The God Of Small Things

The God Of Small ThingsInter textual matteruality signifies the inter connectedness of whizz text with different texts and it reveals the presence of one text within the former(a) and highlights the fact that no text can confuse an self-directed implication. to each one text takes something from the previous texts, and lends something to the futurity texts. Every text takes something from the previous texts, and lends something to the future texts.Intertextuality is the shaping of texts meanings by other texts. It can refer to an authors borrowing and teddy of a prior text or to a readers referencing of one text in instruction a nonher. (Wikipedia).The term intertextuality was coined by the poststructuralist theorist Julia Kristeva in her phrase Word Dialogue which was published in 1966. Intertextuality generally signifies that the literary workings are non a closed ne devilrk and are not autonomous in nature. Today, intertextuality is used frequently and it has a in ternal ear a activate of our notion as one watching mental picture or TV, reading novel , or experiencing art. Graham Allen describes the concept of intertextuality as one of the profound ideas as he argues Texts, whether they are literary or non-literary, as viewed by modern theorists, as lacking in any kind of independent meaning. They are what theorists now call intertextual. The act of reading plunges us into a network of textual relations. To interpret a text, to disc everyplace its meaning, or meanings, is to construct those relation . . . Meaning becomes something which exists between a text and all other texts to which it refers and relates (Allen, Graham., Intertextuality New Critical Idiom Series. Rut leadge Publications, London, 2000, p.1)The theory of intertextuality is developed by poststructuralist and postmodern theorists, has become an effective appropriation strategy for postcompound writers. Postcolonialism is chiefly characterized by sceptical and subverti ng the authority. Pramod K. Nayyar defines postcolonial literature as Postcolonial literatures seek to ad manage the ways in which non-European (Asian, African, s byheast American, but as well settler colony) literatures and polishs drive home been marginalized as an effect of colonial rule, and to find, if possible, modes of resistance, retrieval and r of all timesal of their own pre- colonial pasts. (Nayyar K, Pramod., Postcolonial Literature An Introduction., 2008, Dorling Kindersley publications, Delhi).The sense of interconnectedness between different cultures is particularly significant in the postcolonial consideration, a context which arises due to the meeting of cultures. Arundhati Roy uses global referenced intertextuality to such a slap-up extent in her novel. Intertextuality as a device in literary texts can be deployed at different levels.Roy makes intertextuality a conscious solveic and device. The remark made on the twins in the context of the Kathakali act T rapped in the bog of a story that was and wasnt theirs. That had set out with the semblance of structure and order, then bolted like a frightened one dollar bill into anarchy (Roy, Arundhati. The God of Small Things. New Delhi India Ink, 1997, p.236). Similarly, a rewriting of texts is suggested in the description of the twins as Hansel and Gretel in a ghastly fairy tale in which their dreams would be captured and re-dreamed (Roy, p.293). Roy makes extended references to texts as different as the popular remove The punishing of harmony (Roy, p.105-11), Heart of Darkness (Roy, p.125-26,199-200,305-06), Chemmeen (Roy, p.218-20), the Kathakali human world and his Great texts like Kama Shabadam (Roy, p.218-20) and Duryodhana Vadham (Roy, p.229, 234). Many passing allusions are made to texts as disparate as popular soap operas like WWFs Hulk Hogan and Mr.Perfect (Roy, p.28), Shakespeares The Tempest, The jungle Book, The Adventures of Susie Squirrel (Roy, p.58-59), Sinbad the Sa ilor (Roy, p.80), Julius Caesar (Roy, p.82-83), Ulysses and Penelope (Roy, p.157), the fairy tales about the Three Bears (180) or the loathsome Toad who turns into a handsome prince, Rumplestiltskin (Roy, p.182), Hansel and Gretel, and even literary texts like The narrative of Two Cities (Roy, p.61), The S political machinelet Pimpernel (Roy, p.182) and so on (Roy, p.187), a normal for making jam (Roy, p.195), and the boatsongs of Kerala (Roy, p.196-97). The contexts in which these texts are used are, in general, ban or pessimistic.Roy in her novel especially in the first a couple of(prenominal) chapters used intertext to create an atmosphere of 1960s. She concentrated on fashion and culture to create that atmosphere. But the skyblue Plymouth with chrome tailfins was becalm parked outside.. (Roy, p.2). The reader leave eventually realizes that the attributes from the 1950s belong to Kerala and its inhabitants and that some(prenominal) of the attributes from the 1960s the arr ival of Sophie seawall with her mother Margaret. And then they were thither, the Foreign Returnees, in washnwear suits and rainbow sunglasses.Maxis and high heels. thread sleeves and lipstick. Mixy grinders and automatic flashes for their cameras(Roy,140).Chackos exwife Margaret and daughter Sophie Mol arrival to Kerala is a turning forefront to the novel. Ammu, Chacko, Estha, Rahel and itch Kochamma doctor into the skyblue Plymouth with chrome tailfins (Roy, p.2) to pick them up at the airdrome. The Plymouth car has many symbolisationic values. The Plymouth used to belong to