The God of Small Things: A Novel [Paperback]

Arundhati Roy (Author)

Book Description

Release date: December 16, 2008

Compared favorably to the works of Faulkner and Dickens, Arundhati Roy’s debut novel is a modern classic that has been read and loved worldwide. Equal parts powerful family saga, forbidden love story, and piercing political drama, it is the story of an affluent Indian family forever changed by one fateful day in 1969. The seven-year-old twins Estha and Rahel see their world shaken irrevokably by the arrival of their beautiful young cousin, Sophie. It is an event that will lead to an illicit liaison and tragedies accidental and intentional, exposing “big things [that] lurk unsaid” in a country drifting dangerously toward unrest. Lush, lyrical, and unnerving, The God of Small Things is an award-winning landmark that started for its author an esteemed career of fiction and political commentary that continues unabated.

Editorial Reviews

Amazon.com Review

In her first novel, award-winning Indian screenwriter Arundhati Roy conjures a whoosh of wordplay that rises from the pages like a brilliant jazz improvisation. The God of Small Things is nominally the story of young twins Rahel and Estha and the rest of their family, but the book feels like a million stories spinning out indefinitely; it is the product of a genius child-mind that takes everything in and transforms it in an alchemy of poetry. The God of Small Things is at once exotic and familiar to the Western reader, written in an English that's completely new and invigorated by the Asian Indian influences of culture and language. --This text refers to an out of print or unavailable edition of this title.

From Publishers Weekly

With sensuous prose, a dreamlike style infused with breathtakingly beautiful images and keen insight into human nature, Roy's debut novel charts fresh territory in the genre of magical, prismatic literature. Set in Kerala, India, during the late 1960s when Communism rattled the age-old caste system, the story begins with the funeral of young Sophie Mol, the cousin of the novel's protagonists, Rahel and her fraternal twin brother, Estha. In a circuitous and suspenseful narrative, Roy reveals the family tensions that led to the twins' behavior on the fateful night that Sophie drowned. Beneath the drama of a family tragedy lies a background of local politics, social taboos and the tide of history?all of which come together in a slip of fate, after which a family is irreparably shattered. Roy captures the children's candid observations but clouded understanding of adults' complex emotional lives. Rahel notices that "at times like these, only the Small Things are ever said. The Big Things lurk unsaid inside." Plangent with a sad wisdom, the children's view is never oversimplified, and the adult characters reveal their frailties?and in one case, a repulsively evil power?in subtle and complex ways. While Roy's powers of description are formidable, she sometimes succumbs to overwriting, forcing every minute detail to symbolize something bigger, and the pace of the story slows. But these lapses are few, and her powers coalesce magnificently in the book's second half. Roy's clarity of vision is remarkable, her voice original, her story beautifully constructed and masterfully told. First serial to Granta; foreign rights sold in France, Spain, Portugal, Germany, Italy, Finland, Norway, Sweden, Denmark, Estonia, Holland, India, Greece, Canada and the U.K.
Copyright 1998 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

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Product Details

• Paperback: 333 pages
• Publisher: Random House Trade Paperbacks; Reprint edition (December 16, 2008)
• Language: English
• ISBN-10: 0812979656
• ISBN-13: 978-0812979657
• Product Dimensions: 5.2 x 0.8 x 8 inches
• Shipping Weight: 8.8 ounces (View shipping rates and policies)
• Average Customer Review: 3.8 out of 5 stars  See all reviews (994 customer reviews)
• Amazon Best Sellers Rank: #25,107 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

107 of 118 people found the following review helpful

5.0 out of 5 stars Absolutely Astounding January 11, 2001

By A Customer

Format:Paperback

Roy's mastery of metaphor and creativity in wordplay may just be among the best in the English language today. In The God of Small Things she tells a haunting tragedy in hauntingly beautiful prose that borders on poetry. Almost every scene painted itself visibly in my mind, but in particular I find myself dwelling on the OrangedrinkLemondrink Man, and on the airport scene: Ambassadors E. Pelvis and S. Insect; Rahel wrapping herself in the dirty curtain to escape the reeling changes in her life. I'm so impressed by Roy's ability to see a child's-eye view of the world, and it's so easy to believe that Rahel and Estha would assume that "love had been reapportioned." It's also a remarkable achievement in non-linear storytelling for a first-time novelist.

Having said all that, I confess to loving non-linear narrative. If you don't like it, you probably won't think much of this book.

Finally, and coincidentally, just before I read The God of Small Things I read Green English, by linguist Loreto Todd. It's a nonfiction book and I won't go into her thesis. But at one point she suggests that some of the best literature of the 20th century comes from countries where one language (usually a colonizing language, as in India, Ireland, New Zealand, numerous African countries...) has overlaid and been adapted to fit an earlier language, pushing the boundaries of expression. This book seems to me to be a prime example of that idea.

