She captures the charms of spoken language, the diction of children and English-influenced Malayalam. She uses adjectives and invents her own compound words: furrywhirring, sariflapping.
In a simple, direct sentence, there were few opportunities for mistakes.īut Roy takes risks with her prose it’s playful and sumptuous. In my own writing, I feared purple prose and overwrought sentences, and embraced an esthetic of minimalism. Re-reading Arundhati Roy’s The God of Small Things, I was delighted to discover that she broke many of the rules I’d learned in grad school. I’d read the novels already but brought them along, thinking they might be instructive as I considered writing something of my own. In my suitcase, I packed a handful of novels, together with a few things my father couldn’t buy in Tanzania-good cheese, whipped honey, a particular brand of mouthwash.
After I received my graduate degree in creative writing, I flew to Dar es Salaam, where my father, who worked for the Canadian High Commission, had offered me the use of his spare room.
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