Ratings198
Average rating3.8
The year is 1969. In the state of Kerala, on the southernmost tip of India, a skyblue Plymouth with chrome tailfins is stranded on the highway amid a Marxist workers' demonstration. Inside the car sit two-egg twins Rahel and Esthappen, and so begins their tale. . . .
Armed only with the invincible innocence of children, they fashion a childhood for themselves in the shade of the wreck that is their family--their lonely, lovely mother, Ammu (who loves by night the man her children love by day), their blind grandmother, Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy, Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts).
When their English cousin, Sophie Mol, and her mother, Margaret Kochamma, arrive on a Christmas visit, Esthappen and Rahel learn that Things Can Change in a Day. That lives can twist into new, ugly shapes, even cease forever, beside their river "graygreen." With fish in it. With the sky and trees in it. And at night, the broken yellow moon in it.
The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it.
The God of Small Things takes on the Big Themes--Love. Madness. Hope. Infinite Joy. Here is a writer who dares to break the rules. To dislocate received rhythms and create the language she requires, a language that is at once classical and unprecedented. Arundhati Roy has given us a book that is anchored to anguish, but fueled by wit and magic.
--front flap
Reviews with the most likes.
The God of Small Things by Arundhati Roy is a book I first bought over 20 years ago. Back then, I eagerly tried to read it but soon found myself frustrated, eventually abandoning it altogether. The intricate narrative, the unfamiliar structure—it all felt too overwhelming.
Fast-forward two decades, and there it was again, buried on my bookshelf. Its pages browned with age, coffee stains marking its journey with me, and my children's scribbles dancing across its margins. After finishing 100 Years of Solitude, I felt a renewed curiosity, a sense that maybe this was the right time to pick it up again. And this time, it was different.
The fault hadn't been the book's, I realized, but mine. I hadn't been ready. The God of Small Things is not a book you read casually. It's raw, unflinching, and deeply emotional, especially for someone like me, who grew up in South Asia.
With every page, memories long buried resurfaced. I could feel the sensation of boarding a crowded bus, gripping a metal railing, and inhaling the sharp, sour tang it left on my hands. Roy's prose stirred something deep within me—she captures the sensory experience of South Asian life in a way that is so visceral, so palpable. From the small, seemingly inconsequential details to the larger, more profound explorations of family, love, and loss, this novel cuts through the skin and reaches right into the bone.
This time around, I was ready for the ache it created. I understood its emotional weight in a way I couldn't have, all those years ago. Roy's ability to weave together the personal and the political, the small and the grand, is nothing short of masterful.
Ultimately, The God of Small Things is a masterpiece. It's not an easy read, but it's one that stays with you, seeping into the corners of your memory, like the sour smell of metal. This time, I could let myself sink into its depths, and what I found there was haunting, beautiful, and utterly unforgettable.
One heck of a rollercoaster it was. Towards the end of it, struggled to finish it.
A hard read because the anticipation of disaster was so prolonged, getting to be a little emotionally exhausting.
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