ThAct: The Ministry of Utmost Happiness

This Blog is a part of a Thinking Activity given by Dilip Barad Sir (Click here) HOD of the Department of English, MKBU. In this Blog I am going to give answers to some of the questions related to 'The Ministry of Utmost Happiness' and other information from this novel.

ARUNDHATI ROY:-

Arundhati Roy was born on November 24, 1961, in Shillong, Meghalaya, India. She is a famous Indian writer and someone who stands up for what she believes in. Her most famous book is called "The God of Small Things," which won awards in 1997. Besides writing, she is also very active in fighting for the environment and for people's rights. Because of this, she has faced some legal troubles. 

"The Ministry of Utmost Happiness," penned by Indian author Arundhati Roy and published in 2017, is a sprawling narrative interlacing various characters and plotlines, depicting the tumultuous landscape of contemporary India. At its heart, the novel delves into themes of social injustice, political upheaval, and the quest for identity and belonging. Through the lives of characters like Anjum, a transgender woman in Delhi; Tilo, a woman with a mysterious past; and Musa, a Kashmiri freedom fighter, Roy crafts a vivid portrayal of India's complexity and diversity. Alongside, she explores issues such as caste oppression, religious strife, and environmental degradation. The book's lyrical prose, well-crafted characters, and insightful commentary on modern India have earned it critical acclaim.

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

In the novel Arundhati Roy gives little lines before the chapters which are like references to the other writers somewhat connected to the novel's main themes. Let us try to understand with the help of information in Dilip Barad sir's Blog and Arundhati Roy’s The Ministry of Utmost Happiness, or How to Recruit Art and Intertexts in the Battle against “Stupidification” article by Catherine Pesso-Miquel

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

Nâzim Hikmet

• 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

Preceding the first chapter titled 'Where Do Old Birds Go to Die?' is a quote from Nâzim Hikmet’s poem “On the Matter of Romeo and Juliet.” Arundhati Roy ingeniously links Romeo and Juliet with the Arabo-Persian tale of Laila and Majnun, illustrating the blending of stories and cultures across borders. Through this connection, Roy emphasizes how authors from diverse backgrounds inspire one another, transcending boundaries and notions of superiority. Within her narrative, the character Anjum skillfully plays with words, subtly hinting at her gender identity while advocating for inclusivity. Anjum's cemetery serves as a sanctuary for those marginalized elsewhere, in stark contrast to the segregated nature of many Indian burial grounds. Ironically, Anjum's cemetery symbolizes a bygone era of diversity and inclusivity in India.

Preceding the 10th chapter titled 'The Ministry of Utmost Happiness' is a poignant quote from Nadezhda Mandelstam's memoir, "Hope Against Hope." It captures the essence of resilience amidst adversity, echoing the sentiment that no one can strip away the journey of life from us. Nadezhda's memoir recounts the tragic story of her husband, Osip Mandelstam, and her role in preserving his literary legacy during Stalin's purges. Through her reflections, themes of hope, despair, and human dignity in the face of oppression resonate deeply.

Nadezhda's contemplation on whether to vocalize protest or endure in silence mirrors Roy's portrayal of suffering and resilience. Roy's narrative, depicting brutal torture and the martyrdom of youth, reflects a similar vein of cold rage and dark humor. Yet amidst the darkness, there is a glimmer of "hope against hope," a motif echoed from Mirza Waheed's work, symbolized by yellow flowers intertwining hope and grief.

The "Russian connection" in Roy's narrative can be contextualized within the influence of the Indian Communist Party, fostering cultural exchanges with the USSR and facilitating access to Russian literature through translations into Indian languages, notably in West Bengal. Characters like Revathy, shaped by her Communist upbringing, symbolize this connection, immersed in literature from People's Publishing House and Soviet Bhumi.

2) WHAT IS THE SYMBOLIC SIGNIFICANCE OF VULTURE AND GUI (DUNG BEETLE) IN THE NOVEL?

In "The Ministry of Utmost Happiness," Arundhati Roy utilizes the symbolism of two distinct creatures, the vulture and the Gui Kyom (Dung Beetle), to offer profound insights into aspects of life and society that may often go unnoticed.

