It bounced from place to place, person to person, and not for any reason. It did not help that they were also introduced alongside all of these places that I have never heard of and could not even pronounce correctly!Īnjum is the anchor to the story, but how I felt when reading this book was if someone was trying to film a movie and they just let the camera go wherever it took them.
It doesn’t help that in the first hundred or so ( maybe even the first few) pages there are so many characters that get introduced. It took me much longer to finish the novel than I would have liked because of this. The story is so dense, with so much going on, so powerful, that it takes a lot of concentration ( at least for a dumb dumb like me) and where there is no clear line connecting these things it burns you out quickly. I’ll come right out and say that my biggest gripe with this novel was how the plot was structured. And it demonstrates on every page the miracle of Arundhati Roy’s storytelling gifts. This ravishing, magnificent book reinvents what a novel can do and can be. For this reason, they are as steely as they are fragile, and they never surrender. Its heroes are people who have been broken by the world they live in and then rescued, mended by love – and by hope. It is told in a whisper, in a shout, through tears and sometimes with a laugh. The Ministry of Utmost Happiness is at once an aching love story and a decisive remonstration. Tilottama is as much of a presence as she is an absence in the lives of the three men who love her. A baby appears quite suddenly on a pavement, a little after midnight, in a crib of litter.
Anjum, who used to be Aftab, unrolls a threadbare carpet in a city graveyard that she calls home.
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