Pappachi, Rahel and Esthas grand breed. nary(prenominal) that he was dead, it belonged to Mammachi, their gran (Roy,35). The grandfather was a man who lived according to the British colonisers rules. He was as well a patriarch and harassed his family. However, Chacko has taken Pappachis role of be the man in the house. The fact that the car is now driven by Chacko, who is a self title Marxist, wh ich symbolises the new Marxist rulers of Kerala. The car is thus a symbol of entrapment and also it symbolises the abide in modernity in Kerala. This delay in modernity is emphasised at the airport when the family waits for their guests from London.Estha, Rahel and Ammu are being resistant and suspicious of their guests. This is emphasised by the smell of London and the prosperity brought with the newcomers Then, there, among the washnwear suits and shiny suitcases, Sophie MolShe walked down the runway, the smell of London in her tomentum cerebri. icteric bottoms of bells flapped backwards around her ankles. Long copper floated out from under her hitherto hunt hat.(Roy, p.141). Sophie is a symbol of freedom and therefore a holy terror to old Keralan values. She represents a breath of fresh air with flapping gasp legs and floating hair. Uncle Chackos daughter is only a young girl and still a threat to Esthas and Rahels world. Estha was wearing his beige and pointy shoes and his Elvis puff. His particular Outing Puff. His favourite Elvis song was Party. Some populate like to rock, some people like to roll, he would croon, when nobody was watching, strumming a badminton racquet, curling his lip like Elvis. But mooninana- grooningonna satisfy mah soul, less have a pardy (Roy, p.37).In order to make a good painting on Margaret and Sophie, sister Kochamma is showing off, pretending she is not as foot the quantify as the rest of the family Elvis Presley, sis Kochamma said for revenge. Im aquaphobic were a little behind the times here. Every one looked at Estha and laughed (Roy, p.145). However, the childrens attraction to Sophie Mol and the modern world is there And the three of them, led by Sophie Mol, sashayed across the airport car park, swaying like fashion models, double birdie fl deals and Made-in-England go-go bags bumping around their hips (Roy, p.152).Further on, in the tragic story, Sophie Mol drowns and at her funeral she is still surrou nded by her London-ness She lay in it (the coffin) in her yellow Crimplene bellbottoms with her hair in a ribbon and her Made-in-England go-go bag that she loved (Roy, p.4). Now her hair is in a ribbon. Modernity and change pass on perhaps never survive in Kerala. Estha and Rahels fear of losing their place in the family is partly explained by the The Sound of harmony intertext. Before picking up Margaret and Sophie at the airport in Cochin, the Ayemenem family went to see The Sound of Music. However Chacko and Ammu had different views on the film Chacko said that going to see The Sound of Music was an extended maintain in Anglophilia, while, Ammu said, Oh come on, the whole world goes to see The Sound of Music. Its a World Hit( Roy, p.55). Rahel and Estha were on their way to Cochin to see The Sound of Music for the third time. They knew all the songs and to know all the songs is also important to the reader. this time the film would mean something special to the children. Esth a and Rahel are scared of loosing their uncle to Sophie Mol and Margaret. They tint as if they are not good enough. In comparison with the children in The Sound of Music, no child would be good enough superior von Trapps seven bilsted children had had their red gum baths, and were standing in a peppermint field of operation with their hair slicked down, singing in obedient peppermint voices (Roy, p.110).Estha is definitely not peppermint clean and he has been molested by the Orangedrink Lemondrink man. shock by this experience, Estha wonders if ever a Captain von Trapp, an uncle Chacko or a father could love him and Rahel. Estha speak outd that Captain von Trapp had some questions of his own. (a) Are they clean white children? No. (But Sophie Mol i s.) (b) Do they blow spit bubbles? Yes (But Sophie Mol doesnt.) (c) Do they shiver their legs? Like clerks? Yes (But Sophie Mol doesnt) (d) Have they, either or both, ever held strangers soo-soos? NNyes (But Sophie Mol hasnt.) (Roy, p.106).Apart from Esthas comparison between him and the peppermint children in the film, there are also some(prenominal) images connected to Baby Kochamma. Baby Kochamma was in her youth very much in love with a Father Mulligan, working in Ayemenem. She decided, at a young age, to become a nun, while waiting for her love for him to be returned. However, the love was never returned and Baby became disillusioned. In The Sound of Music Julie Andrews or Maria is also a nun. The keep in the convent does, however, not fit Marias personality and incomplete did it fit Baby Kochammas. They both escaped the convent life. Still, Baby Kochamma liked the other(a) nun bits dress hat in the film. Ammu explained to Estha and Rahel that people always loved best what they identify righteous about with (Roy, p.98).Although Baby Kochamma escaped the convent life, she somehow still identified with the nuns. She is jealous of other peoples love and happiness, and especially Ammus They the nuns ha d complaints to make to their Reverend Mother. Sweetsinging complaints. roughly Julie Andrews, who was still up in the hills, singing The Hills Are Alive with the Sound of Music and was, once again, late for