This blog is written in response to the task assign by Dilip Barad sir as part of thinking activity. Here is a link of sir's blog: https://blog.dilipbarad.com/2021/12/the-ministry-of-utmost-happiness.html?authuser=0. In this blog I am going to write about some points to ponder which is given by sir.
Here is list of Points to Ponder:-
1) How is the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi]
2) What is the symbolic significance of Vulture and Guih Kyom (Dung Beetle) in the novel?
3) Instead of privileging the center stage, "The Ministry of the Utmost Happiness" shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines. Analyze how Roy's decision to center the periphery enriches our understanding of social, political, and existential realities often ignored by mainstream narratives.
Arundhati Roy
Arundhati Roy is an acclaimed Indian author, activist, and public intellectual known for her powerful writings on a wide range of social, political, and environmental issues. Born on November 24, 1961, in Shillong, Meghalaya, India, Roy grew up in a family deeply involved in social activism, which greatly influenced her worldview and her later work.
Roy burst onto the literary scene with her debut novel, "The God of Small Things," published in 1997. This novel won the prestigious Man Booker Prize for Fiction, making Roy the first Indian woman to receive this honor. "The God of Small Things" is a poignant and lyrical exploration of family, caste, love, and tragedy set in Kerala, India. The novel's intricate narrative structure and richly drawn characters captivated readers worldwide and established Roy as a literary force to be reckoned with.
Beyond her fiction, Arundhati Roy is also widely known for her fearless activism and outspoken advocacy on issues ranging from environmental justice to human rights. She has been a vocal critic of globalization, neoliberalism, and the impacts of capitalism on marginalized communities. Her essays and speeches are characterized by their incisive analysis, moral clarity, and unapologetic stance against injustice and oppression.
One of Roy's notable causes has been her advocacy for the rights of indigenous peoples and forest dwellers in India, particularly in the context of struggles against large-scale development projects and environmental degradation. She has been deeply involved in movements protesting against dams, mining operations, and other projects that threaten the livelihoods and environments of indigenous communities.
Roy's activism has often brought her into conflict with the Indian government and other powerful interests. She has faced legal challenges, harassment, and even threats to her safety due to her outspoken views and activism. Despite this, she remains steadfast in her commitment to speaking truth to power and amplifying the voices of the marginalized and oppressed.
In addition to her writing and activism, Arundhati Roy is also a public intellectual who engages in public debates, lectures, and interviews, both in India and internationally. Her work continues to inspire and provoke readers and activists around the world, earning her a reputation as one of the most influential voices of our time.
"The Ministry of Utmost Happiness"
"The Ministry of Utmost Happiness" is the second novel by Arundhati Roy, published in 2017, two decades after her groundbreaking debut, "The God of Small Things." This highly anticipated novel delves into the complexities of contemporary India, offering a kaleidoscopic portrait of the country's social and political landscape.
Set against the backdrop of India's tumultuous history, "The Ministry of Utmost Happiness" weaves together multiple narrative threads, spanning decades and traversing diverse geographical and cultural landscapes. At its core, the novel explores themes of identity, love, loss, and resistance, while shedding light on the struggles of marginalized communities and the impact of political turmoil and social injustice.
The novel introduces readers to a rich ensemble of characters, each with their own unique stories and experiences. Among them is Anjum, a transgender woman who finds solace and community in a makeshift graveyard in Delhi. Anjum's journey of self-discovery and resilience serves as a lens through which Roy explores the complexities of gender identity and the struggles faced by India's transgender community.
Another central figure in the novel is Tilo, a spirited woman with a troubled past who becomes entangled in the tumultuous politics of Kashmir, a region ravaged by conflict and insurgency. Tilo's story unfolds against the backdrop of the Kashmiri struggle for independence, offering a searing indictment of state violence and the erosion of human rights in the region.
Through these and other characters, Roy paints a vivid and nuanced portrait of Indian society, capturing its diversity, contradictions, and enduring resilience. Her prose is lush and evocative, brimming with vivid imagery and lyrical language that brings the novel's settings and characters to life.
"The Ministry of Utmost Happiness" is not merely a work of fiction; it is also a bold and incisive critique of power and injustice in contemporary India. Roy's unflinching portrayal of political corruption, social inequality, and communal violence challenges readers to confront uncomfortable truths about their society and compels them to imagine a more just and compassionate world.
