Globalization & Colonialism in Arundhati Roy`s The God of small things

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Interview with Arundhati Roy

Tilo starts a school in the cemetery. They bring in all those animals.

Saddam Hussein gets married there. A place of refuge, as it were, to the larger India which is beset by caste, war, misogyny etc. SS: Yes, Anjum and her coterie of friends, misfits, animals: they bring life and dynamism to the place. Without them, though, the role of the cemetery is fixed, the rules of inclusion and exclusion are fixed.

What did you think of Tilo and the Kasmir storyline? We leave Anjum and go on this huge ride to Kashmir. Did you find that jarring as some readers have expressed? SS: We switch, about halfway through the book, to the viewpoint of Dasgupta, who introduces the reader to Tilo.

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The second half of the book really came alive for me when I was hearing directly from Tilo. So we approach Tilo from a distance. Naga, her descended-from-royalty classmate, is ceaselessly devoted to her. A country that issued no visas and seemed to have no consulates. NM: This reminded me of how she described Rahel in God of Small Things , as someone perfectly contained in her own body and her deep solitude.

No desire to please or impress anyone. And also as a woman who is aging but doing nothing to fight it. Which, I might add, tends to describe Roy herself beautifully. And then we have a character who is staunchly answerable only to herself. SS: This gets back to the idea of post-colonialism not being post.

Globalization at what cost and to whom? Who is left behind, who is slaughtered in the rush to modernize? India has existed on the margins of American consciousness for so long that I, for one, want to show everyone the glitzy, shiny, progressive stuff. NM: Interesting!

My first book was all about the Sri Lankan civil war so I was interested in pointing out all the atrocity. But living abroad in Nigeria and then in the U.

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Is it the format? The material is horrifying, but the format is almost humorous. But clearly they cannot escape the past since many years later he ends up killing himself and his family. Not just those of the civilians and the rebels but even the agents of the government. I have to add that I think this book is incredibly brave. I was in India some years ago for the Jaipur festival and was with some Indian friends of friends.

A woman asked me who my influences were. SS: Which points to the question of exploitation, writing from the outside about the Dalit experience. The question we have to ask ourselves is, what is Roy doing with the Dalit narrative? Does she exploit it? Does she use its superficial surface details or does she delve deeply into character? Does she illuminate the humanity of the Dalit experience? NM: I cried. A lot. The whole book just washed over me. The intensity of what she had achieved. I listened to the book on audible first and I cried at the end.

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Then I read the book and at the end I cried again. The second time I think because I was just in awe of the whole project and at the fact that she ends on that particular beautiful and hopeful note. I tend to do this with the ones that hit me deep. SS: My final reaction was a sort of pain in my gut. Between my gut and my throat. Email the author Login required.

ISBN 13: 9783640357451

Post a Comment Login required. About The Author Bill Ashcroft University of New South Wales Australia Bill Ashcroft is a renowned critic and theorist, founding exponent of post-colonial theory, co-author of The Empire Writes Back , the first text to examine systematically the field of post-colonial studies. User Username Password Remember me.

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