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Arundhati Roy

Arundhati Roy Books

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War Talk

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Power Politics

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Broken Republic

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“They visited him in saris, clumping gracelessly through red mud and long grass ... and introduced themselves as Mrs. Pillai, Mrs. Eapen and Mrs. Rajagopalan. Velutha introduced himself and his paralyzed brother Kuttappen (although he was fast asleep). He greeted them with the utmost courtesy. He addressed them all as Kochamma [an honorific title for a woman] and gave them fresh coconut water to drink. He chatted to them about the weather. The river. The fact that in his opinion coconut trees were getting shorter by the year. As were the ladies in Ayemenem. He introduced them to his surly hen. He showed them his carpentry tools, and whittled them each a little wooden spoon. It is only now, these years later, that Rahel with adult hindsight recognized the sweetness of that gesture. A grown man entertaining three raccoons, treating them like real ladies. Instinctively colluding in the conspiracy of their fiction, taking care not to decimate it with adult carelessness. Or affection. [emphasis mine] It is after all so easy to shatter a story. To break a chain of thought. To ruin a fragment of a dream being carried around carefully like a piece of porcelain. To let it be, to travel with it, as Velutha did, is much the harder thing to do.”

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Book:The God of Small Things
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“Isn't there a flaw in the logic of that phrase - speak truth to power? It assumes that power doesn't know the truth. But power knows the truth just as well, if not better, than the powerless know the truth. Enron knows what it's doing. We don't have to tell it what it's doing. We have to tell other people what Enron is doing. Similarly, the people who are building the dams know what they're doing. The contractors know how much they're stealing. The bureaucrats know how much they're getting in bribes. Power knows the truth. There isn't any doubt about that. It is really about telling the story. Good fiction is the truest thing that ever there was. Facts are not necessarily the only truths. Facts can be fiddled with by economists and bankers. There are other kinds of truth. It's about telling the story. As a writer, that's the best thing I can do. It's not just about digging up facts.”

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Book:The Checkbook and the Cruise Missile: Conversations With Arundhati Roy
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“I see a role for specialized knowledge, but I think that it's important for there to be an arena where it is shared, where it is communicated. It's not that somebody shouldn't have specialized knowledge. The ability to dig a trench and lay a cable is a kind of specialized knowledge. Farmers have specialized knowledge, too. The question is: what sort of knowledge is privileged in our societies? I don't think that a CEO is more valuable to society and ought to be paid ten million dollars a year, while farmers and laborers starve. The range of what is valued has become so extreme that one lot of people have captured it and left three-quarters of the world to live in unthinkable poverty, because their work is not valued. What would happen if the sweepers of the city went on strike or the sewage system didn't work? A CEO wouldn't be able to deal with his own shit.”

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Book:The Checkbook and the Cruise Missile: Conversations With Arundhati Roy
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“When, as happened recently in France, an attempt is made to coerce women out of the burqa rather than creating a situation in which a woman can choose what she wishes to do, it’s not about liberating her, but about unclothing her. It becomes an act of humiliation and cultural imperialism. It’s not about the burqa. It’s about the coercion. Coercing a woman out of a burqa is as bad as coercing her into one. Viewing gender in this way, shorn of social, political and economic context, makes it an issue of identity, a battle of props and costumes. It is what allowed the US government to use western feminist groups as moral cover when it invaded Afghanistan in 2001. Afghan women were (and are) in terrible trouble under the Taliban. But dropping daisy-cutters on them was not going to solve their problems.”

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Author:Arundhati Roy
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“The wind picked up and the sea got rougher. I considered giving him a good tight slap and making a run for it. There was nobody on the beach and he didn’t look capable of catching me. He continued with his exegesis based on what he thought was a profound understanding of my character. ‘The thing about women like you is that you will do anything to get what you want. You’ll even sell your body.”

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Book:Mother Mary Comes to Me
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“It turned out to be a war which, unfortunately for Comrade Pillai, would end almost before it began. Victory was gifted to him wrapped and beribboned, on a silver tray. Only then, when it was too late, and Paradise Pickles slumped softly to the floor without so much as a murmur or even the pretense of resistance, did Comrade Pillai realize that what he really needed was the process of war more than the outcome of victory. War could have been the stallion that he rode, part of, if not all, the way to the Legislative Assembly, whereas victory left him no better off than when he started out. He broke the eggs but burned the omelette.”