While some critics have noted the novel's sprawling narrative and complex structure, others have praised its ambition and emotional depth. Regardless of one's interpretation, "The Ministry of Utmost Happiness" reaffirms Arundhati Roy's place as one of India's most visionary and compelling storytellers, whose work continues to provoke, inspire, and resonate with readers around the world.
Questions and Answers:-
1. How is the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi]
The intertextual references to other writers in the novel serve to enrich its thematic depth and provide a broader contextual framework for understanding the central themes. These references, carefully chosen from the works of poets and writers known for their dissenting voices and resistance against oppression, establish a connection between the struggles depicted in the novel and broader historical and literary movements.
1. Nâzım Hikmet: The epigraph from Nâzım Hikmet’s poem emphasizes the importance of matters of the heart, hinting at the emotional and personal stakes involved in resisting authority and oppression. This resonates with the central theme of the novel, which revolves around the defiance of institutional violence and the steadfast commitment to one's beliefs and integrity.
- For example: "I mean, it’s all a matter of your heart" from Nâzım Hikmet's poem "On the Matter of Romeo and Juliet" highlights the emotional core of resistance, suggesting that personal conviction and passion are crucial in the face of adversity.
2. Pablo Neruda: Neruda's contemplation on the language of rain falling on tormented cities sets a tone of melancholy and reflection. It invokes the pervasive sense of suffering and injustice present throughout the narrative, linking the novel's themes of political turmoil and social unrest to the broader human experience of suffering and resilience.
- For example: "In what language does the rain fall on tormented cities?" from Pablo Neruda's Libro de las Preguntas reflects on the universal experience of suffering and the search for meaning amidst turmoil and oppression.
3. Agha Shahid Ali: The reference to Ali's poem about death as a bureaucratic figure highlights the impersonal and oppressive nature of authority, echoing the themes of institutional violence and state oppression explored in the novel. It reinforces the idea of resistance against tyranny and the struggle for individual autonomy and freedom.
- For example: "Death flies in, thin bureaucrat, from the plains" from Agha Shahid Ali's Kashmiri poem portrays death as a cold and bureaucratic force descending upon the oppressed, symbolizing the arbitrary cruelty of power.
4. Jean Genet: Genet's quote, drawn from his novel written during a period of personal and political turmoil, adds a layer of existential reflection to the novel's exploration of identity, mortality, and the search for meaning amidst chaos and adversity. It underscores the transient nature of life and the inevitability of confronting one's own mortality in the face of oppression and injustice.
- For example: "Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death" from Jean Genet's Notre-Dame-des-Fleurs reflects on the complex interplay between life, death, and the enduring dramas of existence.
5. James Baldwin: Baldwin's poignant reflection on truth and disbelief underscores the challenges faced by marginalized voices in asserting their experiences and perspectives in the face of systemic injustice and denial. It parallels the struggles of the characters in the novel to assert their truth and assert their agency in the face of societal marginalization and oppression.
- For example: "And they would not believe me precisely because they would know that what I said was true" from James Baldwin's The Fire Next Time highlights the difficulty of being heard and believed in a society that denies the truths of marginalized voices.
6. Nadezhda Mandelstam: The quote from Mandelstam's memoir encapsulates the resilience and determination of individuals to find meaning and hope in the midst of adversity. It resonates with the novel's exploration of resilience, endurance, and the indomitable human spirit in the face of political persecution and social upheaval.
- For example: "Then there was the changing of the seasons. ‘This is also a journey,’ M said, ‘and they can’t take it away from us.’" from Nadezhda Mandelstam's Hope Against Hope reflects on the enduring journey of the human spirit, even in the darkest of times, emphasizing the unassailable nature of hope and resilience.
Overall, these intertextual references, drawn from diverse literary traditions and languages, enrich the thematic tapestry of the novel by offering profound insights into the human condition, the nature of resistance, and the enduring quest for justice and dignity. They provide readers with a deeper understanding of the novel's central themes and evoke a sense of solidarity with those who have dared to defy oppression and assert their humanity throughout history.
Epigraph of novel in English language:-
When novel starts there is an interesting lines by Nazim Hikmet, these line is from his poem.
