God of Small Things and Identity
Cultural shifts, women, and history in The god of small things
Arundhati Roy’s God of Small things delves into experience of post-colonial India, exploring the lives of experiencing the cultural shifts,. Using multi-narration to offer authentic insights into the worlds of characters, she plays with language intelligently to portray differing points of view Linguistic devices and techniques to delve into a number of themes but focusing on the loss of identity touching on familial relationships, history former colonisation and The God of Small Things,
The passage follows on from a description discussing the unhappiness of former marriages within the Ayemenem house. We are given an account of Ammu’s abusive marriage followed by the jealousy and malicious behaviour Pappachi displays towards Mammachi, His harsh nature is also communicated through the immediacy of this opening paragraph, direct and rapid . There is also a deep irony to Pappachi’s legacy as his former belongings are soon to become ‘unmarried daughter’s dowries’, assets brought by into a marriage by the bride, as she is forced to prove her worth to the male. Interestingly, dowries were outlawed in 1961 due to their problematical and establishing the inferiority of women within the relationship. This is fitting to Pappachi’s derogatory and abusive behaviour and treatment of women, thus creating an image of a vicious cycle never ending as the idea of subjugating women is passed on to generations, bleeding into the wider community. Fittingly, his death enables more uneven marriages to occur, therefore mention of ‘taxi drivers’ provokes image of this disruption travelling, having exponential effect, preserving this ttradition, embedding into more lives.
Within the Roys Ammu’s frank and impassive tone of voice when answering ‘to link cuffs together’ emphasises her emotional detatchment from her children, Rahel and Estha; her response is extracted of feeling. This is further emphasised through
Arundhati Roy’s God of Small things delves into experience of post-colonial India, exploring the lives of experiencing the cultural shifts,. Using multi-narration to offer authentic insights into the worlds of characters, she plays with language intelligently to portray differing points of view Linguistic devices and techniques to delve into a number of themes but focusing on the loss of identity touching on familial relationships, history former colonisation and The God of Small Things,
The passage follows on from a description discussing the unhappiness of former marriages within the Ayemenem house. We are given an account of Ammu’s abusive marriage followed by the jealousy and malicious behaviour Pappachi displays towards Mammachi, His harsh nature is also communicated through the immediacy of this opening paragraph, direct and rapid . There is also a deep irony to Pappachi’s legacy as his former belongings are soon to become ‘unmarried daughter’s dowries’, assets brought by into a marriage by the bride, as she is forced to prove her worth to the male. Interestingly, dowries were outlawed in 1961 due to their problematical and establishing the inferiority of women within the relationship. This is fitting to Pappachi’s derogatory and abusive behaviour and treatment of women, thus creating an image of a vicious cycle never ending as the idea of subjugating women is passed on to generations, bleeding into the wider community. Fittingly, his death enables more uneven marriages to occur, therefore mention of ‘taxi drivers’ provokes image of this disruption travelling, having exponential effect, preserving this ttradition, embedding into more lives.
Within the Roys Ammu’s frank and impassive tone of voice when answering ‘to link cuffs together’ emphasises her emotional detatchment from her children, Rahel and Estha; her response is extracted of feeling. This is further emphasised through