The Ministry of Utmost Happiness by Arundhati Roy

 The Ministry of Utmost Happiness by Arundhati Roy

Hello Everyone…! This blog is a task given by Dilip Barad sir H.O.D. of English Department MKBU. In this blog I am going to deal with some questions related to the novel ‘The Ministry of Utmost Happiness’ by Arundhati Roy.

Arundhati Roy

Arundhati Roy was born in 1960 in Kerala, India. She studied architecture at the Delhi School of Architecture and worked as a production designer. She has written two screenplays, including Electric Moon (1992), commissioned by Channel 4 television. She lives in Delhi with her husband, the film-maker Pradip Krishen.

The God of Small Things, her first novel, won the Booker Prize for Fiction in 1997 and has sold over six million copies worldwide. An immediate bestseller, the novel was published simultaneously in 16 languages and 19 countries, but caused controversy in India for the description of a love affair between a Syrian Christian and a Hindu 'untouchable'. Set in Ayemenem in Kerala, a rural province in southern India, it is the story of two twins, Estha and Rahel, their reunion after 23 years apart and their shared memories of the events surrounding the accidental death of their English cousin, Sophie Mol, in 1969.

She is also the author of several non-fiction books,including: The Cost of Living (1999), a highly critical attack on the Indian government for its handling of the controversial Narmada Valley dam project and for its nuclear testing programme; Power Politics (2001), a book of essays; and The Algebra of Infinite Justice, a collection of journalism. The Ordinary Person's Guide to the Empire was published in 2004. She has since published a further collection of essays examining the dark side of democracy in contemporary India, Listening to Grasshoppers: Field Notes on Democracy (2009).

Arundhati Roy was awarded the Lannan Prize for Cultural Freedom in 2003. Her latest book is The Ministry of Utmost Happiness (2017), her second novel. It was longlisted for the Man Booker Prize and, in the US, was a finalist for the National Book Critics Circle Award.

The Ministry of Utmost Happiness

In her bestselling, highly anticipated second novel, The Ministry of Utmost Happiness, Booker Prize–winning author Arundhati Roy weaves together the lives of a diverse cast of characters from throughout the Indian subcontinent. The violence of India’s ancient caste-system and the memory of the 1947 Partition are never far away, if not right in the forefront, creating divisions that Roy’s characters must contend with and bridge. They are upper-caste Hindu, Dalit, Muslim (Sunni, Shia, Sufi), Christian and Sikh; they are from the South as well as North; they are Kashmiris—civilians as well as militants fighting for liberation from India. Some are working for the Indian Intelligence Bureau. Many fall between the borders of castes and religions and nationalities.

The conflict has left its mark. Roy shows, however, that despite their differences, her characters have much in common. Each fights a personal battle—as one says, “Indo-Pak is inside us”. These inner struggles, along with the reality of the tumultuous world in which they live, threaten to tear them apart. Like all of us, though, they seek to be healed, to be accepted, and to be cared for, and it is this human desire that brings them together and unites them.

In this sweeping narrative, as she displays the breadth of humanity, Roy introduces us to a great many figures. We at the Reading Group Center have created a character guide to help you follow them all. Print it out, stick it in your book, and refer to it as needed.

Characters 

Anjum - Anjum is born intersex and lives as a Muslim hijra (South Asia) who lives in the Khwabgah for many years before leaving and eventually founding the Jannat Guest House. On her visit to a Gujarati shrine, Anjum gets caught in a massacre of Hindu pilgrims and subsequent government reprisals against Muslims. She is anxious about the future of her own community, especially the new generation. She was born as Aftab, the long-awaited son of Jahanara Begum and Mulaqat Ali.

Mulaqat Ali - is the husband of Jahanara Begum and the father of Aftab. He is a hakim, a doctor of herbal medicine, and a lover of poetry. 

Zainab - is a three-year-old girl whom Anjum picks up on the steps of the Jama Masjid. Zainab is brought up at Khwabgah and later goes on to become a fashion designer who marries Saddam.

Saddam Hussain (Dayachand)- is one of the guests at the Jannat Guest House. He was originally named Dayachand but named himself after Saddam Hussain after seeing a video of his execution. 

Dr. Azad Bharatiya - is one of the many protestors near Jantar Mantar. He continues his 10-year fast and runs a newsletter called "News & Views".

S. Tilottama -  is a student at the Architecture School who is estranged from her Syrian Christian mother, Mariyam Ipe. 

Nagaraj Hariharan - is cast as Norman in the play. He later becomes a top-notch journalist who works in Kashmir. 

Biplab Dasgupta - was to play the role of Garson Hobart in Norman, Is That You?. He later works for the Intelligence Bureau as Deputy Station Head for. 

Musa Yeswi (Commander Gulrez) - is a reticent Kashmiri man who is classmates with Tilo in Architecture School and later her boyfriend. 

