Arundhati Roy is a remarkable figure in the literary world, known for her talents as an author, screenwriter, activist, and actress. Her most celebrated work, The God of Small Things (1997), has been translated into over 40 languages and sold millions of copies worldwide. Although her novel has stirred up controversy, it is widely recognized as a modern classic. While she is known for her activism, Roy considers herself first and foremost a writer.
Roy was born in Meghalaya in 1961 to a Hindu father and Christian mother. Growing up in Kerala, she was deeply influenced by her mother's fight for equal rights for Christian women, challenging India's inheritance laws. Her parents divorced when she was two, mainly due to her father's struggle with alcoholism.
Although Roy studied architecture in Delhi, she chose to pursue writing instead of pursuing a career in architecture. Her inspirations include literary greats Shakespeare, Tolstoy, Berger, and Galeano. She also holds a special place for John Lennon as her favorite member of The Beatles.
Roy has been married twice and divorced twice. Her first husband, Gerard Da Cunha, was an architect she met while studying at university. Her second husband was indie filmmaker Pradip Krishen, with whom she shares two stepdaughters. She currently lives in Delhi with her two pet dogs.
Before gaining recognition as an author, Roy began her creative career as a screenwriter and actress. Her former husband, Pradip Krishen, directed her in several indie films, including the award-winning In Which Annie Gives It Those Ones (1989). Despite their divorce, she continued working in the film industry, with projects like the documentary DAM/AGE (2002), which focused on the Narmada dam project.
Roy's career as an author took off with the release of her debut novel, The God of Small Things (1997). This postmodern and postcolonial novel challenges conventional structures and centers around themes of otherness, politics, love, and Indian consciousness. Her second and only other novel, The Ministry of Utmost Happiness (2017), continues to push boundaries and address societal issues.
Roy's writing is defined by elements of postmodernism, including fragmentation and subjectivity, and delves into the impact of colonization in postcolonialism. Her use of sound-oriented techniques such as rhythm and alliteration adds depth to her powerful messages. For instance, in The God of Small Things, Roy writes: "As Estha stirred the thick jam he thought Two Thoughts and the Two Thoughts he thought were these: a) Anything can happen to anyone. and b) It is best to be prepared."
Despite winning the Man Booker Prize, Roy's novel received mixed reviews. Some judges and past winners made condescending or negative comments. However, these criticisms did not overshadow the novel's success, and its non-linear structure and captivating storytelling continue to enthrall readers.
Overall, Arundhati Roy has made a significant impact in literature, bravely addressing societal issues and challenging conventions through her creative pursuits. She remains a highly influential figure in modern literature, leaving a lasting impression with her multifaceted themes of love, politics, and social class.
Arundhati Roy's novels beautifully depict the complexities of love in its various forms. In The God of Small Things and The Ministry of Utmost Happiness, she explores forbidden love, unrequited love, mutual love, and familial love. These themes are interwoven with issues of politics and social class, adding depth and richness to Roy's narratives. Through her use of layered writing, unique rhythms, and recurring words, she creates a non-linear plot with multiple perspectives and interpretations.
Some may argue that Roy breaks the rules of traditional plot structures and prose writing, while others suggest that she follows certain rules and disregards others. The Ministry of Utmost Happiness, published in 2017, takes readers on a journey through decades of Indian history, set mainly in Delhi and Kashmir.
Arundhati Roy's literary prowess is evident in her novels, The God of Small Things and The Ministry of Utmost Happiness. These works introduce readers to two protagonists: Anjum, a transsexual woman who resides in a graveyard, and Tilo, an estranged architecture student. Roy's writing also features a diverse range of supporting characters, including an Indian doctor and a Romanian belly dancer.
Similar to her award-winning novel, The God of Small Things, The Ministry of Utmost Happiness also showcases layered prose and various interpretations, portraying the intricacies and diversity of modern India, its politics, and society. The plot is akin to a patchwork blanket, interweaving different narratives that challenge the traditional linear structure. While some critics see this as a weakness, describing the novel as "diffused and unfocused," Roy defends her unconventional style, arguing that it subverts the traditional structure of a canonical English-language novel.
The Ministry of Utmost Happiness delves into themes of doomed love and othering, earning it the label of a postcolonial, political (anti-) romance. However, the question remains: does this non-linear plot and these recurring themes work for readers? Some critics have labeled the novel as unstructured and chaotic, while others argue that it accurately portrays a city with a non-western mindset.
Love, politics, and othering are recurring themes in both The God of Small Things and The Ministry of Utmost Happiness. Roy's portrayal of love is far from the conventional, happy ending type. Instead, doomed relationships spark discussions on social and political issues, challenging the traditional norms of romance. The characters in these tragic relationships, such as Velutha and Amma in The God of Small Things and Tilottama and Musa in The Ministry of Utmost Happiness, are products of their external realities.
Roy also explores the concept of "othering" through her characters, who are marginalized for their caste, sexuality, or outsider status. However, rather than portraying them as victims, she celebrates their uniqueness and challenges society's perception of their inferiority.
Arundhati Roy's works have been labeled as postmodern, domestic postcolonial novels, and political (anti-) romances, yet she cannot be confined to a specific category. Her writing seamlessly blends elements of domesticity with war and politics, making her a unique and influential voice in literature.
Through her unconventional narratives and activism, Roy has revolutionized the literary scene. She refuses to conform to traditional structures and instead creates her own, challenging the established norms of fiction. In her own words, "I wanted to break [fiction] open," and that is precisely what she has done.
Arundhati Roy's works, such as The God of Small Things and The Ministry of Utmost Happiness, are not bound by traditional structures of plot and prose. Her unique style, characterized by nonlinear and chaotic narratives, is a reflection of the cities where her stories are set - challenging the notion of whether a novel can be a city in itself.
In an interview, Roy stated, "There is a danger of fiction becoming domesticated, described, catalogued, and put on a shelf with a specific theme. I wanted to break that open." This rebellion against mainstream literature has elevated her to a subversive and highly influential novelist.
Roy's novels often feature marginalized outsiders as her characters, and they explore themes of love, particularly forbidden or doomed love. She also delves into topics such as feminism, politics, and Indian identity, showcasing the complexity of these issues through her writing.
In 1997, Roy made history as the first Indian woman to win the Man Booker Prize for her debut novel, The God of Small Things. Her works have also been translated into numerous languages, reaching a global audience and cementing her place as a groundbreaking and influential writer.
Arundhati Roy's second novel, "The Ministry of Utmost Happiness," was longlisted for a prestigious award in 2017. However, her work has faced controversy and even been banned due to its provocative content and unconventional structure.
Beyond her literary accomplishments, Roy is a passionate activist for human rights and the environment. As a self-described political writer, she uses her talents in nonfiction, screenwriting, and documentary making to shed light on important social issues. Her activism has earned her esteemed accolades like the Sydney Peace Prize and the Norman Mailer Prize for writing.
Arundhati Roy's legacy is defined by her courage to challenge conventional literary norms and to use her voice as a writer to raise awareness for pressing social and political causes. Her unconventional writing style continues to inspire new generations of writers and readers, leaving a lasting impact on the literary landscape.
