The God of Small Things: Narrative

Narrative Point of View

Third-person omniscient narrator: “The God of Small Things” is primarily narrated from a third-person omniscient standpoint.
Subjective views: This narration however, ventures into the subjective, adopting the perspectives of various characters, primarily the twins - Estha and Rahel.
Child-like tone: Even while using a third-person omniscient point of view, the language often switches to a child-like tone, particularly when narrating the thoughts and experiences of the young twins.

Flashbacks and flash-forwards: The narrative constantly shifts between different moments in time, frequently embracing both flashbacks and flash-forwards, which serve to build suspense and deepen character understanding.
Subjective Timeline: The novel doesn’t follow a linear timeline, instead it seems to operate on a more subjective timeline,where the past and the present often intertwine.
Distorted Chronology: Distortions in chronology offer an exploration of the subjective nature of time and memory.

Joycean style: The narrative style of Arundhati Roy can be compared to the Joycean stream-of-consciousness, filled with digressions, meditations and reflections.
Imagery: The novel is rich in vivid sensory descriptions and poetic imagery, which often serve to reinforce themes or emphasise emotional states.
Code-switching: Frequent code-switching to Kerala’s local language, Malayalam, adds authenticity and depth to the narrative while also subtly expressing the characters’ rebellion against English, the language of their colonisers.
Humour and Irony: Despite the bleakness of the story, Roy uses humour and irony to provide moments of relief and to highlight the hypocrisy and absurdity present in society.

Circular Narrative: The narrative structure of the book is circular. The chronological end of the story is revealed in the beginning, creating a sense of foreboding and inevitability.
Fragmented narrative: The novel’s fragmented structure reflects the disrupted lives of its characters and embodies the chaos of postcolonial India.
Repetition: Repetition is a key narrative technique Roy employs to emphasise themes and ideas and create a haunting echo throughout the novel.