I m e a n , i t ’s a l l a m a t t e r o f y o u r h e a r t...
- Nâzim Hikmet
After this lines there is one big Epigraph it goes like this,
At magic hour, when the sun has gone but the light has not, armies of flying foxes unhinge themselves from the Banyan trees in the old graveyard and drift across the city like smoke. When the bats leave, the crows come home. Not all the din of their homecoming fills the silence left by the sparrows that have gone missing, and the old white-backed vultures, custodians of the dead for more than a hundred million years, that have been wiped out. The vultures died of diclofenac poisoning. Diclofenac, cow-aspirin, given to cattle as a muscle relaxant, to ease pain and increase the production of milk, works – worked – like nerve gas on white-backed vultures. Each chemically relaxed, milk-producing cow or buffalo that died became poisoned vulture-bait. As cattle turned into better dairy machines, as the city ate more ice cream, butterscotch-crunch, nutty-buddy and chocolate-chip, as it drank more mango milkshake, vultures’ necks began to droop as though they were tired and simply couldn’t stay awake. Silver beards of saliva dripped from their beaks, and one by one they tumbled off their branches, dead. Not many noticed the passing of the friendly old birds. There was so much else to look forward to.
What I have Understood after reading this Epigraph..
The epigraph of the novel sets a haunting and atmospheric scene, invoking the "magic hour" when day transitions into night, creating a sense of eerie beauty. The imagery of flying foxes emerging from Banyan trees and drifting across the city like smoke evokes a sense of movement and mystery, suggesting a world teeming with life and hidden wonders.
The passage also highlights the delicate balance of nature and the devastating consequences of human interference. The disappearance of sparrows and the extinction of white-backed vultures due to diclofenac poisoning serve as stark reminders of the ecological toll of human activity. The juxtaposition of the bats' departure and the crows' return underscores the cyclical nature of life and death, as well as the interconnectedness of all living beings.
Furthermore, the mention of diclofenac, initially intended for cattle but ultimately leading to the demise of vultures, symbolizes the unintended consequences of human actions and the tragic irony of technological advancements. The vultures' decline goes unnoticed amidst the distractions of modern life, highlighting society's indifference to the plight of vulnerable species and the natural world.
Overall, the epigraph foreshadows themes of environmental degradation, loss, and the fragility of life that permeate the novel, inviting readers to contemplate the interconnectedness of humanity and nature and the urgent need for environmental stewardship.
This novel is also translated in several languages like, Urdu, Hindi, Punjabi, Malayalam, etc... there is an interesting epilogue in Hindi language translation as well which is translated by Manglesh Dabral.
- Here is a Epilogue's image from Hindi translated book.
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In this image, the inscription reads as "बेकरारों के नाम," which translates to "To, The Uncounseled" This dedication suggests that the book is devoted to the powerless within society or positions of authority. Without access to the original English version, readers of the Hindi translation might encounter unfamiliar words like 'गौरोये,' which, upon consulting the English text, reveals its meaning as 'sparrow.' This underscores the importance of accessing multiple translations or versions to fully grasp the nuances of the text.
2) What is the symbolic significance of Vulture and Guih Kyom (Dung Beetle) in the novel?
There are reference of Vulture and Gui Kyom in novel.
1. Vultures:-
Vultures symbolize death, decay, and the loss of traditional ways of life. In the novel, the extinction of the white-backed vultures due to diclofenac poisoning serves as a metaphor for the erosion of cultural and ecological diversity in India. The vultures, as custodians of the dead for millions of years, represent a connection to the natural world and traditional practices of disposal of the dead. Their disappearance reflects the broader theme of environmental degradation and the destruction of indigenous ecosystems by modernization and industrialization. Additionally, the vultures' decline serves as a commentary on the consequences of human greed and indifference towards the environment and its inhabitants.