massShe climbs a tree and scrapes her knee,Her dress has got a tear.She waltzes on her way to Mass And whistles on the stairAnd underneath her wimpleShe has curlers in her hair (Roy, p.99-100)These lyrics will lead the reader back to Baby Kochammas feelings about Ammu and Ammu, a divorced woman, who should feel shame and guilt over her failures, does the contrary and is in love. She subscribed wholeheartedly to the commonly held view that a married daughter had no position in her parents home. As for a divorced daughter according to Baby Kochamma, she had no position anyplace at all. And for a divorced daughter from a love marriage, well, address could not describe Baby Kochammas outrage. (Roy, p.45). Thus, within the interpretation of The Sound of Music the reader also has to know the intertext permit it Be by The Beatles in order to link Baby Kochamma to the nuns, Julie Andrews to Ammu and jealousy to love.Ammu is in love with the unobtainable man Velutha. She has known him all her life and although he is untouchable, Ammus family has treated him with a certain amount of respect. However, this does not mean that they would accept a descent between her and Velutha. Therefore, on some days , Ammu cannot help feeling happy, although poor about the fact that he is untouchable for her. She sometimes wakes up to the go bad of music, entirely as anyone being in love does. Still, Ammu knows that the laws say Let it Be. However, as the reader delves further into the plot, Ammu is touched by the untouchable Velutha. Thus, the line I wake up to the sound of music, Mother Mary comes to me refers to their periodical meetings. Mother Mary is Baby Kochamma, speaking for the rules given by Christianity and set systems and yet, Mother Mary is also love, in th e shape of Velutha. Through this maze of imageries the reader can witness how Baby Kochamma hates Ammu.The novel eventually develops into several tragedies where one of them is the horrifying ending of Ammus and Veluthas relationship and Veluthas death. There are many coinciding circumstances, although it is Baby Kochammas jealousy and personal disappointments that will have the most devastating consequences. In the film, Rolf is the oldest peppermint daughters boyfriend. He is a trustedperson, as if he belonged to the family. He becomes, however, a Nazi and betrays the family von Trapp. Sadly, a parallel between him and Baby Kochamma can be found. Baby Kochamma also becomes a betrayer, although she is one in the family (Roy, p.313-320). She turns from a nun into a betrayer. This imagery, it is also linking Baby Kochammas betrayal with a negative view on Christianity. There are again a multitude of messages cooperating on different levels in the intertext The Sound of Music.Uncle C hacko, the self proclaimed Marxist, who in a way is a betrayer as well. From being almost as a father to Estha and Rahel, he turns his back on them when Margaret and Sophie arrive. Uncle Chacko is thus a symbol of Marxist ideas and the Marxist government control Kerala at that time, a government picking the best apples from the basket of Marxism, reasonable as Chacko does.The heat in Tokyo intertext was a successful Bollywood film released in 1966. The film plot involves forbidden love affairs just as in The God of Small Things. However, the most important symbol from this intertext is the two beads on a rubber circumstances property Rahels hair together Most of Rahels hair sat on top of her head like a fountain. It was held together by a Love-in-Tokyo two beads on a rubber band, nothing to do with Love or Tokyo. In Kerala Love-in-Tokyos have withstood the test of time, and even today if you were to ask for one at any respectable A-1 ladies store, thats what youd get. (Roy, p.3 7)Rahel and Estha are twins. I get the impression from Roy that twins form a unit, and that when they are separated, they are just halves. They are Two beads on a rubber band (Roy, p.37). One of the many tragedies in this story involves Estha being sent outside(a) to live with his father, while Rahel stays in Ayemenem. The children do not understand the causes of all the tragedies and as children often do, they blame themselves. When they meet in Ayemenem again, they have not seen each other for twenty years. They have therefore not bean able to deal with their complexes of guilt and separation.As Rahel saw her companion in the bathroom, she thought of him He was a naked stranger met in a chance encounter. He was the one that she had known before life began. The one who had once led her (swimming) through their lovely mothers cunt (Roy, p.93). Now, imagine the two beads, Rahel and Estha, being pulled apart as much as it is possible. As the rubber band is at its breaking-point and the puller has to let go, the beads will slip out of hands and by the force of the pulling, crash into each other They were strangers who had met in a chance encounter. They had known each other before Life began. There is very little that anyone could say to brighten what happened next. Nothing that () would separate Sex from Love. Or Needs from Feelings () provided that there were tears. Only that Quietness and Emptiness fitted together like stacked spoons () Only that what they shared that night was not happiness, but hideous grief. (Roy, p.327-328)Roy uses intertextuality to a broad extent in order to give the story a deeper meaning than what it encompasses on a surface level. However, since a deeper meaning can be found in most fictional work when analysing images and metaphors.