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The God of Small Things: Booker Prize Winner 1997 Paperback – 5 Apr 2002
|Paperback, 5 Apr 2002||
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Have to come in terms with the fact that Only those with childhood still in them, would enjoy this book. How can such a beautiful language even exist?- That was my initial reaction to this. Ms. Roy demands such strong emotion from her readers that it makes you really wonder if you were an invisible being lingering around when the lives of the characters unfold in front of you. It literally serenades you, making you believe that these characters, really, yes, do exist. However, it your imagination that tells you that they are real. i wish she wrote more fiction. touching more lives with each of her words. This book has made me imagine, cry, ponder, chuckle, frown brought in goosebumps and contemplate in many ways like no book has ever done before. Vividly. Unashamed. The best part being that you imagine the characters living in front of you. To get hold of that small part is another thing. True, childhood lives only if you water it through your life. --Gayatri Nair on Jun 17, 2013
This book is the best pick for a broad and open minded person.. Tells you how "Love" is always associated with sadness, how women are made scape goats for everything that happens, how a person's childhood experiences affect his/her perspectives and whole life.. The book has less to tell and lot to infer. So unleash ur minds open and then start reading the book... --Krithika Jayaraaman on Feb 17, 2012
Arundhati is a poetess, an artist who spins munificence with the ordinary. Her story - a part biography is like fine music to even an untrained ear. She's one writer that I admire mostly because her words tell us a story in visuals. You feel the pain, the struggle, the sly humor and the God she cherishes in small things... --Aakarsh Yardi on Jun 10, 2012
About the Author
Arundhati Roy is the author of The God of Small Things, which won the Booker Prize in 1997. Two volumes of her non-fiction writing, The Algebra of Infinite Justice and An Ordinary Person’s Guide to Empire, were published in 2001 and 2005 respectively. The Shape of the Beast, a collection of her interviews, was published in 2008. Arundhati Roy lives in New Delhi.
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Let’s consider why.
To begin with, the book is about a Syrian Christian family in Kerala, God’s Own Country in India. The story is about family intrigues, intrigues of love in and out of wedlock, political intrigues, industry ownership and labor movement intrigues. And children ensnared in the whole shindig.
While I am not Christian, part of my own ancestry is from Kerala, so I felt a sense of identity as I went through the book. I have identified and I have not identified.
After finishing the book and ruminating over it for a couple of days, I have not identified the protagonist. There are a few candidates in the book, but not one of them stands out more than the other. And yet, the story is whole.
There is an identifiable beginning, a mindboggling middle and a uncertain end that leaves the reader guessing. For a long time after the end, to be fair to the story.
I am not able to identify the writing style. It is crazy, and I am using that word after a lot of consideration. The storyline shows no respect for accepted theories on clarity of points of view and it shows scant deference to prescribed norms of backstory. It jumps from here to there and back, from him to her and back, from then to now and back with gray abandon. The tone of the book is neither bright white, nor dull black, but all shades of gray in between.
And yet, this extraordinary mishmash of ingredients works as a story, because it is almost horrifying in its underlying grime and struggle and pathos. It worked on me.
You may find it a little bit hard to keep up with certain character names, but you will never ever regret reading this book.
I mostly do not endorse Arundhati Roy's political views but one doesn't need to,to appreciate one of the greatest stories ever created in modern times.
A total of 340 pages and not once did 'The God of Small Things' fall back on a filler line or two.Every single observation,every single personification asks to be marvelled at.
Like Shakespeare, she weaved magic into this , building on what would otherwise have been too ordinary to be put in a book,and in the process, following the footsteps of the bard quashed the Story Laws(as she would love to call it) that stated that Language has only so much in it to describe.
And like Tolstoy,she abstained herself from deceptions in the plotline and gave most of it far earlier than has been the norm. The only way one can give a spoiler from this book, is by giving someone else the whole book.
Yet,the reader would go through all the lines-re-read the gloomy foreboding, sing along the Malayalam rhymes and even do the reverse pronunciations like Estha and Rahel.The reader thoroughly enjoys being a slave to the writer.
Now, coming to what I didn't like in the novel, it actually took me some days to adjust to the language and non-linear narration of the story. Way too many characters are introduced in the first chapter, you hardly understand their importance then to remember them later. The reason why Estha grows silent slowly, is not clear, but I simply assumed that it was because he was separated from his sister. And finally, the climax - I didn't understand the reason why consummation would fulfil their relationship. May be Ms.Roy wanted to show that rules can be broken and yet, not always they creates a ruckus. But. who knows what happens next?
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