McCoy's Life Journey曉風

The New Colonizer: Haunts of Imperialism and Caste System in The God of Small Things
The God of Small Things is written by India’s writer, Arundhati Roy. This is her first novel. Roy writes this novel and wins the Booker Prize. This story is narrated by a grown-up girl, talks about what happen in her childhood. This is a story about a tragic and traumatic experience in an Anglophile family in the postcolonial India. There are three Anglophile characters in this novel. These Anglophile characters behave as the new colonizer in India. They treat people based on Imperialism and Caste System. Even if in this story, India is an independent and modernized country, there are two forces of Imperialism and Caste System manipulates this story. The two forces are like two ghosts haunting them. In this proposed research, I would like to explore how imperialism and the caste system haunt them and reveals how their identification related to Anne Anlin Cheng’s insight: racial melancholia. In this proposed research, it will divide into two sections including the haunting of Imperialism and Caste System and postcolonial India people’s recognition based on racial melancholia.
In the first section of this paper, I would like to explore how imperialism and the caste system are portrayed, reveals the impacts of imperialism and caste system in postcolonial India, and how them haunts.
At first, I would like to talk about the imperialism constructed by the education and its impacts. According to Edward Said in his book Culture and Imperialism, “imperialism means the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory; colonialism, which is almost always a consequence of imperialism, is the implanting of settlements on distant territory” (Said 9). In this story, India is an independent country but there are three people still love their colonizer and their imperialistic ideology. And these people also teach their younger generation to behave as they. The protagonist’s maternal grand aunt, grandfather, and uncle all have the connections to the colonizer. For example, their grandfather, Pappachi is an Imperial Entomologist at the Pusa Institute. Pappachi’s younger sister, Baby Kochamma gets the diploma in Ornamental Gardening from the University of Rochester in America. And Pappachi’s son, Chacko is a Rhodes Scholar at Oxford. As Chacko portrays that their family are a family of Anglophiles means “their minds had been brought into a state which made them like the English” (Roy 52). Baby Kochamma and Chacko teach the protagonists, the twins, Estha and Rahel English. For instance, Baby Kochamma forces the twins to speak in English, learns the pronunciation, and practices the English songs ; she also establishes a rule about speaking in English. If Baby Kochamma caught the twins speaking in Malayalam on their private conversation, the twins must write lines in a hundred times “I will always speak in English, I will always speak in English” (Roy 36). While the twins meet a new English word, Chacko makes the twins look up the Reader’s Digest Great Encyclopedic Dictionary in their conversation. In my own interpretation, the postcolonial people confront the crisis about identifying their language and customs. Their younger generation will forget their language in the future. In this story, Baby Kochamma demands her offspring to learn the other’s language, the colonizer’s language rather than learning their own language. This case is different from other stories. In other stories, the older generation always tells their younger generation about keeping their customs. But Roy handles this case in a different and satiric way. The older generation tells their younger generation about keeping others and losing their tradition. According to Rajeev. G on his essay “Arundati Rai’s The God of Small Things – A Post-Colonial Reading”, he portrays the impacts on the postcolonial people are fond of the colonizer’s imperialistic ideology rather than their own tradition:
The history, culture, language, customs and beliefs of the white colonizers are imposed on the colonized and they are eventually coaxed to consider them as universal, normative and superior to their own local indigenous culture. This creates a strong sense of inferiority in the colonized subject and leads to an adoption of the language, culture and customs of the colonizers by the colonized as a way of compensating for these feelings of inferiority in their self-identity. This creates a divided sense of self in the subject formation of the colonized. (2)
I would like to portray the situation of postcolonial India as the banana jams—“according to their specifications it was neither jam nor jelly. Too thin for jelly and too thick for jam” — a product, produced by the Mammachi’s factory, Paradise Pickles & Preserves (Roy 30). In my own interpretation, the situation of this Anglophile family is like the banana jam. No matter how they try to behave like the colonizer, the British; they won’t become the British forever because their roots are Asian Indians. The postcolonial people have been affected by the colonizer; they can’t categorize them as the traditional Asian Indians.