1. Vulture: Symbolizing death and destruction, the vulture is a stark reminder of the harsh realities of life. Roy uses the presence of vultures in scenes of violence or disaster to highlight the interconnectedness of life and death. Moreover, the plight of vultures in the novel serves as a metaphor for the exploitation and degradation inflicted upon marginalized communities by those in power. Roy's narrative also underscores the environmental repercussions of human actions, as seen in the devastation of vulture populations due to the inadvertent consumption of harmful pharmaceuticals. Through the vulture, Roy prompts readers to contemplate the consequences of societal injustices and the importance of collective responsibility.

2. Gui Kyom (Dung Beetle): In contrast to the vulture, the dung beetle symbolizes strength and transformation. Renowned for its ability to convert waste into valuable resources, the dung beetle represents resilience and the potential for positive change. Roy associates the Gui Kyom with Anjum, a transgender woman who finds beauty and solace in unlikely places. Through this connection, Roy suggests that amidst adversity, there exists the possibility for growth and renewal. The dung beetle serves as a beacon of hope, illustrating how even in the most challenging circumstances, individuals can persevere and create opportunities for improvement.

Through these symbolic representations, Roy delves into profound themes such as life, death, societal dynamics, and resilience. The vulture reminds readers of the harsh realities of existence, while the Gui Kyom offers optimism and the promise of transformation. In doing so, Roy prompts readers to contemplate the complexities of the human experience and the potential for both despair and redemption.

3) 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 novel "The Ministry of Utmost Happiness" is distinctive for its deliberate focus on individuals typically overlooked or sidelined in mainstream narratives. Rather than centering on the most prominent or popular characters, Roy amplifies the voices of those often relegated to the sidelines, such as transgender people, hijras, and Dalits. Through this approach, Roy underscores the importance of every individual's experiences and highlights the rich diversity within society.

Roy's decision to foreground these marginalized groups allows her to delve into critical social and political issues. Through the perspectives of her characters, she addresses themes such as caste-based discrimination, religious tensions, and systemic injustices perpetuated by those in positions of power. By interconnecting these narratives, Roy demonstrates how these issues intersect and exacerbate one another, providing readers with insight into the complexities of societal dynamics.

In addition to tackling significant societal challenges, Roy explores the intricacies of identity and belonging. Her characters often navigate multiple identities and affiliations, challenging societal norms and expectations. Roy skillfully portrays their journey of self-discovery and resilience in the face of societal marginalization and rejection.

By centering the stories of those typically ignored, Roy offers readers a fresh perspective on the world. Through her narrative, she provides a nuanced understanding of societal issues and prompts readers to confront issues of injustice and inequality. Ultimately, Roy's work challenges readers to recognize the value in every individual's experiences and fosters empathy and understanding across diverse perspectives.

Anjum: Anjum, a transgender woman, forges her own community within a cemetery in Delhi, navigating the myriad challenges faced by transgender individuals in Indian society. From discrimination to violence and the quest for acceptance, Anjum's journey illuminates the resilience and agency inherent in transgender experiences, while also delving into the intricate layers of identity and belonging.

Tilo: Central to the narrative is Tilo, deeply entwined in various political and social movements throughout the novel. Her trajectory intersects with those of other marginalized characters, underscoring the interconnected nature of their struggles. Tilo's odyssey mirrors the broader political and social landscape of India, encompassing themes such as religious tensions, political corruption, and environmental degradation.

The Hijras: Roy delves into the lives of hijras, a marginalized transgender community in South Asia, exploring their rituals, traditions, and ongoing battle for societal acceptance. Through their portrayal, hijras emerge as symbols of resilience and defiance, challenging entrenched gender norms and societal expectations.

The Kashmir Conflict: Against the backdrop of the Kashmir conflict, a longstanding territorial dispute between India and Pakistan, Roy provides multifaceted perspectives from various characters, including Kashmiri militants and ordinary citizens. Through their narratives, she delves into the human toll exacted by the conflict and its profound impact on the lives of those residing in the region.

These instances illustrate how "The Ministry of Utmost Happiness" places marginalized characters at the forefront, delving into the social, political, and existential challenges they confront. By amplifying their voices and narratives, Roy disrupts conventional storytelling norms, presenting a more comprehensive and nuanced depiction of Indian society. In doing so, she challenges dominant narratives and fosters a greater sense of inclusivity, shedding light on the diverse experiences that shape the fabric of society.