When novel began at that time we read epilogue of this novel there we can see reference to the vultures. In the epigraph, the vultures hold a significant symbolic importance, serving as custodians of the dead and representing the natural order of life and death. The mention of the vultures' extinction due to diclofenac poisoning underscores the devastating impact of human actions on the environment and the delicate balance of ecosystems. As scavengers, vultures play a crucial role in maintaining ecological equilibrium by disposing of carcasses and preventing the spread of disease. Their disappearance disrupts this balance and highlights the interconnectedness of all living beings in the web of life. Additionally, the vultures' demise serves as a poignant metaphor for the erosion of traditional practices and cultural heritage in the face of modernization and industrialization. Overall, the vultures in the epigraph symbolize the fragility of nature, the consequences of human intervention, and the urgent need for environmental stewardship.
2. Guih Kyom (Dung Beetle):-
Reference of Guih Kyom(Dung Beetle) came in the last part of the novel. In the closing lines of the novel, the mention of Guih Kyom, the dung beetle, encapsulates a sense of hope and resilience amidst adversity. As the world sleeps and darkness envelops the scene, Guih Kyom remains vigilant, lying on his back with his legs in the air, ready to "save the world in case the heavens fell." This imagery evokes a sense of determination and steadfastness, as even a small and seemingly insignificant creature like a dung beetle plays its part in maintaining the order of the world.
The dung beetle's unwavering presence symbolizes the resilience of life itself, persisting in the face of challenges and uncertainty. Despite the darkness and uncertainty that pervades the world, there remains a belief that things will eventually "turn out all right in the end." This sense of optimism reflects the novel's overarching themes of hope, redemption, and the cyclical nature of life.
The mention of Miss Jebeen, specifically Miss Udaya Jebeen, adds a personal dimension to this sense of hope and continuity. Miss Jebeen's arrival signifies a new beginning, perhaps suggesting the possibility of redemption and renewal after the trials and tribulations depicted throughout the novel.
Overall, the reference to Guih Kyom the dung beetle in the final passage of the novel underscores the importance of resilience, hope, and the enduring power of life to persevere in the face of adversity. Through this imagery, Arundhati Roy leaves readers with a message of optimism and the belief in the inherent goodness of the world, even in its darkest moments.
3. Instead of privileging the center stage, "The Ministry of the Utmost Happiness" shifts the spotlight to the back alleys and hidden corners, granting agency to those typically relegated to the sidelines. Analyze how Roy's decision to center the periphery enriches our understanding of social, political, and existential realities often ignored by mainstream narratives.
Applying Derridean ideas of center and periphery to Arundhati Roy's novel, "The Ministry of Utmost Happiness," allows us to delve deeper into the dynamics of power, representation, and marginalization depicted in the text.
In Derridean terms, the center often represents the dominant discourse, the mainstream narrative that dictates societal norms and values. In contrast, the periphery refers to the marginalized voices and experiences that exist outside this dominant framework. Roy's decision to center the periphery in her novel disrupts this hierarchical structure, challenging the authority of the dominant discourse and offering an alternative perspective on social reality.
Anjum, the transgender woman who finds solace in a graveyard, embodies the periphery in multiple ways. Her gender identity places her at the margins of society, where she faces discrimination and marginalization. By centering Anjum's story, Roy challenges the hegemonic discourse surrounding gender and sexuality, inviting readers to confront their own biases and assumptions.
Similarly, the portrayal of Kashmir as a region embroiled in conflict highlights the marginalization of its inhabitants within the Indian nation-state. Roy shifts the focus away from mainstream narratives of nationalism and militarism to center the perspectives of Kashmiri civilians like Tilo, who are caught in the crossfire of political strife. Through this narrative choice, Roy exposes the violence and injustices perpetuated by the center against the periphery, urging readers to question the legitimacy of state power and authority.
Furthermore, Roy's exploration of caste, class, and religious tensions in Indian society further disrupts the notion of a singular, centralized narrative. Characters like Saddam Hussain and Aftab represent the intersecting oppressions faced by marginalized communities, challenging the entrenched hierarchies of power and privilege.
By centering the periphery, Roy subverts the binary opposition between center and margin, destabilizing the dominant discourse and amplifying the voices of those traditionally silenced or ignored. In doing so, she invites readers to interrogate the construction of social reality and recognize the complexity and diversity of human experience. Through her narrative intervention, Roy embodies the deconstructive spirit of Derrida, challenging the authority of dominant narratives and opening up space for alternative perspectives to be heard and valued.
I hope this blog proves to be helpful to you. I utilized AI tools to rephrase certain portions of the content.
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