The Narrative Technique and the Role of Social Realism: The god of Small Things
1.Non-sequential Narrative The God of Small Things is not written in a sequential narrative style in which events unfold chronologically. Instead, the novel is a patchwork of flashbacks and lengthy sidetracks that weave together to tell the story of the Ipe family. The main events of the novel are traced back through the complex history of their causes, and memories are revealed as they relate to each other thematically and as they might appear in Rahel's mind. Although the narrative voice is omniscient, or all-knowing, it is loosely grounded in Rahel's perspective, and all of the episodes of the novel progress towards the key moments in Rahel's life. This non-sequential narrative style, which determines the form of the novel, is an extremely useful authorial tool. It allows Roy a great deal of flexibility as she chooses which themes and events are most important to pursue. The author is able to structure her book so as to build up to the ideas and events at the root of the Ipe family's experience.
2.Foreshadowing Throughout Roy's novel, the narrative voice emphasizes that it is building towards a mysterious, cataclysmic, and all-important event. Roy even provides details and glimpses of the event, which she refers to as "The Loss of Sophie Mol," and quotes characters remembering it and referring to it vaguely far before the reader discovers what has happened. Because of this technique, called foreshadowing, Roy builds considerable tension and intrigue into The God of Small Things, and she is able to play with the expectation and anticipation that the reader feels.
3.Point of View The book is narrated in the third person. However, during a great part of the narrative, the reader sees everything through Rahel's eyes. This gives the reader a very special insight into the happenings and characters. The are various moments which cross each other all through the book. One moment is in 1969 when Rahel is a seven-year-old child. At these moments everything is seen
2.Foreshadowing Throughout Roy's novel, the narrative voice emphasizes that it is building towards a mysterious, cataclysmic, and all-important event. Roy even provides details and glimpses of the event, which she refers to as "The Loss of Sophie Mol," and quotes characters remembering it and referring to it vaguely far before the reader discovers what has happened. Because of this technique, called foreshadowing, Roy builds considerable tension and intrigue into The God of Small Things, and she is able to play with the expectation and anticipation that the reader feels.
3.Point of View The book is narrated in the third person. However, during a great part of the narrative, the reader sees everything through Rahel's eyes. This gives the reader a very special insight into the happenings and characters. The are various moments which cross each other all through the book. One moment is in 1969 when Rahel is a seven-year-old child. At these moments everything is seen