Secondly, I would like to mention that there are latent imperialistic ideologies pervade in their daily lives through English novels, English films, TV programs, English cars, and western costumes rather than India’s goods. I would like to cite Said’s insights on the process of imperialism and explore how the latent imperialistic ideology works in the daily lives:
The process of imperialism occurred beyond the level of economic laws and political decisions, and—by predisposition, by the authority of recognizable cultural formations, by continuing consolidation within education, literature, and the visual and musical arts— were manifested at another very significant level, that of the national culture, which we have tended to sanitize as a realm of unchanging intellectual monuments, free from worldly affiliations. (12)
In this story, the postcolonial people behave as the colonizer, the English people do. There are many imperialistic products in their lives. For instance, Baby Kochamma watches American NBA league games on satellite TV. Ammu reads the stories from Kipling’s Jungle Book. The twins, Estha and Rahel go to Abhilash Talkies and watch the film, Sound of Music with their grand aunt, Baby Kochamma and their mother, Ammu even though they have watched this film many times. Susan Strehle argues that “The Abhilash Talkies, another space for escaping from history into mass- produced Western fantasies” (Strehle 135). In addition, Estha disturbs the Orangedrink Lemondrink Man’s rest times because he sings the English song from the film, Sound of Music. In my own interpretation, postcolonial people live in the world constituted by the imperialistic products and its ideology. The latent imperialistic ideology shows through the media, literature, and so on. Strehle blames that “the United States in particular of conducting a New Imperialism” waged through economic sanction (Strehle 128). In my view, America’s New Imperialism reinforces the postcolonial people’s imperialistic fancy on the colonizer. Hence, it revives the haunting of imperialism. According to Strehle’s Transnational Women's Fiction: Unsettling Home And Homeland, “As Roy tells one strand of the national story, the characters in the Ayemenem family experience the doubled forms of identification typical of diasporic subjects, ironically looking to English models, more than to India, for their sense of custom” (Strehle 130).
What’s more, I would like to portray the colonized’s fantasy for the colonizer: their fascination with Sophie Mol, how Sophie Mol response to them, and the death of Sophie Mol as the haunting of imperialism. Sophie Mol is a half-breed, born to Chacko and his English ex-wife, Margaret Kochamma. Before Sophie Mol comes to the Ayemenem house, Chacko, Mammachi, and Baby Kochamma all behave “as though they already knew her” (Roy 36). When Sophie Mol comes, the townspeople come to see her but ignores the twins, Estha and Rahel. The townspeople found that “Mammachi draw Sophie Mol close to her eyes to look at her. To read her like a cheque. To check her like a bank note” (Roy 174). In my own interpretation, Roy portrays that Sophie Mol is a precious treasure. It is ironic. Because the English girl, Sophie Mol is a symbol as the colonizer, the postcolonial people would rather respect the colonizer than themselves. Roy portrays the postcolonial people’s fond smiles on Sophie Mol as a spotlight. Even if Sophie Mol is the only children get the love from this family, she still neglects their fascination with her. For instance, Sophie Mol talks to her real father, Chacko about “she loves him less than Joe” (Roy 189). In my own interpretation, their love for Sophie Mol failed because no matter how Chacko expresses his love to the English girl, Sophie Mol doesn’t love him more than Joe. Sophie Mol also refuses “Mammachi’s offer that she replaces Estha and Rahel as the privileged plaiter of Mammachi’s nightly rat’s tail and counter of moles” (Roy 189). In my view, it shows all behaviors on their love for Sophie Mol don’t work. I would like to portray the postcolonial people’s fascination with Sophie Mol may be regarded as a crisis of the postcolonial people’s identification. However, Ammu shows her anger and say that “Must we behave like some damn godforsaken tribe that’s just been discovered” after the Anglophile families express their love for Sophie Mol (Roy 180). In my view, Ammu is the only one who doesn’t have the crisis of identification in the Anglophile family. Ammu is the one who tries to get rid of the imperialism constituted by the colonizer and the modern products. As Strehle’s observes “Family members become split between pride and self-hatred—for their near- British but not- British status—in their love for the nation that conquered and colonized them” (Strehle 133). In my interpretation, Ammu is the only one who is despised by her family because she is situated as the ‘not- British status’. In addition, Sophie Mol’s death may be regarded as the haunts of the colonizer. The twin, Estha and Rahel never forget this traumatic experience due to Sophie Mol’s death. Roy portrays the death of Sophie Mol as “a quiet thing in socks” and “the loss of Sophie Mol grew robust and alive. It was always there. Like a fruit in season. Every season. As permanent as a Government job. It ushered Rahel through childhood . . . into womanhood” (Roy 16). In my view, these portrayals of the death of Sophie Mol is vivid, it portrays how the Sophie Mol’s death becomes the unforgettable traumatic experience. In my own interpretation, Roy shows the situation of postcolonial India, imperialism never disappear by plotting the death of Sophie Mol in this traumatic narrative.
