'The Ministry of Utmost Happiness' 
by  Arundhati Roy 

This blog is assigned as part of a thinking activity assigned by Dilip Barad, HOD of the Department of English at MKBU. Within this blog, I aim to provide answers to questions pertaining to 'The Ministry of Utmost Happiness' and share additional insights gleaned from the novel. (Click here)

About the Author Arundhati Roy:

• Arundhati Roy is an Indian author best known for her novel "The God of Small Things" which won the Booker Prize in 1997.
• She was born in 1961 in Shillong, Meghalaya, India. Her father was a Bengali tea planter and her mother was a Syrian Christian.
• "The God of Small Things" was her first novel and became an international bestseller. It is a semi-autobiographical story about the childhood experiences of fraternal twins in Kerala.
• Beyond fiction, Roy is also a political activist who has written extensively on issues like human rights, environmental conservation, and anti-globalization.
• Her non-fiction works criticizing India's nuclear weapons policies like "The End of Imagination" (1998) led to her being charged with contempt of court.
• She has campaigned against India's massive Narmada dam project, highlighting the displacement of indigenous peoples it caused.
• Roy was awarded the Sydney Peace Prize in 2004 for her work in social campaigns and advocacy of non-violence.
• Her other famous books include the novel "The Ministry of Utmost Happiness" (2017) and non-fiction works like "Field Notes on Democracy" (2009).
• She remains an influential voice speaking truth to power in India through her writing and activism on human rights and social justice issues.

Key facts about Arundhati Roy's novel 'The Ministry of Utmost Happiness':

• Published in 2017, it was Roy's second novel, 20 years after her debut "The God of Small Things".
• The story is set primarily in Old Delhi and follows the lives of several characters, including a hijra (transgender) named Anjum.
• It explores themes of identity, marginalization, religious tensions, and political unrest in India.
• The narrative moves across different time periods, from the late 20th century to the early 21st century.
• Key characters include Anjum, who joins a hijra community, Tilo who runs a guest house, and Kashmiris affected by the insurgency.
• The novel highlights the struggles of marginalized communities like hijras, Dalits, Kashmiris and others in Indian society.
• It is a complex, non-linear narrative that interweaves multiple storylines and characters.
• The book deals with heavy topics like sectarian violence, government crackdowns, and the price of dissent.
• Reviews were mixed, with some praising Roy's ambition and others finding the book too dense and preachy.
• It was one of the longest novels published in 2017 at over 600 pages.
• Despite its flaws, the novel cemented Roy's reputation as a literary voice unafraid to tackle major political issues in India.

Question: 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]

Arundhati Roy skillfully weaves intertextual references from various writers into her novel "The Ministry of Utmost Happiness," creating a tapestry of diverse perspectives that echo the central themes explored within the narrative.

"I mean, it's all a matter of your heart...(यानी सारा मामला दिल का है...)" - Nâzim Hikmet

This quote sets the stage for the novel's exploration of inclusivity, transcending boundaries, and embracing diverse identities, exemplified through characters like Anjum and the symbolic cemetery.

"In what language does rain fall over tormented cities? (बारिश किस भाषा में गिरती है यातनाग्रस्त शहरों के ऊपर ?)" - Pablo Neruda  

Roy draws parallels between Neruda's resistance against oppression and the protests depicted in Kashmir, while delving into themes of mourning and the treatment of marginalized communities.

"Death flies in, thin bureaucrat, from the plains - (मौत एक छरहरी नौकरशाह है, मैदानों से उड़कर आती हुई -)" - Agha Shahid Ali  

This quote sets the tone for the character "The Landlord," representing the authoritarian state, and foreshadows the portrayal of violence and tragedy in Kashmir.

"Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death. (क्योंकि वह पहले चार या पाँच बार मर चुकी थी, अपार्टमेंट उसकी मृत्यु से भी ज़्यादा गंभीर किसी नाटक के लिए उपलब्ध था।)" - Jean Genet

Roy's narrative experimentation and resistance to simplification resonate with Genet's unconventional literary style and activism for marginalized groups.

"And they would not believe me precisely because they would know that what I said was true. (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।)" - James Baldwin  

This quote introduces Roy's critique of the denial and ignorance surrounding caste discrimination in India, drawing parallels with Baldwin's insights on racism and dehumanization.

"Then there was the changing of the seasons. 'This is also a journey,' M said, 'and they can't take it away from us.' (फिर मौसमों में परिवर्तन हुआ। 'यह भी एक यात्रा है,' एम ने कहा, 'और इसे वे हमसे छीन नहीं सकते।')" - Nadezhda Mandelstam

Roy's depiction of human suffering and resilience resonates with Mandelstam's reflections on hope, despair, and dignity amidst oppression, drawing from the Russian literary tradition's influence in India.

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

The vulture and the dung beetle (referred to as "gui" in the novel) hold symbolic significance in Arundhati Roy's The Ministry of Utmost Happiness. They represent different aspects of marginalization, oppression, and the treatment of the underprivileged in Indian society.

