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 …
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
This book had been on my lists for ages, before I even knew who was Arundhati Roy, and I was surprised that it took me a while to like it. There was something holding me back a little. It's a slow drama, like a train crash in slow motion, often foreshadowed through the labyrinthine construction between the present and different times in the past. Eventually, it started to make sense and the incredible writing gripped me.
Magnifique livre, très émouvant et incroyablement bien écrit. Ce premier livre de l'auteur, si je me rappelle bien mes lectures à son sujet, fit sensation dans le monde de la littérature anglaise. Il est de fait étudié au Bac français (option littérature anglaise) 2024-2025. Le style est de réalisme magique, vu depuis les yeux de deux enfants, faux-jumeaux, qui ont développés une vision très particulière du monde, certainement par protection. Bien qu'il traite de sujets parfois sur, ce style justement permet d'éviter de se retrouver le cœur trop broyé para leurs tribulations.
Tätä kirjaa oli aika uuvuttava lukea. Ensimmäiset kaksi ja puoli sataa sivua tuntuivat aika sekavilta ja tapahtumat irrallisilta, kerrontatyyli oli minusta ärsyttävä, ja vasta viimeisen sadan sivun aikana koko tarinaan tuli jotain tolkkua. Mutta kyllä sitten, kun loppuun asti sai punnerrettua, tästä muodostui melko voimakas kertomus eteläintialaisen yhteiskunnan jännitteistä.
Review of 'The God of Small Things' on 'Goodreads'
4 stars
Short but intense book, with lots to say about caste, class and family. It was a powerful read but I honestly am not sure if I can say I liked it. It is disturbing and confronting. It is also extremely well structured, I will probably need to sit with it for a while.
Kerala and nearly all of the characters expand into three dimensions in a story that weaves between past and present and addresses class and patriarchal structures, colonialism, family dysfunction. It's cluttered however with poetic turns of phrase that founder and repeat and grow overshadowly wearisome.
Review of 'The God of Small Things' on 'Goodreads'
No rating
Abandoned, at 24%. This is not good for my 2021 reading challenge: I'm already two books behind. If I were younger I might slog through... but now, with fewer moments left in my life, I choose to enjoy those moments more — and I am not enjoying this book. At all. Disjointed the timeline is, confusingly so. The characters (so far) only superficially drawn: no depth nor feeling, except for (the author's) heavyhanded scorn toward the Bitter Spinster and the Drunken Ex-Husband. The prose, awkwardly florid at times. (Lovely at times, too, but not enough of a balance for me).
Review of 'The God of Small Things' on 'Goodreads'
4 stars
Beautifully written, painting a vivid picture of a place and time, and dealing with a culture and subjects I knew little about. I struggled with the non-linear timeline though. Perhaps I’d got used to it by the time I reached the conclusion, but the latter half of the book felt stronger.
A book I’m glad to have read, which will stay with me for some time.
Review of 'The God of Small Things' on 'GoodReads'
No rating
I cannot say I liked this book. It's great, but it's also awful, and I feel like it will take a while to wash it off of me. It describes ugly things as if they were beautiful and beautiful things as if they were ugly.
Also, I think it hit closer to home than I would have liked and much closer than it should have.
Review of 'The God of Small Things' on 'Goodreads'
4 stars
A stunning tale, full of light and darkness, poetry and playfulness, big and small things. Arundhati Roy has a way with words that is unique, and speaks both to the hearts and minds of her readers.
Review of 'The God of Small Things' on 'GoodReads'
3 stars
Some great writing, most particularly in the tension of some passages and in the use of repeated phrases to highlight affect, but the pessimism can be grating. The narrative of loss, social difference, and the struggles of one family in the archaic Indian caste system is set up to be a story for all class struggle, but is overly sentimental throughout.
Review of 'The God of Small Things' on 'Goodreads'
5 stars
I had been reading a lot of Hemingway and I sort of wanted a break from That Style; I definitely got it with this book. Roy's writing is breathtaking. To steal a sentiment from another review I just read, she puts words together in ways that should make no sense at all but flawlessly evoke the sense of being there. It reminds me of Tonguecat or The Sound and the Fury a bit in that regard. The story is dark and sad and horrible, which I resented at times, but ultimately I forgive it for its astonishing beauty. Also, something I don't see other reviews pointing out: this book is funny! Am I the only one who took that from it? While the dominant notes are certainly pretty dismal, the children are still children and Roy shows us how they play with words and think about what the worlds …
I had been reading a lot of Hemingway and I sort of wanted a break from That Style; I definitely got it with this book. Roy's writing is breathtaking. To steal a sentiment from another review I just read, she puts words together in ways that should make no sense at all but flawlessly evoke the sense of being there. It reminds me of Tonguecat or The Sound and the Fury a bit in that regard. The story is dark and sad and horrible, which I resented at times, but ultimately I forgive it for its astonishing beauty. Also, something I don't see other reviews pointing out: this book is funny! Am I the only one who took that from it? While the dominant notes are certainly pretty dismal, the children are still children and Roy shows us how they play with words and think about what the worlds shows them in completely ordinary childlike, hilarious ways.