Secondly, I would like to talk about the caste system and how the untouchable person is categorized as the subaltern group by others. Roy portrays the caste system as love law. Love law stipulates that what kinds of people should be loved and how much. According to Sandra Almeida’s “Untouchable Bodies: Arundhati Roy's Corporeal Transgressions”, “Love Law to be transgressed is a cultural, social, and historical one that lies deeply ingrained in Indian customs” (Almeida 263). In this story, the untouchable person, Velutha is an intelligent, kind and diligent carpenter. Although he is good at being a carpenter, the caste system stipulates that Paravans can’t be hired as a carpenter. Velutha is a carpenter in Mammachi’s factory makes other workers angry with him. In India, the problem of the caste system is very serious. Even if Mammachi is willing to hire him, she still regards Velutha as the untouchable person and pays him money less than the touchable person. There are many people’s perspectives on the untouchable person, Velutha. For Mammachi, Velutha must be grateful to be a carpenter because he can touch the job belongs to the touchable person. For Baby Kochamma, the touchable person can’t touch the untouchable person. For Ammu, Velutha is a masculine man, the man she loves at the risk of her family fame. For the twins, Velutha is their friend, a figure of their father. Velutha joins the march of Marxist to change his fate as an untouchable person, but it is ironical the leader of Marxist, Comrade Pillai betrays him. In my view, the caste system totally overthrows what the God said that “All men are created equal”, in this system the untouchable person is poor and hopeless and treated as nonhuman.
Secondly, I would like to talk about the love between Ammu and the untouchable person, Velutha, the symbolic meaning and the impacts. Roy portrays Velutha’s love with Ammu in a romantic andsexual way. “Ammu, naked now, crouched over Velutha, her mouth on his. He drew her hair around them like a tent. . . His neck. His nipples. His chocolate stomach” (Roy 336). In the caste system, their love is forbidden. Mammachi and Baby Kochamma are angry so Mammachi locks Ammu into her room after they learn from Velutha’s father, Vellya Paapen about the forbidden love between Ammu and Velutha. For Mammachi and Baby Kochamma, their forbidden love makes their family shameful. For Vellya, their love is forbidden because Velutha is an untouchable person; he can’t love the upper caste. In my view, Velutha’s love with Ammu is reasonable and pure. It may be regarded as a rebellion against the caste system. As Strehleobserves “With the lovemaking between Ammu and Velutha, the text violates the very core of caste prohibitions, which erect rigid separations between polluting and upper caste bodies” (Strehle 152). At the end of the book, Roy writes “Tomorrow”. In my view, Roy keeps the positive attitude toward Velutha’s love with Ammu. As Strehle’s says “If reciprocal passionate desire can be fulfilled between a woman of good family and an outcaste Paravan, the version of home/land protected in India for centuries crashes into dust. This hope speaks in the novel’s last word, “Tomorrow” (Strehle 152).
What’s more, I would like to talk about Velutha’s sacrifice and its impacts. Velutha’s love with Ammu results in Velutha is regarded as responsible Sophie’s death. Baby Kochamma lies to the inspector Thomas Matthew about Velutha would like to violate them. For instance, “The days are gone, he told us, when you can kick us around like dogs. . . By now Baby Kochamma sounded utterly convincing” (Roy 260). In my own interpretation, it seems Baby Kochamma’s lie on the Velutha’s side, but actually it is not. Baby Kochamma’s lie denotes her bias against the untouchable. Because the caste system still exists in the postcolonial India and haunts them. It is ironical because her lie on the Velutha’s side to make her lies persuasive. After Thomas Matthew hears Baby Kochamma and Comrade Pillai’s lies, the police come to the History House and beat Velutha. The police are cruel and inhuman to Velutha because Velutha is innocent. In my view, Roy satirizes the India’s police are brutal, inhuman, and useless. Before they found the truth, they punish Velutha. For me, the police system failed. For Roy, the police system functions as “the history’s henchmen. Sent to square the books and collect the dues from those who broke its laws” (Roy 308). After the policemen notice the painted nails on Velutha’s finger, the policemen mocks Velutha as “AC-DC” and one of the policemen “flicked at Velutha’s penis with his stick. ‘Come on, show us your special secret. Show us how big it gets when you blow it up.’ Then he lifted his boot . . . And brought it down with a soft thud” (Roy 311). AsStrehle says “The police mock him as a bisexual or transsexual, playing at exaggerated feminity themselves as they mock Velutha’s bleeding, broken body: they noticed his painted nails” (Strehle 144). According to Sandra Almeida, “While the narrative apparently moves away from the gender issues by including the male characters in the frame of bodily transgression, the fact that they become invested with “feminine’ traits redirects the focus towards the gender issue” (Almeida 270). Accoding to Miriam Nandi, Nandi uses the psychoanalytic insights on this situation and argues that “Velutha is associated with the collapse of the Symbolic Order according to which men are men, and women are women, and caste hierarchies are not to be transgressed. The policemen identify him as a ‘bad (m)other’ who cannot be controlled and must therefore be harmed and destroyed” (Nandi 182). Sandra Almeida, on the other hand, argues“If the political body is inevitably masculine, as critics have argued, then Roy, by mocking the masculine body, is also undermining its power and norm as the pattern to be followed in a patriarchal society” (Nandi 271). In my view, I am surprised that the critic considers this condition as the gender issue. Velutha is regarded as the untouchable person and a female figure. So in my view, it seems the caste system is part of the structure of patriarchal society, the touchable people may regard as the male figures, and the untouchable people may regard as the female figures. Roy portrays the odor of Velutha’s torture as “Like old roses on a breeze”, and this phrase shows many times in this novel. Freed suggests that“Phrases likes ‘the scent of old roses on a breeze’ appear and recur many times before readers are able to recognize them as the twins’ sensory impressions of Velutha’s brutal beating” (Freed 232). In my view, Roy portrays this phrase appears many times denotes that Velutha’s death is the twins’ traumatic experience and it haunts them. Because Velutha is innocent, the sinner is Estha never forget his crime and his sense of guilt will haunt him in his whole life as the phrase appears many times in the novel. Sandra Almeida suggests “Velutha becomes the scapegoat for a series of incidents that occurs in the novel fabricated to incriminate him: the drowning of Sophie Mol, the disappearance of the twins, and the attempted rape of Ammu” (Almeida 266).
