The Ministry Of Utmost Happiness

 Greetings! 

This blog is written as a response to the thinking activity given by Dilip Barad sir. 

Who is Arundhati Roy:

Roy's father was a Bengali tea planter, and her mother was a Christian of Syrian descent who challenged India’s inheritance laws by successfully suing for the right of Christian women to receive an equal share of their fathers’ estates. Though trained as an architect, Roy had little interest in design; she dreamed instead of a writing career. After a series of odd jobs, including artist and aerobics instructor, she wrote and co-starred in the film "In Which Annie Gives It to Those Ones" (1989) and later penned scripts for the film "Electric Moon" (1992) and several television dramas. The films earned Roy a devoted following, but her literary career was interrupted by controversy. In 1995, she wrote two newspaper articles claiming that Shekhar Kapur’s film "Bandit Queen" exploited Phoolan Devi, one of India’s most wanted criminals in the early 1980s and a heroine of the oppressed. The columns caused an uproar, including a court case, and Roy retreated from the public and returned to the novel she had begun to write.

In 1997, Roy published her debut novel, "The God of Small Things," to wide acclaim. The semi-autobiographical work departed from the conventional plots and light prose that had been typical among best-sellers. Composed in a lyrical language about South Asian themes and characters in a narrative that wandered through time, Roy’s novel became the biggest-selling book by a non-expatriate Indian author and won the 1998 Man Booker Prize for Fiction.

Roy’s subsequent literary output largely consisted of politically oriented nonfiction, much of it aimed at addressing the problems faced by her homeland in the age of global capitalism. Among her publications were "Power Politics" (2001), "The Algebra of Infinite Justice" (2002), "War Talk" (2003), "Public Power in the Age of Empire" (2004), "Field Notes on Democracy: Listening to Grasshoppers" (2009), "Broken Republic: Three Essays" (2011), and "Capitalism: A Ghost Story" (2014). In 2017, Roy published "The Ministry of Utmost Happiness," her first novel in 20 years. The work blends personal stories with topical issues as it uses a large cast of characters, including a transgender woman and a resistance fighter in Kashmir, to explore contemporary India.

Activism and legal problems:

Roy was active in various environmental and human rights causes, often putting herself at odds with Indian legal authorities and the country’s middle-class establishment. She drew criticism for her vocal support of Maoist-supported Naxalite insurgency groups, views she summarized in the volume "Walking with the Comrades" (2011). While Roy was leading efforts to prevent the construction of dams in Narmada, supporters of the project accused her of attacking them at a protest in 2001. Though the charges were dropped, she was convicted of contempt of court the next year after her petition for dismissal of the charges offended Supreme Court judges with its vituperative tone. She was fined and sentenced to a day of imprisonment. The incident was chronicled in the documentary "DAM/AGE" (2002). Roy’s legal problems continued, however, and in 2010 she narrowly avoided sedition charges after making remarks in support of Kashmiri independence. In December 2015, she was issued a contempt of court notice for an article in which she defended a professor who had been arrested for alleged Maoist links. Two years later, the Supreme Court issued a stay, which temporarily stopped the proceedings. During this time, Roy continued to be involved in various causes. In 2019, she was among a number of people who cosigned an open letter that called for Afghan women to be involved in peace talks between the United States and the Taliban.

Roy was later outspoken in her criticism of the Indian government’s handling of the COVID-19 pandemic. In 2020, she wrote an influential essay, “Pandemic Is a Portal,” in which she discussed how the pandemic was an opportunity to rethink the future. Later that year, it was included in her essay collection "Azadi: Freedom. Fascism. Fiction."

In recognition of her outspoken advocacy of human rights, Roy was awarded the Lannan Cultural Freedom Award in 2002, the Sydney Peace Prize in 2004, and the Sahitya Akademi Award from the Indian Academy of Letters in 2006.

About the Novel:

"The Ministry of Utmost Happiness" by Arundhati Roy is the second novel by the Indian writer, published on June 6, 2017. Originally penned in English, it falls within the genre of fiction. The novel, spanning 449 pages, was published by Hamish Hamilton (UK & India) and Alfred A. Knopf (US), immersing readers into a narrative set predominantly in India, with glimpses into parts of Canada as well.

