Personal Information
Assignment Details
Abstract
Keywords
Introduction
About Arundhati Roy
Overview of Novel
Otherness in Arundhati Roy’s The Ministry of Utmost Happiness
Conclusion
References
Personal Information:-
Name:- Divya Bharatbhai Jadav
Batch :- M.A.sem 4 ( 2023- 2025)
Email Address:- divyajadav5563@gmail. com
Roll number:- 7
Assignment Details:-
Topic:- Voices from the Margins: A Study of Otherness in Arundhati Roy’s The Ministry of Utmost Happiness
Paper:-207: Contemporary Literatures in English
Subject code:- 22414
Submitted to:- Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission:- 17 April 2025
About Assignment:- In this assignment I will try to define’ Voices from the Margins: A Study of Otherness in Arundhati Roy’s The Ministry of Utmost Happiness
Abstract:
Arundhati Roy's work, "The Ministry of Utmost Happiness." The objective is to uncover how Roy employs her artistic prowess to bridge the gap between marginalized segments and the mainstream, thereby attempting to rejuvenate the former glory of the Indian societal framework. Through the lens of oriental discourse, this study scrutinizes the novel, particularly emphasizing the achievements within the established system through acts of rebellious creativity, unconventional thinking, and alternative lifestyles. This study elucidates the intricate interconnections among the novel's multi-layered narratives, which lay bare the harsh realities of society, such as the dire circumstances faced by minority groups, the degrading existence of transgender individuals, the lackluster state of governance, the struggles of Naxalites, instances of rape, murder, social inequality, and preconceived bases. In "The Ministry of Utmost Happiness," Arundhati Roy explores societal categorization through the lens of "Otherness", Characters like Anjum embody the challenges faced by those deviating from societal norms, particularly in terms of transgender identity. The narrative extends this exploration to figures like Musaa and Talio, engaged in the Kashmir conflict, highlighting a political form of "Otherness". The central aim of this research is to identify and delve into India's marginalized "Others," encompassing the impoverished, those deemed as "apostates," outsiders, and third-gender individuals, who are often subjected to subjugation victimization. This study focuses on the theory surrounding the analysis of orientalist discourse and focuses on the "Otherness" of the novel's main character Aunjum or Aftab who rejoice in their wretched condition and the survival creativity of these "Other" in their conditions of acute Precarity.
Keywords:-
The Other, Transgender, Poor. Inequality, Prejudice, Marginalization, Societal Precarity
Introduction:-
The concept of "Otherness" by Said (1978) emerges as a result of a complex process where the dominant or centered group (referred to as "Us" or "Self") constructs the marginalized or out-group (designated as "Them" or "Other") through the act of stigmatization and differentiation. This formation of otherness, often termed "othering," revolves around the adoption of a mindset that dichotomizes individuals into the categories of "us" and "them." The out-group is understood solely as its opposition to the in-group, characterized by a perceived lack of identity, often rooted in the propagation of stigmatized and seemingly simplistic stereotypes In this dichotomy, the in-group not only defines the "Others" but also establishes a distinct and superior identity for themselves. It is crucial to recognize that otherness and identity are intertwined facets of a single coin, with entity existing solely in relation to the other
Said (1978), in his renowned work "Orientalism," reveals that the Western perspective on the Orient depicts it as "mysterious," inert, passive, pitiable, underdeveloped, and deprived. He posits that the Western viewpoint about the East is largely shaped by literature, particularly the emerging literary form of the "novel." Said (1978) contends that this biased perception lacks a rational foundation. In "Orientalism" Said (1978) points out that marginalized individuals are essential, spoken about, and on behalf of, yet their voices are perpetually suppressed and excluded. It was the Orientalists who constructed the East as the "other." This very concept is mirrored in Arundhati Roy's "The Ministry of Utmost Happiness," wherein those in positions of power craft new definitions, identities, and labels for the less privileged, designating them as "the Other." The culmination of this process of othering is the creation of a "binary opposition," echoing Said's observations in "Orientalism." This binary opposition fragments the societal population into distinct segments, establishing the dichotomy of "the Self" versus "the other.
Arundhati Roy, acclaimed as the pioneer of Indian literature to secure the Booker Award with her debut novel "The God of Small Things" (1997), dedicated a decade of her life to crafting her second literary work. "The Ministry of Utmost Happiness (2017). This novel embarks on an internal journey spanning numerous years across the Indian subcontinent, traversing overcrowded and narrow cities, the labyrinthine lanes of Old Delhi, the expanse of the Kashmir valley, and beyond. "The Ministry of Utmost Happiness" is a narrative that seamlessly melds reality with magic, offering a narrative that is unflinchingly raw, bitter, and profoundly agonizing. Roy paints a world that is harsh and brutal, yet within every corner of this brutality. hope and kindness persist. She skillfully plays with duality to convey a message: it juxtaposes innocence with wickedness, kindness, with harshness, the world of the exiled "Others" with that of the third sex, and the "Duniya." or the "normal" world. Roy weaves a vibrant tapestry, interweaving the story of Anjum a transgender individual once known as Aftab, and the tale of love between the modern Tilottama and the Kashmiri militant Musa. Within this narrative tapestry lie numerous holes, each one prompting reflection and further exploration as the reader delves deeper into the story.