72 of 80 people found the following review helpful

5.0 out of 5 stars An Amazing Book December 2, 1999

By Claire Harrison

Format:Paperback

"May in Ayemenem is a hot, brooding month," and so is Arundhati Roy's novel The God of Small Things. Imagine a cold piece of butter slowly melting in a frying pan, setting the scene for the cooking to come, and you can see the way Roy's prose works. Words that are hot and brooding reel you into an intricate web of family politics and social mores, evoking a feeling similar to a written stream of consciencness. Roy writes in layers, except that the layers are both added and taken off; I was reminded of my childhood when I would eat wafer chocolates from the bottom and the top, leaving the middle until last, because that was the best part. Roy kindly dispells the, often torturous, anxiety of what happens in the end early on in the book. The reader is told what happened before it happened, what happened after it happened, and saves what happened for last. A format that seemingly would put off a reader becomes its most appreciated quality. This book is for everyone; murder mystery, love story, epic saga all in one. Even if you're not the romantic type, the social scrutiny of Indian customs provides for interesting reading. However, if you're interested in brain candy, forget it. There is too much to absorb. Emotion and intellect are needed in order to understand the emotion and intellect that are related. You could take in only what is superficially presented, as the plot alone is worthwhile, but you would be missing so much. Rahel, a dizygotic twin returns to the place of her childhood and subesequently a place of unhappiness to see her brother, the other twin, after more than twenty years of separation. Esta, the brother, has stopped talking, and Rahel has stopped feeling. Their reunion allows for the remembrance and grieving of their disasterous youths.... They recall small things, seemingly unimportant, yet vital to the reconstruction of their sense of inner peace. They are the same age as their mother when she died, thirty-one. Their house is run down and the only relatives left from the monster in their pasts are, in essence, only waiting to die. Entering their minds through an omniscient voice, we are transported back and forth in time, remembering small things, painting a big picture. We remember a cousin's accidental death, and the death of another who served as a scapegoat. We remember how fate can make the strangest families. We also remember Rahel and Esta, and how they "broke the love laws. That lay down who should be loved. And how. And how much." While the novel serves to shock the reader from time to time, the pace is slow. Roy's style would be described as somewhat verbose for the impatient, yet serves to parallel the way we deal with emotions, hurt, and love in life. Creating a paradox however, this reader went back to re-absorb certain elements of beauty or truth, due to a lack of time created by an impatience to find out what happens next. Although usually overly critical of fiction, I would recommend this book for anyone who likes to read intelligent literature. It gives the reader a chance to realize how profound those small things really are. Read more ›

53 of 58 people found the following review helpful

5.0 out of 5 stars One of the best books I've read...innovative language October 4, 2000

By A Customer

Format:Paperback

What is the God of Small Things? Small things are what we talk about when the big things are too difficult and too overwhelming. This book is the story of the childhood of non-fraternal twins, Rahel & Estha - a girl and a boy, family, forbidden lovers, politics, and tradition. Ammu is the twins' mother; a woman of a priviledged family who married, then divorced her twins' alcoholic father. Baby Kochamma is their manipulative spinster aunt who pines for a priest she met as a young girl. Sophie Mol is a visting Indian/English cousin who meets her end soon after arriving. The story progresses, in a backwards and forwards manner, telling the tale(s) that ended their childhoods. The children, utimately become pawns in the cruel "history" being played out by the adults around them. We often see the result of the action, before we know what occurred; a complex puzzle unfolding. This story encorporates issues of human relationships, the complicated emotions and repurcussions of the caste system, brutality, and the ability to survive. Holding together the microcosms of the many "small" stories within this story is Roy's use of language. The silly rhymes of the children, their imaginative nicknames for adults, and their view of the love and cruelty of adults, and the interpretation of the world on their terms, creates a framework for this story. The use of "non-standard" English is widely used, which some reviews seem to believe is unintentional. For instance, verbs are sometimes capitalized in order to emphasize the inevitability, the concrete-ness, of the action. Sentances are often framented in order to express a thought, especially a child's thought. (I certainly don't think in complete, grammatical sentances myself). It's really quite beautifully written.... It takes a few pages to get to the heart of the story, but once there you will be enthralled. If you are open to an innovative use of language and story telling, along with complex, emotional narrative, you will enjoy this book. I highly recommend it. Read more ›

80 of 91 people found the following review helpful

2.0 out of 5 stars Isolated sentences of evocative poetry, mostly wasted breath January 16, 2005

By R. Kamath

Format:Paperback

I am a bit puzzled by the critical acclaim piled onto this book. It seems well written in some respects, but it is also needlessly complex in its verbage and its time/setting schemes (half the time you have no idea what time frame she's talking about, often for several pages). Moreover, none of the characters seems particularly compelling or relatable, which in retrospect, I think might be its fatal flaw. You've got a complex array of eccentric and bizarre characters, but they never seem to really come alive-- least of all the twins, who are the two main characters. And however rich the language of the book may be, it's hard to get past the fact that you don't "feel" these characters; it feels like elegant, but wasted, breath for the most part. However, there is a noticable, but modest, element of alluring beauty in her sentences and phrasing, but more often than not, I did not find myself particularly engrossed in the poetry (although, in its defense, I didn't hate the hell out of it, as I often do with books in which the author needlessly overdoes it; case in point, William Faulkner's "Light in August," a book that bears more than a passing resemblance to this one).

"God" is littered with the kind of writing that I suspect prize judges fawn over-- particularly the convoluted plotline that is easy to admire given its complexity and the apparent amount of time that was put into it-- but in my opinion it is not a very satisfying work for the reader in the "effort vs. reward" aspect; I didn't feel like I completely wasted my time, but I also wished I had spent this time on another, more rewarding piece of literature.