to


   In the light of above discussion andanalysis it is ample to state that Arundhati Roy is not complacent withtraditional power structures prevailing in society. These power structures areinformal, unjust, cruel and partial.

They are responsible for creatinginequalities, making people susceptible to multiple sorts of oppression,tyranny, victimization, exploitation, subjugation and humiliation. Patriarchy,Casteism and Capitalism along with several other factors establishes andpromotes these power structures. Roy wanted to abolish these power structuresin order to put a final end to human, sufferings, miseries and sorrows. Thenovel is portrayal of unequal power structure that is real factor responsiblefor human miseries, sorrows and sufferings. Power structures that are created, promotedand strengthened by unequal distribution of wealth, traditional genderdisparities, unjust and inappropriate caste systems and so on.

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Ammu and Veluthadeserve our appreciation that despite of all odds, they don’t submit to thetraditional power structures. They have the courage to withstand socialinequalities and atrocities. They don’t surrender to the unjust social taboos. Theydon’t compromise on their freedom. They struggle to destroy the age old falsebeliefs. They don’t submit to the traditional authorities. It does not matterwhat happens with them in the end, the real beauty lies in their epic struggleto defeat the odd circumstances.

Their heroic struggle and manly death is exemplary.What is interesting about them is their unconquerable resistance to cruelsocial order.  They lay down their livesbut don’t compromise on their principles of freedom and equality. Through theendeavours of Ammu and Velutha, Roy maps her attempt to reverse the trajectoryof traditional power structure. She uses compressed language to bring out theoppression of the downtrodden. Her uncanny use of capitalisation, fragmentedand broken chronology of events, effective handling of stream of consciousnessand haphazard plot is the depiction of world of chaos, confusion and disorderthat invites the immediate attention of the people for its restoration andrenaissance.The structureand narrative style of The God of Small Things demand several bold andinnovative devices, as the novel dwells largely upon the problem ofexternalizing the hidden motives and natures of the scheming men and women.Both those involved in brutalizing the sentiments of the weak people and thosewho are targeted need to be shown in their various states of mind.

A simpleconventional formal approach would hardly serve to achieve the intensity ofdramatic presentation that Arundhati Roy so wonderfully achieves. A bold themeneeds a bold method.Stream ofConsciousness is one of those devices that she employs repeatedly in thisnovel, not in its accepted manner as Virginia Woolf did, but in a modifiedform, changing it to merge with other devices and creating a new inner vision.For instance, interior monologue is in some cases made to admit the stream ofconsciousness technique also as the two carry forward the story’s movement. Infrequently occurring “frozen-time-frame” moments there is much scope for theauthor to fill in the expanded temporal area with descriptions that appear tohappen simultaneously.Time movesslowly in this novel, one of the reasons of Roy’s apparently intensepreoccupation with the formal and technical aspects. She uses very oftenfrozen-time-frames to elongate and magnify a moment’s micro world with richdescriptions. She has shown in this novel that she can use the stream ofconsciousness technique with supreme felicity, yet there are gaps in hernarrative structure that her lack of mature craftsmanship prevents her fromfilling.

It is through these gaps that the reader runs the risk of falling withthe little grip left over the main storyline.This novelunmistakably represents Arundhati Roy’s propensity for experimentation withshape and dialect. The reader is brought those strange ways that the creatorinvestigates elaborately and uncovers the shrouded substances and truth thatgenerally would not be conceivable.

In spite of the fact that in the strictsense the creator does not noticeably utilize enchantment authenticity that wefind in Garriel Garcia Marquez or Alejo Carpentier, the story obviously travelsthrough a world where the qualification amongst reality and dream is obscured.The kids’ perspective furnishes a system that regularly combines with thegrown-up’s vision. As per the acknowledged definition enchantment authenticityresorts to depiction of the fanciful or the fabulous in a practical orlevelheaded way through sharp concentration pictures. In progress of Marquezone finds the reasonable reportage blending in the degenerate dream. It hasbeen especially prominent with scholars of the recently freed underdevelopednations like Salman Rushdie, Mario Vargas Llosa, Miguel Angel Asturcas etcetera. Arundhati Roy utilizesthis post-innovator method in isolated portions, or detached scenes, where heridyllic flights of creative energy work effectively. “Estha was wearing his beige and pointy shoesand his Elvis puff. His Special Outing Puff.