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Book:The God of Small Things
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“Estha had always been a quiet child, so no one could pinpoint with any degree of accuracy exactly when (the year, if not the month or day) he had stopped talking. Stopped talking altogether, that is. The fact is that there wasn’t an “exactly when.” It had been a gradual winding down and closing shop. A barely noticeable quietening. As though he had simply run out of conversation and had nothing left to say. Yet Estha’s silence was never awkward. Never intrusive. Never noisy. It wasn’t an accusing, protesting silence as much as a sort of estivation, a dormancy, the psychological equivalent of what lungfish do to get themselves through the dry season, except that in Estha’s case the dry season looked as though it would last forever.”

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Book:The God of Small Things
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“She discovered that underneath the aspect of the Rumpled Porcupine, a tortured Marxist was at war with an impossible, incurable Romantic - who forgot the candles, who broke the wine glasses, who forgot the ring. Who made love to her with a passion that took her breath away. She had always thought of herself as a somewhat uninteresting, thick-waisted, thick ankled girl. Not bad-looking. Not special. But when she was with Chacko, old limits were pushed back. Horizons expanded. She had never before met a man who spoke of the workd - of what it was, and how it came to be, or what he thought would become of it - in the way in which other men she knew discussed their jobs, their friends or their weekends at the beach. Being with Chacko made Margaret Kochamma feel as though her soul had escaped from the narrow confines of her island country, into the vast extravagant spaces of his. He made her feel as though the world belonged to them - as though it lay before thm like an opened frog on a dissecting table, begging to be examined.”

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Book:The God of Small Things
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“Glanced up and caught Ammu's gaze. Centuries telescoped into one evanescent moment. History was wrong-footed, caught off guard. Sloughed off like an old snakeskin. Its marks , its scars its wouns from old wars and the walking backwards days all fell away. In its abscence it left an aura, a palpable shimmering that was as plain as water in a river or the sun in the sky. As plain to feel the heat on a hot day, or the tug of a fish on a taut line. So obvious that no-one noticed. In that brief moment, Velutha looked up and saw things that he hadn't seen before. Things that had been out of bounds so far, obscured by histor's blinkers. ...This knowing slid into him cleanly, like the sharp edge of a knife. Cold and hot at once. It only took a moment. Ammu saw that he saw. She looked away. He did too. History's fiends returned to claim them. To rewrap them in its old scarred pelt and drag them back to where they really lived. Where the Love Laws lay down who should be loved. And how. And how much.”

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Book:The God of Small Things
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“The twins were too young to know that these were only history’s henchmen. Sent to square the books and collect the dues from those who broke its laws. Impelled by feelings that were primal yet paradoxically wholly impersonal. Feelings of contempt born of inchoate, unacknowledged fear—civilization’s fear of nature, men’s fear of women, power’s fear of powerlessness. Man’s subliminal urge to destroy what he could neither subdue nor deify.”

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Book:The God of Small Things
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“At times there's something so precise and mathematically chilling about nationalism. Build a dam to take away water AWAY from 40 million people. Build a dam to pretend to BRING water to 40 million people. Who are these gods that govern us? Is there no limit to their powers?”

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Book:The cost of living
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“The two men had a conversation. Brief, cryptic, to the point. As though they had exchanged numbers and not words. No explanations seemed necessary. They were not friends, Comrade Pillai and Inspector Thomas Mathew, and they didn’t trust each other. But they understood each other perfectly. They were both men whom childhood had abandoned without a trace. Men without curiosity. Without doubt. Both in their own way truly, terrifyingly adult. They looked out at the world and never wondered how it worked, because they knew. They worked it. They were mechanics who serviced different parts of the machine.”

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Book:The God of Small Things
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“Every now and then Micky hit me with various money- making schemes. One of the more memorable ones: ‘I say, Orundhuti, I hear you are a famous actress now.’ ‘Not really . . .’ ‘People say you’re a beautiful girl, but I can’t see you. I have cataract in both my eyes and I need surgery. But I have no money.’ Like a fool, I fell for it and gave him the money. He drank himself into a stupor. Once he recovered, I made him an appoint-ment for the surgery and gave the money directly to the surgeon.”

