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the relationship between Ammu and Velutha.
Within the family whose matriarch is Mammachi but whose head is necessarily the male heir, Chacko, Ammu, the divorced daughter, occupies a marginal position that is economically dependent on Chacko and culturally bound to conventions of decorum and subservience dictated by her society and reinforced by the older women in her family. As she is conscious of, her life is often described as being “over,” having been married once before. She is one of the small things, creatures of marginality and near-invisibility, that constitute the subject of the novel. Together with her children, Rahel and Estha, as well as the mostly-absent but pivotally significant Velutha, they form the novel’s heart: socially marginalized, their personal histories constitute what Roy would call “a hole in the Universe.” That is, their narratives are largely absent from the larger narratives of history and politics, since they are mostly victims rather than enactors of the rules comporting their society. Roy writes movingly, and bitterly, of the amoral social-historical phenomena that leaves in its wake oft-unrecorded trauma and victimhood. For instance, Estha and Rahel watch police brutality during the arrest of Velutha, who is passively sleeping in the verandah of the History House:
The quiet way he offered suggestions without being asked".--Comments from his father Vellya Baoben
The Caste System
Historical development: Hindu Tradition: 4 different social levels
reappears in Catholic and Protestant Churchs in Kerala
Unfair treatments: untouchable ==>Permanently polluted by their occupations
Compeletly different life lines
However, here are the rule breakers
Velutha and Ammu
Marriage and Divorce
People's attitude toward DIVORCE
Acceptable in the law
Men are reltively unaffected
Huge difficulties for women, especially those with children--Ammu
Socially: Women often come back to their families but are not wholeheartly welcomed--Ammu
She subscribed wholeheartedly to the commonly held view that a married daughter had no position in her parent's home.
Estha and Rahel, Ammu and Velutha ..
Carter addresses scholars in her essay so that they may realize how the book reflects, not only India, the worlds tendency to force a certain idea of beauty or culture on those to whom it doesn't exist.
by Arundhati Roy
The God of Small Things
(passive to her husband's violence and jealousy; looks down on Ammu for being divorced)
(submits to sexist ideals when she allows Chacko to sleep with the factory workers while chastising Ammu for her divorce)
(rebels by divorcing her
husband when he asks her
to sleep with his boss and
again by having relations with
(rebels by divorcing her husband and
spends her life not conforming to
any of society's expectations of her)
The God of Small Things- Video Summary
Although these characters do what is right according to the "God of Small Things," they go against the values of the "God of Big Things," and this is why their lives are filled with havoc.
Ammu and Velutha loved each other which was fine on a small scale as long as it was just between them, but then this started affecting more people, so they had to suffer the consequences (a.k.a.
Dupler argues this by comparing the horrific, deadly fates of Ammu and Velutha who venture outside of societal norms by acting against the Love Laws to those more fortunate fates of other characters such as Baby Kochamma and Chacko who stay within the norm of their societies.
Ammu, Velutha , Chacko, and other ..
These communities are stifling for the main characters, who all seek some form or another of acceptance: Clare, to feel at home within on culture or another, Rosa to gain the acceptance of herself minus the title of Lionel's daughter, having to live up to the expectations that she'd continue her father's legacy, and Rahel, the love and acceptance of Ammu and the forgiveness of Velutha and Sophie M...
20. Create a detailed character sketch of Ammu, Baby Kochamma, Velutha, Chako, Mammachi, Pappachi, or Margaret. (Be sure to include your thoughts and opinions on the character, not just a literal description.)
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Ammu and Velutha’s sexual desire provide a ..
Baba then started to beat Ammu, and then divorced her, leaving her to take care of their twins, Estha and Rahel.
The most clear instance of one member of Rahel’s family putting their problems off on another person involves the main protagonist, Rahel’s baby grand aunt, Baby Kochamma. Baby Kochamma found out about Ammu’s affair with the Untouchable, Velutha.
Rahel and Estha grow fond of Velutha, and soon Ammu ..
This makes reference to Ammu and Velutha and how they violated the culturally expected relationships and how, years later, Estha and Rahel also break them in an incestuous act—an action that is a result of their mutual grief rather than lust.
Ammu velutha essay Special needs essays
The last way that family helps The God of Small Things become more understandable is through the way the family acts when together. The first example can be seen in the way that Estha and Rahel act when they are together. When they are younger it says, “Now, these years later, Rahel has a memory of waking up one night giggling at Estha’s funny dream” (Roy 5). It goes on to say that she also remember what Orangedrink Lemondrink Man did to Estha and she also remembers the taste of one of his sandwiches. Along with this odd bond they have with one another is the way that Estha looks out for Rahel. When Rahel starts to go towards Orangedrink Lemondrink Man Estha decides to give her his drink so she does not have to deal with the man. He is just watching out for her and he does not want her to get hurt. Another example is that Ammu still remembers Pappachi beating her and her mother. This affects the way that Ammu parented her children. Lastly, at Sophie Mol’s funeral it can be seen that Estha, Rahel, and Ammu have to be separated from everyone. Baby Kochama told the police that Velutha raped Ammu and now no one wants Ammu to be part of the family. In this case, the presence of family can be negative or positive.
Everything you ever wanted to know about Velutha in The God ..
is couched in the consciousness of small things, the intimacy of language, and the minute undercurrents of a situation. It involves small, inchoate, personal emotions that burgeon into insurmountable, impersonal forces. From attention paid to the smallest detail in the pulsing, object-laden landscapes of Ayemenem, the novel ebbs into barely discernible emotions, which in turn grow into cogent observations about history, time and the postcolonial world. Like the postcolonial world that exists on the periphery of the Western colonial one, the postcolonial condition of the characters in the novel is one of marginality and liminality, a condition that renders them unclassifiable, alien to any easy categorization, just as their history is one of invisibility and amnesia. In a novel that carries shades of incipient socialism and feminism, the postcolonial condition is reinforced by the added drawback of being an Untouchable or a woman, as Velutha, Ammu, Rahel and Estha are: their marginality is so acute that leitmotifs of absence and loss accompany them in the novel. Like the small things upon which the novel dwells, the main protagonists of the story essentially occupy peripheral positions in their family or society. attempts to overturn their marginality, their absent histories, by recording the careful detail of their lives, each minute fantasy and idea, the small creeping emotions that culminate in passion or despair. The novel exposes the corruption and inhumanity of socialist party politics (or more specifically, politicking) and capitalism, both of which are domains of power and of subtle colonial imperialism. As if to underline that their marginalized narratives constitute a hole in chronological history, time in the novel is synchronized: the traumatic events of loss and expulsion are told in brief, crystallized flashbacks. While “small things” may ironically connote triviality, the novel is ultimately concerned with marginality, absence and loss: in other words, the invisible narratives that are consumed by power, politics, or imperialism.
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