1. The Vulture:

The vulture serves as a powerful symbol of the tragic fate of marginalized communities and the disposal of the dead. Roy's narrative highlights the near-extinction of vultures in India, which were once an integral part of the natural cycle of life and death. The vultures' disappearance is tied to the unethical and inhumane treatment of the cow-skinners, a Dalit community responsible for disposing of animal carcasses. As Hindu mobs targeted and persecuted the cow-skinners, the vultures' food source was disrupted, leading to their gradual decline.

The vulture's plight resonates with the oppression faced by marginalized groups, particularly the Dalits and the untouchables, who have been subjected to violence, discrimination, and the denial of basic human rights. The diminishing population of vultures symbolizes the erasure of these communities from the socio-cultural fabric of India.

2. The Dung Beetle (Gui):

The dung beetle, or "gui," is a recurring symbol in the novel, representing the resilience and perseverance of the oppressed. Despite facing constant hardships and indignities, the gui continues to perform its essential role in the natural cycle, rolling dung into balls and burying it to create new life.

The gui serves as a metaphor for the marginalized communities who, despite being relegated to the fringes of society, continue to carry out their vital functions and maintain their existence. Roy draws a parallel between the gui's persistent labor and the struggles of those who survive on the margins, often performing the most menial and undesirable tasks.

The juxtaposition of the vulture and the gui highlights the contrasting fates of marginalized communities. While the vulture faces extinction due to the oppressive actions of the privileged, the gui represents the enduring spirit of those who refuse to be erased, persisting in the face of adversity.

Through these symbolic representations, Roy sheds light on the complex dynamics of marginalization, oppression, and resilience in Indian society. The vulture's decline symbolizes the tragic consequences of systemic discrimination, while the gui's perseverance stands as a testament to the resilience of those who refuse to be silenced or erased.

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's book "The Ministry of Utmost Happiness" is special because it focuses on people who are usually ignored or left out of stories. Instead of talking about the most important or popular people, Roy tells the stories of those who are often sidelined - like transgender people, hijras, and Dalits. By doing this, she shows that everyone's experiences are important and that society is made up of many different kinds of people.

Roy's choice to highlight these marginalized groups allows her to explore important social and political issues. Through the eyes of her characters, she talks about things like discrimination based on caste, tensions between religions, and how people are treated unfairly by those in power. By connecting these stories, Roy shows how these problems are all linked and make each other worse. This helps us understand how society works and why some people face more challenges than others.

In addition to discussing big issues, Roy also looks at how people see themselves and fit into society. Her characters often have multiple identities and belong to different groups. Roy shows us how they figure out who they are and where they belong, even when society tries to push them away.

Roy's book helps us see the world in a different way. By focusing on the stories of those usually ignored, she gives us a better understanding of society and the problems it faces. She challenges us to think about injustice and inequality and encourages us to see the value in everyone's experiences.

Characters

Some examples:

Anjum: 

Anjum is a transgender woman who creates her own community in a cemetery in Delhi. Her story explores the challenges faced by transgender individuals in Indian society, including discrimination, violence, and the struggle for acceptance. Anjum's story shows the strength and determination of transgender individuals, as well as the complexities of identity and belonging.

Tilo: 

Tilo is another central character who is involved in various political and social movements throughout the novel. Her story intersects with those of other marginalized characters, highlighting how their experiences are connected. Tilo's journey reflects the broader political and social landscape of India, including issues such as religious tensions, political corruption, and environmental degradation.

The Hijras: 

Throughout the novel, Roy explores the lives of hijras, a marginalized community of transgender individuals in South Asia. She delves into their rituals, traditions, and struggles for acceptance in society. The hijras in the novel serve as a symbol of resilience and resistance, challenging gender norms and societal expectations.

The Kashmir Conflict: 

In the novel, Roy addresses the Kashmir conflict, a longstanding political and territorial dispute between India and Pakistan. Through the perspectives of various characters, including Kashmiri militants and ordinary citizens, she explores the human cost of the conflict and its impact on the lives of those living in the region.

These examples show how "The Ministry of Utmost Happiness" centers the experiences of marginalized characters and explores the social, political, and existential realities that they face. By giving voice to these characters and their stories, Roy challenges mainstream narratives and offers a more inclusive and nuanced portrayal of Indian society.

Conclusion:

Arundhati Roy's 'The Ministry of Utmost Happiness' is a powerful and poignant novel that shines a light on the stories and experiences of marginalized communities in India, often overlooked or ignored in mainstream narratives. By centering her narrative around characters like Anjum, a transgender woman, Tilo, an activist, the hijra community, and those caught in the Kashmir conflict, Roy challenges readers to confront the harsh realities of discrimination, oppression, and societal injustices. Through her intricate storytelling and seamless blending of multiple perspectives, she offers a nuanced portrayal of the complexities of identity, belonging, and resilience in the face of adversity. Roy's novel is not only a testament to the strength and perseverance of those on the fringes of society but also a call to acknowledge the interconnectedness of their struggles and the urgent need for social change and inclusivity. 

(WC: 1968, Photos: 07, Video: 01)