Arundhati Roy

Pemenang Man Booker Prize One of Time’s 5 Best Book New York Times Bestseller Tidak ada yang berarti banyak. Tidak banyak yang benar-benar berarti. Hanya ada air mata di wajah Rahel dan Esthappen. Kehampaan dan keheningan menyayat batin keduanya. Dua saudara kembar itu berpelukan erat, saling menguatkan. Terlalu banyak luka yang mengungkung hidup Rahel dan Esthappen. Peristiwa masa silam berkelindan dengan apa yang mereka hadapi kini, terus saja menggoreskan pilu. Semakin pedih ketika mereka menyadari telah menjadi bagian dari Yang Mahakecil, menantang Yang Mahabesar. Novel debut Arundhati Roy ini telah lama menjadi perbincangan internasional. Sensitivitas tema di tengah kondisi sosial budaya yang kaku, membuat novel ini disanjung sekaligus dihujat. Novel ini pula yang mengantarkan Arundhati Roy sebagai pemenang Man Booker Prize 1997 dan menjadikannya sebagai salah satu penulis kenamaan dunia. Dengan diksi dan lapisan bahasa begitu indah, The God of Small Things menyuguhkan beragam gugatan sosial yang memikat. [Mizan, Noura Books, Nourabooks, Novel, Dewasa, Indonesia]

The God of Small Things

Rheanne Wong 

Dora Tominic

The early rumblings of discontent, concealed under a thick layer of loyalty.

She laughed out loud at the idea of walking naked down Ayemenem with an array of coloured toothbrushes sticking out from either cheek of her bottom. She silenced herself quickly. She saw a wisp of madness escape from its bottle and caper triumphantly around the bathroom.

Nica Rhiana

Chacko told the twins that though he hated to admit it, they were all Anglophiles. They were a family of Anglophiles. Pointed in the wrong direction, trapped outside their own history, and unable to retrace their steps because their footprints had been swept away.

And when we try and listen, all we hear is a whispering. And we cannot understand the whispering, because our minds have been invaded by a war. A war that we have won and lost. The very worst sort of war. A war that captures dreams and re-dreams them. A war that has made us adore our conquerors and despise ourselves. 

Riley Baker

Once the quietness arrived, it stayed and spread in Estha. It reached out of his head and enfolded him in its swampy arms. It rocked him to the rhythm of an ancient, fetal heartbeat. It sent its stealthy, suckered tentacles inching along the insides of his skull, hoovering the knolls and dells of his memory, dislodging old sen- tences, whisking them off the tip of his tongue. It stripped his thoughts of the words that described them and left them pared and naked. Unspeakable. Numb. And to an observer therefore, perhaps barely there. Slowly, over the years, Estha withdrew from the world. He grew accustomed to the uneasy octopus that lived inside him and squirted its inky tranquilizer on his past. Gradually the reason for his silence was hidden away, entombed somewhere deep in the soothing folds of the fact of it.

It didn't matter that the story had begun, because kathakali dis- covered long ago that the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end, yet you listen as though you don't. In the way that al- though you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again. 

She was perhaps too young to realize that what she assumed was her love for Chacko was actually a tentative, timorous acceptance of herself.

Chacko needed his mother's adoration. Indeed, he demanded it, yet he despised her for it and punished her in secret ways. 

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