Arundhati Roy A richly moving new novel - the first since the author's Booker Prize-winning, internationally celebrated debut, The God of Small Things, went on to become a beloved best seller and an enduring classic.
The Ministry of Utmost Happiness transports us across a subcontinent on a journey of many years. It takes us deep into the lives of its gloriously rendered characters, each of them in search of a place of safety - in search of meaning and of love.
In a graveyard outside the walls of Old Delhi, a resident unrolls a threadbare Persian carpet. On a concrete sidewalk, a baby suddenly appears just after midnight. In a snowy valley, a bereaved father writes a letter to his five-year-old daughter about the people who came to her funeral. In a second-floor apartment, a lone woman chain-smokes as she reads through her old notebooks. At the Jannat Guest House, two people who have known each other all their lives sleep with their arms wrapped around each other, as though they have just met.
A braided narrative of astonishing force and originality, The Ministry of Utmost Happiness is at once a love story and a provocation - a novel as inventive as it is emotionally engaging. It is told with a whisper, in a shout, through joyous tears, and sometimes with a bitter laugh. Its heroes, both present and departed, have been broken by the world we live in - and then mended by love. For this reason they will never surrender.
How to tell a shattered story?
By slowly becoming everybody.
By slowly becoming everything.
Humane and sensuous, beautifully told, this extraordinary novel demonstrates the miracle of Arundhati Roy's storytelling gifts.
Arundhati Roy Likened to the works of Faulkner and Dickens when it was first published 20 years ago, this extraordinarily accomplished debut novel is a brilliantly plotted story of forbidden love and piercing political drama, centered on the tragic decline of an Indian family in the state of Kerala, on the southernmost tip of India.
Armed only with the invincible innocence of children, the twins Rahel and Esthappen fashion a childhood for themselves in the shade of the wreck that is their family - their lonely, lovely mother Ammu (who loves by night the man her children love by day), their blind grandmother Mammachi (who plays Handel on her violin), their beloved uncle Chacko (Rhodes scholar, pickle baron, radical Marxist, bottom-pincher), their enemy Baby Kochamma (ex-nun and incumbent grandaunt), and the ghost of an imperial entomologist's moth (with unusually dense dorsal tufts).
When their English cousin and her mother arrive on a Christmas visit, the twins learn that things can change in a day. That lives can twist into new, ugly shapes, even cease forever. The brilliantly plotted story uncoils with an agonizing sense of foreboding and inevitability. Yet nothing prepares you for what lies at the heart of it.
Arundhati Roy From the poisoned rivers, barren wells, and clear-cut forests, to the hundreds of thousands of farmers who have committed suicide to escape punishing debt, to the hundreds of millions of people who live on less than two dollars a day, there are ghosts nearly everywhere you look in India. India is a nation of 1.2 billion, but the country's 100 richest people own assets equivalent to one-fourth of India's gross domestic product. Capitalism: A Ghost Story examines the dark side of democracy in contemporary India, and shows how the demands of globalized capitalism have subjugated billions of people to the highest and most intense forms of racism and exploitation.
Arundhati Roy & John Cusack In this rich dialogue on surveillance, empire, and power, Roy and Cusack describe meeting with National Security Agency whistleblower Ed Snowden.
In late 2014, Arundhati Roy, John Cusack, and Daniel Ellsberg traveled to Moscow to meet with Edward Snowden. The result is a series of essays and dialogues in which Roy and Cusack reflect on their conversations with Snowden.
In these provocative and penetrating discussions, Roy and Cusack discuss the nature of the state, empire, and surveillance in an era of perpetual war, the meaning of flags and patriotism, the role of foundations and NGOs in limiting dissent, and the ways in which capital but not people can freely cross borders.
Arundhati Roy Auf einem Friedhof in der Altstadt von Delhi wird ein handgeknüpfter Teppich ausgerollt. Auf einem Bürgersteig taucht plötzlich ein Baby auf. In einem verschneiten Tal schreibt ein Vater einen Brief an seine fünfjährige Tochter über die vielen Menschen, die zu ihrer Beerdigung kamen. Im Jannat Guest House umarmen sich im Schlaf zwei Menschen, als ob sie sich eben erst getroffen hätten - aber sie kennen sich schon ein Leben lang.
Erzählt mit einem Flüstern, einem Schrei, mit Freudentränen und manchmal mit einem bitteren Lachen, ist dieser Roman Liebeserklärung und Provokation zugleich.