The God of Small Things Chapter 8
How Does Roy Tell The Story in Chapter 8?
Welcome Home, Our Sophie Mol is entirely set in the past. The chapter begins with the Ayemenem House described as 'aloof-looking', as if it were an on-looker, or a stranger, keeping their distance studying people's lives. It seems as if the house generally knows more than those who actually live in it and the house criticises those members of the household. 'Like an old man with rheumy eyes watching children play, seeing only transience in their shrill elation and...' Roy creates a vivid description of the house to 'suck' the reader into the novel and really see what it is like. '...the light that slanted through them and fell in patterns on the floor was full of secrets.' The word secret is constantly heard throughout the book so it stands out every time it is read – words like this that are 'echoed' in the book tend to relate to themes or subtle but important ideas that someone may not pick up on very easily.
Mammachi is seen sitting 'in a low wicker chair at a wicker table' playing a violin as she ponders over her history. Her mind wanders to Margaret Kochamma and her violin playing becomes aggressive. Mammachi hates Margaret Kochamma with a passion due to how it did not work between her and Chacko. Chacko, even though he is Mammachi's son, is the source of her adoration towards men, almost like her true lover. Margaret Kochamma is 'just another whore' in Mammachi's mind. Mammachi's attitude towards Margaret Kochamma is very snobbery but also hypocritical. She has gender issues: she is a victim of male violence (Pappachi) however a perpetrator of sexual prejudice against her own sex. She loses her femininity and transfers all of her affection to Chacko and accepts his authority. For example she immediately stops playing the violin when Chacko demands so. 'Mammachi stopped playing and looked in Chacko's direction'.
The characters begin the chapter entering a 'play'. Roy describes the scene as a play because the
Welcome Home, Our Sophie Mol is entirely set in the past. The chapter begins with the Ayemenem House described as 'aloof-looking', as if it were an on-looker, or a stranger, keeping their distance studying people's lives. It seems as if the house generally knows more than those who actually live in it and the house criticises those members of the household. 'Like an old man with rheumy eyes watching children play, seeing only transience in their shrill elation and...' Roy creates a vivid description of the house to 'suck' the reader into the novel and really see what it is like. '...the light that slanted through them and fell in patterns on the floor was full of secrets.' The word secret is constantly heard throughout the book so it stands out every time it is read – words like this that are 'echoed' in the book tend to relate to themes or subtle but important ideas that someone may not pick up on very easily.
Mammachi is seen sitting 'in a low wicker chair at a wicker table' playing a violin as she ponders over her history. Her mind wanders to Margaret Kochamma and her violin playing becomes aggressive. Mammachi hates Margaret Kochamma with a passion due to how it did not work between her and Chacko. Chacko, even though he is Mammachi's son, is the source of her adoration towards men, almost like her true lover. Margaret Kochamma is 'just another whore' in Mammachi's mind. Mammachi's attitude towards Margaret Kochamma is very snobbery but also hypocritical. She has gender issues: she is a victim of male violence (Pappachi) however a perpetrator of sexual prejudice against her own sex. She loses her femininity and transfers all of her affection to Chacko and accepts his authority. For example she immediately stops playing the violin when Chacko demands so. 'Mammachi stopped playing and looked in Chacko's direction'.
The characters begin the chapter entering a 'play'. Roy describes the scene as a play because the