Mammachi’s entomologist husband, Pappachi, tortures her mentally and physically (47-48). Mammachi’s pickle making job earns Pappachi’s jealous frowns instead of favour. He greatly resents the attention she gets in society for her skill in it. Pappachi’s egoism puts Mammachi’s talent for music to an end. A few words of praise from the music teacher provoke him to put an end of her lessons abruptly.
Ammu begins to look for ways to regain control over her own life, such as her relationship with Velutha. However, because of the events that transpire from the relationship, she begins to resent her children even more, once even shouting at them that “If it wasn 't for you I wouldn 't be here! I would have been free!" (240). This event showcases that when Ammu begins to focus on her own wish to be free of society’s constrictions, she no longer can prioritize the needs of her children, and in fact begins to view them as a
Rahim acts as a physical link between the characters and themes of the story, a middleman that deepens the context of the plot. The role of a father-figure, shared by Baba and Rahim Khan is a complex relationship that heavily impacts Amir’s actions and emotions. Whilst Baba is the biological father and role model of Amir, it is Rahim Khan who is the one to provide emotional support, and stability. Amir’s selfish tendencies are a result of the lack of affection that is given to him by Baba, a man who wants to, but struggles to find similarities between himself and Amir. As a result, he often has difficulty relating to his son, leading him to think that “there is something missing in [Amir]”, because he is not like himself (Hosseini 24).
To the observation made by Ammu that Chacko is least concerned about their well-being, he retorts, “Are they my responsibility?” (TGST 85). Baby Kochamma too airs the same view: “He wasn’t her responsibility” (TGST 21). Estha finds Brutus-like cruelty in Kochu Maria when she says, “This isn’t your house” (TGST 83). So the Ayemenem family could only provide them physical care like food, clothes and fees “but withdrew the concern” (TGST
Although, Amir and Mariam live in the same city, Amir has a different experience than Mariam mainly because of their gender difference. Despite being around the same age and being similar in every aspect, Amir and Mariam are denied the same opportunities. With their point of views, we view the Muslim world from a radically different view points, which creates a stark contrast with each
Arundhati Roy makes us look at the other side of “Love Laws” which shows us the love which is beyond those boundaries made by the society and traditions. The example of love beyond the boundaries of “Love Laws” can be seen in the relationship of Ammu with Velutha, an untouchable. This relationship is not accepted by the people around Baby Kochamma thinks “How could she stand the smell? Haven’t you noticed, they have a particular smell, these Paravans?’ she preferred “Irish- Jesuit smell to a particular Paravan smell”. This sinful love is not accepted, and this leads to Velutha getting murdered by his own father and Ammu being banished from the society.
“And the air was full of Thoughts and Things to Say. But at times like these, only the Small Things are ever said. Big Things lurk unsaid inside.” ― Arundhati Roy, The God of Small Things INTRODUCTION The God of Small Things is a novel by Indian author Arundhati Roy. This novel is debut novel of Arundhati Roy and known for wining booker prize, one of the most prestigious awards in the English-language literary world. Roy started writing her first novel (The God of Small Things) in 1992 and novel got completed in 1996.
Umm 's father, Ibrahim, was an imam and her mother, Fatmah, was a housewife. Umm and her older sister and brother were raised in a small village in the Nile Delta. The family was poor, so her father sang religious songs at various celebrations in the neighboring villages. Umm overheard her father 's music lessons to her brother and learned all the songs herself. When he realised that she had a great memory and an unusually strong voice, her father decided to teach her too.
Also, while Padmini refuses to accept the tattered dolls because it may bring bad luck to the house, she is ignorant to the fact that her husband Devadatta is also a disoriented human being with Devadatta’s head and Kapila’s body. The incomplete being of Devadatta living in the same space with Padmini, forces the blame on her as an unrighteous woman in the public’s eyes, rather than for them to understand the transposition of heads that happened before. This is also due to the objectification of women, even after they are married because they retain a sexual appeal for another man’s masculine gaze in a patriarchal society and they are not entirely unavailable for feeding into the masculine sexual fantasies. This objectification of women is more prominent when the potential of masculine gaze as oppressive to women’s sexual autonomy is derived from the failure of the husband as a “complete” man as defined and accepted by patriarchal ideology. Although the play presents a subversion of masculine gaze when Padmini asserts her female sexuality through her sexual desires and fantasies and having a completeness in her experience by having the best