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Book:Mother Mary Comes to Me
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“She says you should never wake dreaming people suddenly,' Rahel said. 'She says they could easily have a Heart Attack.' Between them they decided it would be best to disturb her discreetly rather than wake her suddenly. So they opened drawers, they cleared their throats, they whispered loudly, they hummed a little tune. They moved shoes. And found a cupboard door that creaked. Ammu, resting under the skin of her dream, observed them and ached with her love for them.... ...'If you're happy in a dream, Ammu, does that count' Estha asked, 'Does what count?' 'The happiness--does it count?' She knew exactly what he meant... ...Because the truth is, that only what counts counts. The simple, unswerving wisdom of children.”

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Book:The God of Small Things
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“N O T H I N G I would like to write one of those sophisticated stories in which even though nothing much happens there’s lots to write about. That can’t be done in Kashmir. It’s not sophisticated, what happens here. There’s too much blood for good literature. Q 1: Why is it not sophisticated? Q 2: What is the acceptable amount of blood for good literature? y”

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Book:The Ministry of Utmost Happiness
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“The steel door of the incinerator went up and the muted hum of the eternal fire became a red roaring. The heat lunged out at them like a famished beast. Then Rahel's Ammu was fed to it. Her hair, her skin, her smile. Her voice. They way she used Kipling to love her children before putting them to bed: We be of one blood, though and I. Her goodnight kiss. The way she held their faces steady with one hand (squashed-cheeked, fish-mouthed) while she parted and combed their hair with the other. The way she held knickers out for Rahel to climb into. Left leg, right leg. All this was fed to the beast, and it was satisfied. She was their Ammu and their Baba and she had loved them Double.”

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Book:The God of Small Things
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“Centuries telescoped into one evanescent moment. History was wrong-footed, caught off guard. Sloughed off like an old snakeskin. Its marks, its scars, its wounds from old wars and the walking backwards days all fell away. In its absence it left an aura, a palpable shimmering that was as plain to see as the water in a river or the sun in the sky. As plain to feel as the heat on a hot day, or the tug of a fish on a taut line. So obvious that no one noticed.”

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Book:The God of Small Things
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“I knew that if I wrote what I wanted to write, it would be the end of our next flm with Channel 4. But I found it impossible to keep quiet. ‘The Great Indian Rape- Trick’, Parts I and II, were published in Sunday . The second essay ended with these words: Bandit Queen the flm seriously jeopardizes Phoolan Devi’s life. It passes judgments that ought to be passed in Courts of Law. Not in Cinema Halls. The threads that connect Truth to Half- Truths to Lies could very quickly tighten into a noose around Phoolan Devi’s neck. Or put a bullet through her head. Or a knife in her back. While We- the- Audience peep saucer- eyed out of our little lives. Not remotely aware of the fact that our superf-cial sympathy, our ignorance of the facts and our intellectual sloth could grease her way to the gallows. We makes me sick. With that, obviously, I made myself a whole lot of enemies. Phoolan Devi went to court to try to stop the film.”

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Book:Mother Mary Comes to Me
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“The ‘Rape- Trick’ essays did indeed mark the end of Pradip’s and my relationship with our commissioning editor at Channel 4. He reacted like a master whose servant had suddenly jumped up and bitten him. (Which, in a way, was true.) He denounced me publicly with a barrage of invective that made me laugh. He said I wrote like an ‘incontinent drunk trying to piss in a small pot ’. It didn’t strike him that it wasn’t a problem that women tend to have, even if they’re drunk. I had to submit the script he had commissioned me to write or return the advance I had been paid. I wrote it up as a comedy based on the Bandit Queen debate. I wish I still had a copy. One of the characters was an ex- nun who wore a polka- dot habit and ran a sewing centre for raped Christian women. She was the prototype for the character who would come to be called Baby Kochamma in The God of Small Things. I myself appeared in the script as a bitter, twisted feminist of the kind my ex- friend the commissioning editor had made me out to be. He was in it, too, as part of the Holy Feminist Trinity, who were all men. There was also a minor character who had reveries of a motorcyclist who did a circus act inside her spit- bubble.”