In the second section of this paper, I would like to reveal how their identification related to Anne Anlin Cheng’s insight: racial melancholia. The term, “racial melancholia denotes a complex process of racial rejection and desire on the part of nonwhites that expresses itself in abject and manic forms” (Cheng xi). For Cheng, she suggests that the process of the racial melancholia works on the part of nonwhites:
The racial other (the so-called melancholic object) suffers from racial melancholia whereby his or her racial identity is imaginatively reinforced through the introjection of a lost, never- possible perfection, an inarticulable loss that comes to inform the individual’s sense of his or her own subjectivity. (xi)
I would like to talk about racial melancholia relates to the condition portrays in this novel includes the postcolonial people keeps the imperialistic fantasy and the untouchable person regard himself is untouchable.
In the first dimension, I would like to use the insight on the racial melancholia to infer the twins’ maternal grandfather, grand aunt, and their uncle are the melancholic. For Cheng, “The melancholic eats the lost object—feeds on it” (Cheng 8). In my own interpretation of this passage, the Anglophile people are the melancholic; they always “eat” the lost object, the imperialistic ideas, and feed them and become the Anglophile. For Cheng, “By taking in the other-made-ghostly, the melancholic subject fortifies him- or herself and grows rich in impoverishment” (Cheng 8). In my own interpretation of this passage, the impoverishment denotes Asian Indian people idealize the others’ characteristics which they lack. For Cheng, “The melancholic ego is a haunted ego, at once made ghostly and embodied in its ghostliness, but the ‘object’ is also ghostly” (Cheng 9). In my own interpretation of this passage, the imperialistic fantasy is a shadow because they don’t exist, they exists through the ideal formation. For Cheng, “The melancholic ego is formed and fortified by a spectral drama, whereby the subject sustains itself through the ghostly emptiness of a lost other” (Cheng 10). Cheng also suggests the racial other are be assimilated. In my view, the Anglophile people are assimilated by the British colonizer because they all get the education from the western country. For Cheng, “Assimilation in fact denotes a form of internalized so intense as to be almost a bodily incorporation of another . . . because it augments a psychical condition of susceptibility” (Cheng 78).
In the second dimension, I would like to use the insight on the racial melancholia to infer Velutha’s father, Vellya regard himself as an untouchable person so he can’t do what the caste system stipulates. For Cheng, “Melancholia gets more potently at the notion of constitutive loss that expresses itself in both violent and muted ways, producing confirmation as well as crisis, knowledge as well as aporia” (Cheng 12). In my view, Vellya internalizes the caste system and regards himself as an untouchable person so he can’t do what the caste system stipulates. For Cheng, “The internalization, far from denoting a condition of surrender, embodies a web of negotiation that expresses agency as well as abjection” (Cheng 17).
What’s more, I would like to cite Cheng portrays the definition of identification related to the idea of racial melancholia:
In Identification Papers, Diana Fuss calls identification ‘an embarrassingly ordinary process, a routine, habitual compensation for everyday loss of our love-objects’ and suggests that our psychic landscape is in fact populated by a host of phantoms. (178)
For Cheng, “Identification is a psychical mechanism that produces self- recognition, but it produces a very peculiar form of recognition: a recognition borne out of a drama of otherness” (Cheng 180). Cheng also portrays the impacts on the racial melancholia. For Cheng, “To claim that racial difference on the part of the racialized subject provokes self-shame that leads to compensatory white preference drastically foreshortens the complex process of coming to racialization/ socialization” (Cheng 17).
To sum up, there are haunts of imperialism and the caste system exist in the postcolonial India. Not only the new colonizer, the Anglophile people but the untouchable person’s identification based on the racial melancholia.