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The God of Small Things - April 2026 Book Club Reading

Falselogic

Lapsed Threadcromancer
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The God of Small Things is Arundhati Roy's first novel. The book relates the childhoods' of seven-year-old twins Estha and Rahel. With a focus on the circumstances surrounding the arrival of their British cousin to Ayemenem, India. The novel's events are set against the backdrop of social discrimination and political upheaval in 1960s Kerala, with casteism and British colonialism in India being central themes. The book was a bestseller and winner of the 1997 Booker Prize.

It has become a staple of postcolonial literature.
 
My hold came in. As soon as I finish the book I am currently reading I will start on this one!
 
I haven't gotten far yet, but to me this creates the same dreamy meandering feeling with the language that last month's book The Night Circus did. All the colours that were used in the description in the first couple pages were amazing. But at the same time it feels like there's more urgency and some other qualities I'm intrigued by in this book. Hope to have more time to read this week and be able to express this feeling better, but I'm very curious to compare these two based on the start.
 
Much like VV, I keep finding myself lost in the beauty and imagery of the language. By the time I realize I am missing story beat points I don't want to go back and re-listen. This might have been a book that was better to read than listen to. But, the audiobook was available quite a bit before the actual book was.
 
I've read most of the first chapter. It isn't one I could audiobook easily, I think, with the number of names, relationships, and places. I had to backtrack a couple of times to solidify some things in my mind. i.e., at first I thought Baby Kochamma was an actual baby during the funeral scene, and that made it especially difficult to figure out which gen was which, until I figured out it was a family nickname, and she was much older. 😄

Two mentions of balls in a few pages kind of threw me. Definitely more earthy than our previous book.
 
So far all of the sexually-charged relationships between colonizers and colonized have had the masc half be white. A straight-up predator scenario, a (temporary) love match, and what I'd call a girlish crush that, I'd say thankfully, didn't go anywhere.
 
I'm done! What a beautifully written book. I kept changing my mind about things throughout the way. For example: Many of the characters are kind of stereotypic that it's easy to grasp their essential nature early on, but then they're still very nuanced and lifelike, and yet still the initial impression of their personality stays true to the end. Maybe this is because of the time-skipping nature of the narrative, where we get glimpses of what the characters will end up like in their later lives.

I really liked how the book pictures a family life in a lifelike, non-cliched way. It's not an ideal family that sticks together no matter what or comes through when everything else fails, and it's not a bad family that only drags you down. A mother's love for her children doesn't overcome all. Chacko's marriage falls apart because he's a bad husband, but he's not a bad husband because he doesn't care about Margaret. Rahel doesn't find her happiness abroad, but she doesn't come back home to find true happiness with her family either.

Much like VV, I keep finding myself lost in the beauty and imagery of the language. By the time I realize I am missing story beat points I don't want to go back and re-listen. This might have been a book that was better to read than listen to. But, the audiobook was available quite a bit before the actual book was.
This is actually a feature of the way the book is written; many important events are first either only mentioned very briefly or skipped entirely, leaving you with the fallout, and then the book returns to describe the skipped event in a later chapter. So just stick with it, things will become more clear.
 
Finished. It was a tough read subject-matter-wise. I was not prepared for how dark this went. I am glad I read it because seriously every other page some sentence would delight me, but I'm also just going to be kinda sad about it for a while. Whoof.

I initially thought of comparing this to Gabriel Garcia Marquez's 100 Years of Solitude or to Olga Tokarczuk's Primeval and Other Times, but there's no magical realism here. The style feels like there should be, but no, this is just harsh reality.

Again, just beautiful, beautiful writing.
 
I makes you think it's magical realism with the connection between the twins early on.

I'm less than 100 pages in, so I'll check in later.
 
I finished the book a little over an hour ago. I'm not much of a lit-fic reader, so the writing felt somewhat mannered or precious to start with, with the neologism-like compound words and such. After awhile, I got into its flow and was easily swept back into the writing during each reading session.

I liked how the reader knows what happened--the deaths that caused the familial trauma that quickly made the household fall apart (though it can be argued it was on thin ice from the beginning) (and it didn't escape me that the house itself, aside from Esta's room, was falling apart, too, when Rahel came home)--but not how things actually played out, and were only given in hints, like the upside-down smile.

None of the characters were especially appealing, with the exception of Verutha and his family imo. Though as Olli mentions, even the nastiest of them are filled out enough that you can understand where they're coming from. Even while I hope I'd never make the choices that they do, or behave as cruelly, I could see how circumstances pushed them this way or that.

I wasn't expecting a happy ending, but whoof, that was rough. No coddling the readers about anybody's fate, not Ammu or Velutha, not the twins (especially Esta, who really gets put through the wringer). There isn't "there's always tomorrow," sometimes.

A very different book than The Namesake, for sure.
 
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