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Book:Mother Mary Comes to Me
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“Our strategy should be not only to confront empire, but to lay siege to it. To deprive it of oxygen. To shame it. To mock it. With our art, our music, our literature, our stubbornness, our joy, our brilliance, our sheer relentlessness – and our ability to tell our own stories. Stories that are different from the ones we’re being brainwashed to believe. The corporate revolution will collapse if we refuse to buy what they are selling – their ideas, their version of history, their wars, their weapons, their notion of inevitability. Remember this: We be many and they be few. They need us more than we need them. Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing.”

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Book:War Talk
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“At the time, there would only be incoherence. As though meaning had slunk out of things and left them fragmented. Disconnected. The glint of Ammu’s needle. The color of a ribbon. The weave of the cross-stitch counterpane. A door slowly breaking. Isolated things that didn’t mean anything. As though the intelligence that decodes life’s hidden patterns -that connects reflections to images, glints to light, weaves to fabrics, needles to thread, walls to rooms, love to fear to anger to remorse- was suddenly lost. (215)”

Incoherence
Author:Arundhati Roy
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“...as the Covid-19 pandemic burns through us, our world is passing through a portal. We have journeyed to a place from which it looks unlikely that we can return, at least not without some kind of serious rupture from the past - social, political, economic and ideological.... Coronavirus has brought with it another, more terrible understanding of Azadi: the Free virus that has made nonsense of international borders, incarcerated whole populations and brought the modern world to a halt like nothing else ever could. It casts a different light on the lives we have lived so far. It forces us to question the values we have built modern societies on - what we have chosen to worship and what to cast aside. As we pass through this portal into another kind of world, we will have to ask ourselves what we want to take with us and what we will leave behind. We may not always have a choice - but not thinking about it will not be an option. And in order to think about it, we need an even deeper understanding of the world gone by, of the devastation we have caused to our planet and the deep injustice between fellow human beings that we have come to accept.”

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Book:Azadi: Freedom. Fascism. Fiction.
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“Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next. We can choose to walk through it, dragging the carcasses of our prejudice and hatred, our avarice, our data banks and dead ideas, our dead rivers and smoky skies behind us. Or we can walk through lightly, with little luggage, ready to imagine another world. And ready to fight for it.”

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Author:Arundhati Roy
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“....though he hated to admit it, they were all Anglophiles. They were a family of Anglophiles. Pointed in the wrong direction, trapped outside their own history and unable to retrace their steps because their footprints had been swept away. He explained to them that history was like an old house at night. With all the lamps lit. And ancestors whispering inside. "To understand history," Chacko said, "we have to go inside and listen to what they're saying. And look at the books and the pictures on the wall. And smell the smells."... ..."But we can't go in," Chacko explained, "because we've been locked out. And when we look in through the windows, all we see are shadows. And when we try and listen, all we hear is a whispering. And we cannot understand the whispering, because our minds have been invaded by war. A war that we have won and lost. The very worst sort of war. A war that captures dreams and re-dreams them. A war that has made us adore our conquerors and despise ourselves.”

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Author:Arundhati Roy
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“But you have no understanding of the depths of Kashmiri duplicity, Musa thought but did not say. You have no idea how a people like us, who have survived a history and a geography such as ours, have learned to drive our pride underground. Duplicity is the only weapon we have. You don’t know how radiantly we smile when our hearts are broken. How ferociously we can turn on those we love while we graciously embrace those whom we despise. You have no idea how warmly we can welcome you when all we really want is for you to go away. Your thermometer is quite useless here.”

KashmirDuplicity
Book:The Ministry of Utmost Happiness
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“Quella prima notte, il giorno dell'arrivo di Sophie Mol, Velutha guardò la sua amante che si rivestiva. Quando fu pronta, Ammu si accovacciò di fronte a lui. Lo toccò leggermente con le dita e lasciò una traccia di pelledoca sulla pelle. Come un gesso morbido sulla lavagna. Come la brezza in una risaia. Come le scie dei jet in un cielo celeste da chiesa. Lui le prese il viso tra le mani e lo attirò verso il suo. Chiuse gli occhi e le annusò la pelle. Ammu rise. Sì, Margaret, pensò. Lo facciamo anche fra noi. Baciò gli occhi chiusi di Velutha e si alzò. Velutha, con la schiena appoggiata al mangostano, la guardò andar via. Aveva una rosa secca tra i capelli. Si girò per dirlo un'altra volta: "Naaley". Domani.”

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Book:The God of Small Things
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