This literary work intricately weaves together the narratives of individuals navigating through some of the darkest and most turbulent periods of modern Indian history. From the tumult of land reform displacing impoverished farmers to the tragedies of the Bhopal disaster, the 2002 Godhra train burning, and the Kashmir insurgency, Roy's characters traverse a spectrum of Indian society. Among them are an intersex woman (hijra), a defiant architect, and a landlord employed within the intelligence service.

The tale commences with the introduction of a mysterious elderly woman residing in a graveyard named Jannat. Another prominent figure is Imam Ziauddin, an aged blind man who becomes a frequent companion to Anjum, eventually revealing her name to be Anjum—a Hijra, a transwoman, who departed Khwabgah many years prior. As the narrative unfolds, we delve into Anjum's origins, born intersex and initially assigned the male gender by her mother, Jahanara. However, her journey leads her to embrace her true identity as Anjum, a celebrated Hijra who garners attention from NGOs, human rights groups, and journalists alike.

Anjum's life takes a dramatic turn when she discovers an abandoned baby girl outside a mosque, whom she lovingly names Zainab and raises as her own. Their journey together leads them to a pilgrimage in Gujarat, where they face a harrowing massacre that leaves Anjum profoundly altered, prompting her to relocate to a graveyard behind a government hospital.

n this graveyard, Anjum establishes a home, which gradually evolves into the Jannat Guest House and Funeral Services. Alongside her resides Saddam Hussain, an unemployed Dalit youth seeking justice for his father's murder, and together, they carve out a haven for societal outcasts.

Parallel to Anjum's narrative unfolds the story of Biplab, a bureaucrat entangled in the complexities of the Kashmir conflict, and his unrequited love for Tilottama. Their lives intersect with that of Naga, a journalist, leading to a series of events entwined with political intrigue and personal turmoil.

Ultimately, the narrative culminates in a convergence of characters at the Jannat Guest House, where bonds of love, resilience, and hope amidst adversity form the heart of the story. Through the eyes of Miss Jebeen the Second, named in memory of lives lost to the Kashmir conflict, Roy paints a poignant portrait of a community forged in the crucible of shared experiences.

As Tilottama finds refuge in the sanctuary offered by the Jannat Guest House, a semblance of peace and harmony descends upon its inhabitants. Amidst the backdrop of societal upheaval and personal triumphs, the story concludes, leaving a lingering impression of resilience and the enduring power of human connection.

Here are some book reviews:

https://thewire.in/books/ministry-utmost-happiness-arundhati-roy

The review of "The Ministry of Utmost Happiness" critiques Arundhati Roy's novel, acknowledging its ambitious attempt to address social and political issues in India. However, it points out shortcomings in character development and storytelling, noting a lack of depth and complexity. The novel's extensive political messaging and lack of subtlety are criticized, as well as its tendency to overload the narrative with various issues and themes. Despite these criticisms, the review recognizes the book's potential to provoke thought and discussion on important topics, particularly regarding Kashmiri resistance and nationalism. Overall, while acknowledging the novel's flaws, the review suggests that it may still serve a valuable purpose in fostering empathy and addressing societal issues in India.

https://www.newyorker.com/magazine/2017/06/05/arundhati-roy-returns-to-fiction-in-fury

The article discusses Arundhati Roy's novel "The Ministry of Utmost Happiness" and its significance in the context of Indian literature and politics. It highlights Roy's transition from her highly acclaimed debut novel "The God of Small Things" to her long-awaited second novel, which took twenty years to publish. The new novel delves into broader political themes and reflects Roy's deep engagement with the socio-political landscape of India.

The article begins by comparing Roy's debut novel, which focused on a single family's sorrows, to her latest work, which explores national griefs and the political turmoil of India over the past half-century. It provides an excerpt from the opening of "The Ministry of Utmost Happiness," highlighting Roy's evocative writing style and her ability to blend irony, comedy, and sadness.

The narrative of the new novel revolves around characters like Anjum, a transgender person, and Tilo, a Kashmiri independence fighter, whose stories intersect against the backdrop of India's socio-political struggles. The article discusses how Roy uses these characters to address contemporary issues such as transgender rights and the conflict in Kashmir.

Furthermore, the article delves into Roy's background and her journey from a young woman growing up in challenging circumstances to becoming a renowned novelist and activist. It explores how Roy's personal experiences and her deep empathy for the marginalized shaped her writing and activism over the years.