Begum Arifa Yeswi - is the wife of Musa Yeswi. Musa meets Arifa in a stationery shop where a grenade explosion takes place.

Major Amrik Singh - is a military officer in charge of counter-insurgency operations in Kashmir. He murders Jalib Qadri, a well-known lawyer and human rights activist and subsequently seeks asylum in the US claiming to be the victim of the tortures he has inflicted on others.

Comrade Revathy  - is a Maoist from East Godavari district of Andhra Pradesh who is raped and tortured by policeman. She's the mother of Udaya (Miss Jebeen the Second). Revathy leaves Udaya in Jantar Mantar.

1) How are the intertextual references to other writers in the novel connected with the central theme of the novel? [also mention the epigraphs in English & Hindi]

In "The Ministry of Utmost Happiness," Arundhati Roy skillfully incorporates intertextual references to other writers, enriching the narrative with thematic depth. Each section commences with an epigraph—a brief quote from poets and writers renowned for their resilience, resistance, and portrayal of the human spirit in the face of adversity. These epigraphs not only set the thematic tone for their respective sections but also establish a dialogue between Roy's narrative and the broader literary and socio-political landscape.

The opening section features a quote from Nâzim Hikmet's poem "On the Matter of Romeo and Juliet," which touches on themes of love and identity. Hikmet's assertion, "I mean, it's all a matter of your heart," resonates with Roy's examination of identity fluidity and the interconnectedness of human experiences. Through her adept use of language and references to cultural myths, Roy introduces her characters, endowing them with complexity and depth right from the start.

Pablo Neruda's question, "In what language does the rain fall on tormented cities?" sets the stage for the second section, probing the nature of suffering and resilience. Roy draws parallels between Neruda's poetic inquiry and the political turmoil depicted in the novel, underscoring the universality of human struggles across geographical and cultural boundaries.

 "बारिश किस भाषा में गिरती है/ यातनाग्रस्त शहरों के ऊपर ? - पाब्लो नेरुदा"

The third section begins with a quote from Agha Shahid Ali's Kashmiri poem, evoking themes of death and bureaucratic indifference. This epigraph foreshadows the portrayal of the oppressive political landscape in Kashmir and the characters' struggles against state-sanctioned violence. Through Shahid Ali's poignant verse, Roy sheds light on the human cost of conflict and the resilience of those caught in its midst.

 "मौत एक छरहरी नौकरशाह है, मैदानों से उड़कर आती हुई - आग़ा शाहिद अली"

Jean Genet's words, "Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death," herald the fourth section, emphasizing the intensity of human drama and the complexity of existence. Genet's themes of death and redemption find echoes in Roy's narrative, as characters grapple with their own mortality and search for meaning amidst chaos and upheaval. 

"क्योंकि वह पहले चार या पाँच बार मर चुकी थी, अपार्टमेंट उसकी मृत्यु से भी ज़्यादा गंभीर किसी नाटक के लिए उपलब्ध था। - ज्याँ जेने"

James Baldwin's reflection on truth and disbelief introduces the fifth section, drawing parallels between racial prejudice in the USA and caste discrimination in India. Roy expands Baldwin's insights to critique societal prejudices and challenge dominant narratives of oppression, highlighting the interconnectedness of global struggles for justice and equality. 

"और वे मेरी बात पर सिर्फ़ इस वजह से यक़ीन नहीं करते थे की वे जानते थे कि मैंने जो कुछ कहा था वह सच था। - जेम्स बाल्डविन"

Finally, Nadezhda Mandelstam's reflection on the changing seasons as a journey encapsulates the overarching themes of resilience and hope that permeate the novel. Mandelstam's words serve as a testament to the indomitable human spirit, inspiring readers to persevere in the face of adversity and uncertainty. 

"फिर मौसमों में परिवर्तन हुआ। 'यह भी एक यात्रा है,' एम ने कहा, 'और इसे वे हमसे छीन नहीं सकते।' - नादेज्दा मान्देल्स्ताम"

In conclusion, the intertextual references to other writers in "The Ministry of Utmost Happiness" enrich the novel's thematic depth and resonance, providing a literary tapestry that reflects the complexities of human experience. Through these epigraphs, Roy engages in a dialogue with a diverse array of voices, amplifying their perspectives and insights to create a narrative that is at once universal and deeply rooted in the specificities of Indian history and culture.

2) What is the symbolic significance of Vulture and Gui Kyom (Dung Beetle) in the novel?

In "The Ministry of Utmost Happiness," Arundhati Roy skillfully employs symbolism to infuse her narrative with layers of meaning, with two key symbols resonating throughout the novel: the vulture and the Gui Kyom, or dung beetle.

The vulture, traditionally linked with death and decay across various cultures, assumes a multifaceted role in Roy's narrative. At its core, the vulture symbolizes the marginalized and oppressed communities within Indian society, forced to scavenge for survival amid the decay of poverty and injustice. Much like vultures feeding on carrion, these communities subsist on the scraps discarded by the privileged few, underscoring the stark divide between the haves and the have-nots.

