Narrative Technique in The God of Small Things

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1 Narrative Technique in The God of Small Things

1.1 1. Fragmentation: A Disjointed Yet Meaningful Narrative

1.2 2. Multiple Perspectives: A Polyphonic Narrative

1.3 3. Temporal Shifts: Past and Present in Constant Dialogue

1.4 4. Poetic and Lyrical Prose: The Language of Emotion

2 Conclusion: A Narrative of Memory and Trauma

Narrative Technique in The God of Small Things

Arundhati Roy’s The God of Small Things (1997) is celebrated for its experimental narrative style, which breaks away from conventional storytelling. The novel employs fragmentation, multiple perspectives, and temporal shifts, creating a layered and immersive reading experience. Roy’s narrative technique in The God of Small Things mirrors the fluidity of memory, reflecting the trauma and emotional depth of her characters.

1. Fragmentation: A Disjointed Yet Meaningful Narrative

Roy constructs the novel in fragments, revealing key events in a non-sequential order. Instead of following a linear progression, the story unfolds like a puzzle, with pieces scattered across different timelines. This fragmentation serves multiple purposes:

It reflects how memory works, especially for characters like Rahel and Estha, who process trauma in disjointed flashes.
It builds suspense, forcing the reader to piece together events gradually.
It emphasizes the inevitability of tragedy, as the novel reveals its climax early but withholds critical details until later.

For instance, Sophie Mol’s death is mentioned at the beginning, but the circumstances leading to it are slowly unveiled, intensifying the emotional impact. The fragmented structure mimics trauma, showing how painful memories surface in scattered, often intrusive ways.

2. Multiple Perspectives: A Polyphonic Narrative

Roy’s narration blends multiple viewpoints, shifting between different characters’ thoughts and emotions. This technique allows for:

A deep psychological exploration of each character’s fears, desires, and struggles.
A deconstruction of absolute truth, showing that different characters interpret events differently.

For example, Baby Kochamma sees Velutha as a dangerous rebel, while Ammu and the twins view him as a kind, loving presence. By presenting multiple perspectives, Roy highlights how power and privilege shape perception.

3. Temporal Shifts: Past and Present in Constant Dialogue

One of the novel’s most striking features is its frequent shifts between 1969 and 1993. The story does not unfold chronologically but moves back and forth, creating a sense of inevitability—the past haunts the present, and the present is shaped by past events.

The 1969 timeline captures the twins’ childhood, their mother’s forbidden love, and the events leading to Sophie Mol’s death.
The 1993 timeline shows Rahel’s return to Ayemenem and her silent reunion with Estha, revealing how trauma has affected them over time.

These temporal shifts serve to:

Mirror memory’s non-linear nature, showing how the past lingers in the present.
Create dramatic irony, as readers already know key outcomes but not the details.
Emphasize loss and nostalgia, showing how time erodes innocence but never erases pain.

4. Poetic and Lyrical Prose: The Language of Emotion

Roy’s narrative style is deeply poetic, with rhythmic, fragmented sentences that mimic childlike thought processes and emotional intensity. She frequently uses:

Capitalization of Words (e.g., “Things Can Change In A Day”) to emphasize themes.
Repetitions and Rhymes that echo the way children perceive the world.
Sensory Details that make the narrative vivid and immersive.

The fluidity of language blurs the line between prose and poetry, making the novel both intimate and philosophical.

Conclusion: A Narrative of Memory and Trauma

The fragmented, multi-perspective, and temporally fluid structure of The God of Small Things reflects the complexity of memory, trauma, and identity. Roy’s unconventional narrative style does not just tell a story; it immerses the reader in the experience of loss, love, and oppression. By breaking traditional storytelling norms, she forces the audience to engage deeply, making the novel a powerful exploration of personal and political histories.

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