The article also touches upon the critical reception of Roy's work and her reputation as a polemicist who fearlessly critiques the Indian government's policies, particularly concerning issues like poverty, displacement, and human rights violations.

Overall, the article portrays "The Ministry of Utmost Happiness" as a powerful and timely novel that not only showcases Roy's literary talent but also serves as a poignant commentary on the complexities of contemporary Indian society.

1) HOW IS THE INTERTEXTUAL REFERENCES TO THE OTHER WRITERS IN THE NOVEL CONNECTED WITH THE CENTRAL THEME OF THE NOVEL?

1. I mean, it’s all a matter of your heart. The first epigraph was taken from Nâzim Hikmet’s poem “On the Matter of Romeo and Juliet”. [ यानी सारा मामला दिल का है... नाज़िम हिकमत ]

The first epigraph, "I mean, it’s all a matter of your heart," is borrowed from Nâzim Hikmet’s poem “On the Matter of Romeo and Juliet.” In this poem, Hikmet explores the significance of matters of the heart, which resonates with the overarching themes of Arundhati Roy's novel. When examining this quote within the context of Roy's narrative, it initiates a playful exploration of connections between different cultural narratives. Roy skillfully employs language to blur the lines of gender identity, particularly in her character Anjum. Anjum's fluid identity is reflected in her shifting between names like Anjuman and mehfil, underscoring a rejection of exclusionary practices and discrimination with the inclusive mantra of "Everyone's invited." The portrayal of Anjum's cemetery, traditionally perceived as a space for marginalized communities, takes on a deeper irony in Roy's depiction. It becomes a symbol of the inclusive, diverse, and secular ideals that India once aspired to uphold.

2.In  what language does rain fall over tormented cities? (बारिश किस भाषा में गिरती है यातनाग्रस्त शहरों  के ऊपर ?)

The quote from Pablo Neruda precedes the third chapter titled 'The Nativity'. Pablo Neruda, a poet who faced exile and accusations of assassination under the Pinochet regime, serves as a poignant reminder of resistance against oppressive forces. Despite Pinochet's refusal to allow a public funeral for Neruda, a defiant funeral procession ensued, echoing the fervent protests witnessed during the burial of Kashmiri martyrs in Roy's novel.

In Roy's narrative, these burials represent a form of protest against the indifference of occupying forces, who often leave corpses unburied along the Line of Control in Kashmir. Beyond this specific context, the novel delves into broader themes of mourning and the treatment of marginalized communities, exemplified by the tragic plight of vultures and the mistreatment of Untouchable cow skinners by Hindu mobs.

Roy draws from Neruda's last book, "Libro de las Preguntas" (The Book of Questions), particularly focusing on a question about rain falling on tormented cities. This imagery resonates with the diverse landscapes depicted in India, reflecting Roy's attention to language and cultures. Her narrative style, which includes formal experiments like mock multiple-choice questions and reading comprehension passages, further underscores her exploration of diverse perspectives and experiences.

3. Death flies in, thin bureaucrat, from the plains”, a fit frame for the third “section"

The third epigraph (141) quotes the first line of one of Agha Shahid Ali’s Kashmiri poems, “Death flies in, thin bureaucrat, from the plains”, a fit frame for the third “section”, narrated by “The Landlord”, a cold and somewhat cynical servant of the State.

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

The epigraph, drawn from Agha Shahid Ali's Kashmiri poem, sets the stage by introducing themes of imminent death and bureaucratic indifference. This quote effectively establishes the backdrop of the oppressive political landscape in Kashmir and the struggles faced by the characters embroiled in the conflict.

It aptly establishes the tone for the third section of the novel, narrated by "The Landlord," a character characterized by their cold and somewhat cynical allegiance to the State. Agha Shahid Ali, having left Kashmir for the USA at a young age, experienced the anguish and devastation of his homeland from a distance. His renowned collection, "The Country Without a Post Office," which includes the quoted poem, has served as a source of solace and inspiration for many Kashmiris. Ali's influence reverberates in the works of Kashmiri writers since his passing in 2001, evident either through direct quotations and epigraphs or subtly woven into narratives like Roy's novel.

In a poignant scene depicted by Roy, mourners at a funeral are forced to flee from gunfire, leaving behind the dead and wounded, as well as "thousands of shoes." This vividly captures the harrowing reality of the conflict and underscores the depth of human suffering experienced in Kashmir.

4. Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death.