Moreover, the vulture serves as a poignant symbol of ecological imbalance and environmental degradation. Roy vividly portrays the devastation wrought upon vultures poisoned by toxic chemicals from livestock carcasses, illustrating the profound impact of human activity on the natural world. Through this imagery, Roy underscores the intricate connection between human and environmental suffering, advocating for collective action to address urgent ecological concerns.

Additionally, the vulture symbolizes the predatory nature of power and privilege in society. Much like vultures preying on the vulnerable, powerful individuals and institutions exploit and oppress those less fortunate. Through this symbolism, Roy critiques systems of inequality and exploitation, urging readers to confront the ethical implications of unchecked greed and oppression.

In contrast, the Gui Kyom, or dung beetle, embodies resilience, renewal, and the cyclical nature of life. Rooted in Indian mythology, the dung beetle is associated with fertility and regeneration, as it rolls dung balls to nourish the soil and foster new growth. In Roy's novel, the Gui Kyom symbolizes hope amidst adversity, highlighting the potential for transformation and renewal even in the face of daunting challenges.

Through the character of Anjum, who identifies with the Gui Kyom and cultivates a garden in a cemetery, Roy explores themes of rebirth and regeneration. Despite encountering discrimination and hardship, Anjum finds solace and purpose in nurturing life amid death, symbolizing the resilience of the human spirit in adversity. Through Anjum's narrative, Roy celebrates the capacity for healing and renewal, offering a message of hope in a world marked by suffering and pain.

Furthermore, the Gui Kyom symbolizes the interconnectedness of all living beings. Just as the dung beetle plays a crucial role in recycling organic matter and sustaining ecosystems, individuals contribute to shaping the world around them. Through this symbolism, Roy emphasizes the significance of collective action and solidarity in addressing social and environmental challenges, suggesting that meaningful change arises from cooperation and mutual support.

In essence, the vulture and the Gui Kyom serve as potent symbols in "The Ministry of Utmost Happiness," encapsulating themes of oppression and resilience, decay and renewal. Through these symbols, Roy invites readers to contemplate the intricate dynamics of power and privilege, suffering and resilience, in contemporary society, offering a nuanced exploration of the human condition and the potential for transformation and redemption.

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.

In "The Ministry of Utmost Happiness," Arundhati Roy masterfully shifts the narrative lens to focus on the marginalized and often overlooked communities, illuminating their resilience and agency. This intentional shift expands our understanding of the social, political, and existential realities that mainstream narratives frequently sideline, offering a nuanced exploration of the diverse voices and experiences that define contemporary India.

Roy's decision to spotlight the periphery challenges conventional notions of power and privilege, prompting readers to question the societal hierarchies and inequalities that govern our world. Rather than centering solely on the lives of the elite, the novel foregrounds the experiences of characters like Anjum, a transgender woman navigating identity and belonging, and Tilottama, an activist championing the rights of displaced communities. Through these vividly drawn characters, Roy presents a multifaceted portrait of Indian society, capturing a range of voices and perspectives.

One of Roy's key methods for centering the periphery is her exploration of the hidden corners and back streets of Indian cities, where marginalized communities establish spaces of belonging and resistance amid urban chaos. From Delhi's makeshift neighborhoods to Mumbai's slums, these settings mirror the broader social and political dynamics, spotlighting the intersections of caste, class, gender, and religion.

Roy's meticulous attention to detail and evocative prose breathe life into these spaces, inviting readers to immerse themselves in the characters' worlds and witness their daily struggles and triumphs. Whether depicting the bustling bazaars of Old Delhi or the sprawling slums of Annawadi, each location in the novel offers a glimpse into the resilience and ingenuity of its inhabitants.

Furthermore, Roy's focus on the periphery challenges prevailing narratives of progress and development, exposing the hidden costs of India's rapid urbanization and economic growth. Through characters like Musa, a Kashmiri freedom fighter embroiled in conflict and oppression, Roy sheds light on the human toll of militarization and state violence in regions like Kashmir. By amplifying Musa's experiences, she confronts readers with the harsh realities faced by those on the margins, urging them to grapple with the ethical dimensions of systemic oppression.

Beyond its exploration of social and political issues, "The Ministry of Utmost Happiness" delves into existential themes, including love, loss, and the quest for meaning in a complex world. Through Tilo's journey—a woman navigating past traumas and present threats—Roy examines identity and belonging in a fractured society, offering a profound meditation on the human condition.

In conclusion, by centering the periphery, Arundhati Roy invites readers to confront their complicity in systems of inequality and envision new possibilities for collective action and social change. Through her compelling storytelling and insightful observations, she challenges us to recognize and rectify the injustices that pervade our society, urging us towards a future defined by empathy, solidarity, and justice.

Word - 2,620

Pictures - 2