His favorite Elvis song was”Party.” “Some people like to rock, some people like to roll,” he would croon,when nobody was watching, strumming a badminton racquet, curling his lip likeElvis. “Bat moonin’ an’ a groonin’ gonna satisfy mah soul, less have apardy…”Cuddon defines MagicRealism as fiction which mixes and disrupts ordinary, everyday realism withstrange, impossible and miraculous episodes and powers. The hero of SalmanRushdie’s Midnight’s Children (1981) receives telepathic communication from allover India. A character in Milan Kundera’s The Farewell Party (1976) emits ablue light after making love. Short stories and novels by Angela Carter reworkfolk and fairy tales to create a particular kind of magic realism that mixesthe modern and the mythical. In this technique of writing the author breaks theboundaries of realism while still engaging with political and social issues.Roy oftenextends a metaphor to cover a wide range of temporal and spatial realities.

That is, her metaphors are imaginative creations that lift the characters orsituations above the ordinary prosaic realities and enclose both the real andthe non-real into a new perceptual whole. The technique of magic realism in thehands of Arundhati Roy becomes an effective means of journey into the interiorof the characters life. It reveals the potential areas in moments isolated fromhumdrum life and lifts those moments to define a character’s state of mind. Acharacter’s life is characterized by the external compulsions as much as his/her inner, imaginary dream- like drives.

They, in him/her, often merge andmingle to provide substance to the life. Such descriptions expand the littlemoment into epical canvases. They lend them a ring of profundity. That’s howRoy creates dramatic effect, through powerful metaphors, and single wordsentences arranged in different cases and structures.No doubt, TheGod of Small Things is about the themes of power structures in society and itsexercise to keep the socially marginalized under subjugation. However, apartfrom this theme, if we want to look at another major aspect, we can say that itis a spectacular attempt to explore various dimensions or expressive resourcesof language. Very few novels in recent years have shown such overpoweringpreoccupations with the semantic poetic potential of English as The God ofSmall Things has done.

So much that it has also been pointed out to be thenovel’s weakness, and she has been charged with overdoing things with languageat the cost of the theme.Roy shows herexpertness in using metaphors with a view to deepening the meanings in thenovels. Following are some good examples1.         Her tears trickled down from behindthem and trembled along her jaw like raindrops on the edge of a roof.2.

         Her face was pale and as wrinkled as adhobi’s thumb from being in water for too long.3.         Rahel drifted into marriage like apassenger drifts towards an unoccupied chair in an airport lounge.4.         Ammu gathered up her heavy hair,wrapped it around her face, and peered down the road to Age and Death throughits parted strands. Like a medieval executioner peering through the tiltedeye-slits of his peaked black hood at the executionee.The novel isreplete with such similes and metaphors.

Roy’s use of language can be viewed asa homogeneous reality: there are used many forms of expression, containing anumber of devices, elements and movements. The author, being in possession of afine sense of the poetic resources of language uses the technique of repetitionof lines, expressions and words most effectively. We also find this techniquein Charles Dickens. Repetition of words or sentence structures primarily servesto focus the reader’s attention on the intended topic or theme, create ahypnotising influence on the reader’s senses and create a rhythmic pattern. We also see thatRoy sometimes breaks one sentence into several small bits, each a completeutterance.

Normally where comas would occur, full stops are used so that the veryevent or experience is fragmented into small complete experiences. A great partof the novel uses children’s points of views. The alternate with the grown up’svision and create a strange two level structure to the novel. She presents theworld view through the eyes of Estha and Rahel, using the words and sentencesthe way children would do taking liberty with their meanings in a free-associating effort and coining new queer compounds.

Sometimes the rules of thegrammar are deliberately broken to create amusement, as small children woulddo; sometimes cases of the letters are changed to show what the children wouldwish to highlight. The coming back of Estha after twenty three years isreferred to as re-Returning where we see capital R is used. She also usessingle words that create a dramatic impact. Often her sentences break or stophalf mid-way through delineating an experience or event and give way to single wordexpression. Single words play a key role in creating dramatic tension in thenovel.

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