This is a beautifully written book, but in many ways, I think the writing overtakes the story. The author is rather heavy-handed in making themes known (and appreciated), and the characters and story-line often seem to play second string to the author's intentions because of this tendency. At times, the author's hand was far more believable than the characters or actions portrayed, and while this was rarely a problem, when it did come up it was clear that Roy was simply too intent on arguing a point or theme, as opposed to creating a work of art or imagination. Things, often, were simply pushed too far. Similarly, some 'minor' traumas were presented, apparently, simply as points of comparison beside larger ones, but character reactions to these lesser traumas ranged from being unbelievable to being unbelievably non-existent. Simply, the conception of the work was often too heavy-handed for my taste, and whil the writing was beautifuf and the execution graceful, the work as a whole left me fairly untouched because I wasn't ever able to forget the author's careful background manipulations. I recommend the book for it's writing (though I'd argue it would have been stronger if a hundred pages shorter), but it can't be called an escape in any respect. ( )

“The God of Small Things” is Complex, Cryptic, and Artsy. It’s almost as if the author is trying too hard to be these things, at the detriment of her tale.
Rahel and Estha are “two-egg” (fraternal) twins who live with their mother, uncle, grandmother and grand-aunt in Ayemanem, India. Their uncle, Chacko, has an ex-wife and daughter who live in England and come to Ayemanem to visit. At this same time, their mother, Ammu engages in some activity that threatens the way of life of everyone in their village. The story of this activity and the arrival and death of Rahel and Estha’s cousin Sophie Mol is revealed in bits and pieces, interspersed with accounts from the present day.
None of the action is remotely chronological and is dribbled out to the reader in such a way that it is difficult to understand what any of these vignettes has to do with each other. Immediately upon finishing the book, I felt like I should go back and read the first few chapters again, just to see what it was they were talking about in the context of what all happened in the end of the book, but before these events chronologically. I didn’t, however, because the prospect of wading back through the cryptic descriptions and frequent dropping of Malayali words that are not ever translated was too daunting.
It was beneficial to me to find a study guide for this book, written by some college professor, when doing a google search for Love-in-Tokyo which is an item frequently mentioned in the book, but never explained. You should know, if you ever plan to read this book, that a Love-in-Tokyo is a ponytail holding apparatus consisting of two beads attached to a rubber band. It figured prominently in a film that was apparently popular in India called “Love in Tokyo.” I was not able to find any reference to a Love-in-Tokyo as a hair band in anything besides commentary on this book.
I can’t really tell if the plot or characterizations or descriptions of life in India in the 1960’s would be more valuable if the tale were told without all the cryptic crap, and in a chronological order, but I do know that I didn’t really enjoy reading this book. It might have been better if I had read it for a class and participated in discussions, but as a pleasure-book, it certainly was not at all pleasurable reading. ( )

Beautifully written book which draws you in completely ( )

This challenging novel tells the story of a multi-generational family in southernmost India whose lives are changed in one day by a tragic incident. While the main story is set in 1969, Roy moves back and forth throughout the time focusing mainly on the young twins Estha and Rahel and the adults they become as a result of the novel. Roy touches on post-colonialism, conflicts between Christianity and native beliefs, communism versus the status quo, and the caste system. While the story is heartbreaking and sometimes brutal, Roy has a way with words and composes some very beautiful sentences. ( )

One of my favorite books of all time. A little slow going in the beginning, but builds to a conclusion that feels inevitable and horrifying at the same time. Wonderful claustrophobic descriptions that leap right off the page and into your brain and won't leave. ( )