The fourth epigraph quotes Jean Genet's novel "Notre-Dame-des-Fleurs," highlighting the gravity of a drama surpassing death. [English: "Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death." / Hindi: "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"]

The quote from Jean Genet's novel underscores a recurring theme of death and drama, suggesting that the challenges faced by the characters in the novel transcend mere mortality. This resonates with the complex and intense nature of their lives. Jean Genet's novel "Notre-Dame-des-Fleurs" and his own tumultuous life provide unexpected yet profound parallels to the themes explored in "The Ministry of Utmost Happiness." Genet's experiences of torment, imprisonment, and activism mirror the struggles depicted by Roy's characters and the political landscape they inhabit. Genet's innovative narrative style, characterized by fluid genres and a resistance to conventional classifications, likely influenced Roy's own approach to storytelling. In Roy's novel, this influence is apparent in the incorporation of various literary forms such as comedy, satire, tragedy, and poetry, alongside shifting perspectives and a non-linear narrative structure. Genet's exploration of transgender identities and the intricate interplay between life and death further enriches Roy's exploration of complexity within her own narrative. Through the interweaving of themes and narrative techniques, Roy delves deeper into the multifaceted layers of her characters' experiences and the world they inhabit.

5]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।)

Before the 8th chapter titled 'The Tenant', there's a quote by Jean Genet, renowned for his novel "Notre-Dame-des-Fleurs," penned during his imprisonment in 1942. While initially surprising, there are profound connections between Genet's literary world and "The Ministry of Utmost Happiness." Genet's life experiences and literary contributions position him amidst the "Unconsoled" and the "Indeterminate," with his novel's fusion of eroticism and religion appealing to both believers and blasphemers alike.

Genet's tumultuous youth, his incarceration, his advocacy for marginalized communities such as Afro-Americans and Angela Davis, and his outspokenness against atrocities like the Shatila massacre deeply resonate with the thematic underpinnings of Arundhati Roy's work. Furthermore, Genet's narrative experimentation, characterized by fluid genres and perspectives that defy easy categorization, likely served as inspiration for Roy's quest for complexity and resistance to oversimplification.

In "The Ministry of Utmost Happiness," Roy skillfully blends elements of comedy, political satire, elegy, tragedy, poetry, realism, and magic realism, all while employing shifting points of view. This eclectic mix mirrors Genet's pursuit of narrative originality and rejection of traditional storytelling conventions, adding depth and richness to Roy's exploration of the human experience.

6] 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।)

Before the 9th chapter titled 'The Untimely Death of Miss Jebeen the First', there's a quote from James Baldwin's essay "Down at the Cross: Letter from a Region in My Mind," which delves into race relations in the USA, still relevant today. When applied to caste relations in India, Baldwin's insights remain strikingly pertinent. The quote addresses the tendency of individuals to deny or ignore the horrific actions humans inflict upon one another.

Arundhati Roy skillfully draws parallels between Baldwin's observations and the societal dynamics in India, where caste discrimination is often sidelined or disregarded by intellectuals and scholars, despite its pervasive influence. She critiques the privileged who assume that caste prejudices have been eradicated simply because they haven't directly experienced them, likening it to presuming smallpox has disappeared.

Roy's decision to cite Baldwin instead of Martin Luther King, who admired Gandhi, reflects her criticism of Gandhi's idolization and sanitized portrayal. While acknowledging the distinctions between caste discrimination and racial discrimination, Roy emphasizes their comparable targeting of individuals based on ancestry and alleged impurity. Baldwin's poignant insights into dehumanization in racism and casteism resonate deeply in India, where victims often internalize feelings of inferiority.

Baldwin's urgent plea to his nephew not to accept the false narratives perpetuated by white people, highlighting their inhumanity and fear while rejecting any assumption of inferiority, echoes the sentiments of those marginalized by caste hierarchies in India. Through Baldwin's words, Roy underscores the importance of confronting uncomfortable truths and challenging systems of oppression, both in America and in India.

7] 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।')

Before the 10th chapter titled 'The Ministry of Utmost Happiness', Arundhati Roy utilizes a quote from Nadezhda Mandelstam's memoir, "Hope Against Hope," recounting the tragic tale of her husband, Osip Mandelstam, during Stalin's purges. Nadezhda's role in safeguarding Osip's literary legacy by committing his unpublished poems to memory and smuggling them out of the USSR for publication is a testament to her resilience and defiance against oppression.

Her memoirs provide a stark portrayal of life under Stalin's regime, highlighting the absurdity, cruelty, and arbitrary nature of existence. Themes of hope, despair, and human dignity in the face of adversity resonate strongly in her reflections.

Nadezhda's contemplation on whether to voice her anguish or remain silent amid oppression finds echoes in Roy's depiction of human suffering and resilience. Roy's narrative, featuring scenes of extreme torture and the harrowing sight of martyred youths, reflects a similar blend of cold rage and dark humor in the face of bleak circumstances. Despite the pervasive sense of despair, Roy emphasizes the notion of "hope against hope," drawing inspiration from Mirza Waheed's symbolism of yellow flowers representing the intertwined nature of hope and grief.

The "Russian connection" in Roy's work can be understood within the context of the influence of the Indian Communist Party, which facilitated cultural exchange with the USSR and promoted the translation of Russian literature into Indian languages, particularly in West Bengal. Characters like Revathy, nurtured by her Communist grandfather, serve as symbols of this connection, growing up surrounded by books from People's Publishing House and Soviet Bhumi, thus enriching the narrative with a deeper cultural resonance.

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

Vultures:

Vultures in our Ecosystem :

Vultures play a vital role in ecosystem functioning as essential scavengers. Their primary task involves consuming carrion, or dead animals, which helps to maintain environmental cleanliness and prevent the spread of diseases associated with decaying carcasses. By efficiently recycling nutrients and preventing the accumulation of organic matter, vultures contribute to the overall health and balance of their habitat.

In the novel, vultures hold significant symbolic importance, representing more than just their ecological role. They serve as a metaphor for the decline of critical thinking and cultural diversity under the influence of nationalism. The narrative begins with the demise of vultures, particularly the white-backed vultures, who have historically served as custodians of the deceased for countless years. Their extinction, caused by diclofenac poisoning from cow-aspirin, serves as a poignant symbol for the concurrent decline of intellectual and artistic guardians of culture and tradition.

"... the old white-backed vultures, custodians of the dead for more than a hundred million years, that have been wiped out. The vultures died of diclofenac poisoning. Diclofenac, cow-aspirin, given to cattle as a muscle relaxant, to ease pain and increase the production of milk, works – worked – like nerve gas on white-backed vultures. Each chemically relaxed, milk-producing cow or buffalo that died became poisoned vulture-bait. As cattle turned into better dairy machines, as the city ate more ice cream, butterscotch-crunch, nutty-buddy and chocolate-chip, as it drank more mango milkshake, vultures’ necks began to droop as though they were tired and simply couldn’t stay awake. Silver beards of saliva dripped from their beaks, and one by one they tumbled off their branches, dead. Not many noticed the passing of the friendly old birds. There was so much else to look forward to."

In the narrative, Roy draws a parallel between the physical decline of vultures and the metaphorical demise of individuals who question, create, and challenge societal norms. Writers, artists, journalists, and others entrusted with preserving memory are depicted as falling victim to a metaphorical poisoning, losing their capacity to question and resist. This decline is attributed to a conditioned adherence to a nationalist ideology that stifles diversity and dissent.

The death of the vultures serves as a potent symbol reflecting the broader theme of the novel, underscoring the repercussions of a nationalistic discourse that homogenizes differences and diminishes the cultural vibrancy of diverse communities. Roy employs this symbol to articulate her apprehension regarding the impact of nationalism on intellectual autonomy and cultural pluralism. By opening the novel with this poignant commentary, Roy highlights the dangers of uncritical conformity to a singular narrative.

2. Gui Kyom (Dung Beetle): 

Gui Kyom, the dung beetle, represents a departure from the vulture's symbolism. It embodies strength and transformative potential. Dung beetles are renowned for their ability to convert waste into something beneficial, enriching soil for plant growth. In the narrative, Gui Kyom is associated with Anjum, a transgender woman who finds beauty in unconventional places. This connection illustrates the resilience and optimism present even amidst adversity.

These animal symbols in the story serve as conduits for exploring profound concepts such as life, death, and societal dynamics. While the vulture symbolizes the harsh realities of existence, Gui Kyom offers a beacon of hope, suggesting that positive change is achievable even in challenging circumstances. Through these contrasting symbols, the narrative encourages reflection on the complexities of life and the potential for growth and renewal.