Arundhati Roy's novel (2017), "The Ministry of Utmost Happiness," consists of twelve chapters, which can be effectively partitioned into two major segments. Roy dedicates this literary work to the Uncounseled, a reference to those residing on the societal fringes, enduring various forms of 'otherization" be it local, social, political, national, or cultural. Through this novel. Roy aims to amplify the voices of voiceless individuals within Indian society, with a significant portion of the narrative stemming from the perspectives of the marginalized sectors of society. The novel unfolds through two central narratives. The first narrative delves into the life of Anjum, a transgender individual who was born as Aftab, and the marginalized sections of Indian society. The second narrative follows Tilottama and Musa, exploring Kashmiri politics, their love story, and the deteriorated state of the natural environment. The very beginning of the novel 's story is extremely destructive and we can estimate the level and extremity of destruction by the condition of poor "friendly vultures" who usually fed on dead are now dead of diclofenac poisoning. This situation gets the attention of the reader to observe and explore how the city of Delhi runs and threatens all of its residents, animals and humans alike. The plot moves towards a mysterious woman living in a graveyard who is able to converse with the ghosts of already extinct vultures, according to her, "weren't altogether unhappy at having excused themselves." (Roy, 2017).
About Arundhati Roy:-
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Arundhati Roy, born on November 24, 1961, in Shillong, India, is one of the most celebrated contemporary Indian authors, as well as a prominent political activist and public intellectual. Her full name is Suzanna Arundhati Roy, and she is known for her profound and fearless engagement with the pressing social, political, and environmental issues of modern India. Roy's background is as diverse as her writing—her father was a tea planter of Bengali origin, and her mother, Mary Roy, was a well-known women's rights activist in Kerala. Arundhati’s upbringing in South India and her exposure to different cultures and languages influenced the pluralistic and empathetic worldview reflected in her writing.
Roy first gained international fame with her debut novel The God of Small Things in 1997. The novel, which tells the story of fraternal twins in Kerala, is an evocative exploration of childhood, caste discrimination, forbidden love, and familial trauma. It won the Booker Prize for Fiction the same year, making Roy the first Indian woman to receive the award. The novel was widely praised for its poetic prose, complex narrative structure, and sensitive portrayal of the personal and political in postcolonial India.
After the success of her first novel, Roy shifted her focus toward activism and non-fiction writing, addressing critical issues such as globalization, nuclear militarization, caste violence, environmental degradation, and the displacement of tribal communities. Her essays—including The Algebra of Infinite Justice (2001), Listening to Grasshoppers (2009), and Capitalism: A Ghost Story (2014)—are known for their powerful rhetoric and fearless critique of both the Indian state and global capitalism. She has been a vocal critic of U.S. imperialism, Hindu nationalism, and neoliberal economic policies in India.
In 2017, Roy returned to fiction with her long-awaited second novel, The Ministry of Utmost Happiness, a deeply political and ambitious work that weaves together multiple narratives across the Indian subcontinent. The novel reflects on the lives of India’s marginalized communities, including transgender people (hijras), Dalits, Kashmiri Muslims, and political dissenters. Through characters like Anjum, a transgender woman, and Tilo, a woman caught in the conflict-ridden world of Kashmir, Roy explores themes of identity, displacement, resistance, and the meaning of home. The novel defies conventional narrative structure, blending magic realism with historical and political commentary.
Roy’s writing is deeply rooted in ethical responsibility and empathy for the oppressed. Her works, both fictional and non-fictional, seek to amplify the voices of those silenced by power structures. As a public intellectual, she continues to engage in political discourse through lectures, protests, and journalistic writings.
Despite facing criticism and legal challenges for her outspoken views, Roy remains undeterred. Her voice represents a rare combination of literary brilliance and moral courage, making her a unique and influential figure not only in Indian literature but also on the global stage.
About Novel:-
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The novel follows a non-linear, multi-layered narrative that interweaves the lives of several marginalized individuals in modern India. It is divided into two parts: the first focusing on Anjum, a transgender woman, and the second centering around S. Tilottama (Tilo) and the Kashmir conflict.
Anjum, born as Aftab in Old Delhi, realizes early in life that she identifies as a woman. She joins the Hijra (transgender) community in Delhi but experiences trauma during the 2002 Gujarat riots. She retreats to a graveyard, where she builds a shelter for other outcasts.
In the second part, the narrative shifts to Tilo, an enigmatic woman connected to three men—Musa, a Kashmiri rebel; Naga, a journalist; and Biplab Das, an intelligence officer. Through Tilo’s journey, the novel dives into the political violence of Kashmir, religious extremism, and state surveillance.
Eventually, the lives of Anjum, Tilo, and others intersect, particularly at the graveyard sanctuary, which becomes a symbolic place of healing and resistance against systemic oppression.
Characters:
1. Anjum (formerly Aftab)
A transgender Hijra woman who seeks identity, belonging, and peace.Represents gender otherness and resilience.Symbolizes the search for dignity in a society that marginalizes her.
2. S. Tilottama (Tilo)
A mysterious, fiercely independent woman.Caught between personal love and political realities.Reflects the psychological and emotional toll of living amid conflict.
3. Musa Yeswi
A Kashmiri freedom fighter and Tilo’s lover.Represents the trauma of loss and the moral complexities of resistance.
4. Nagaraj Hariharan (Naga)
A journalist and Tilo’s former partner.Caught between truth and compromise.
5. Biplab Dasgupta (Garson Hobart)
An intelligence officer who narrates part of the story.Secretly in love with Tilo, he represents the conflicted voice of the state.
6. Zainab
A baby girl abandoned and adopted by Anjum.Symbol of hope, love, and new beginnings.
Themes:-
1. Otherness and Marginalization
The novel gives voice to the Hijra community, Muslims, Dalits, Kashmiris, and political dissenters.It portrays how systemic discrimination is embedded in the social and political fabric of India.
2. Gender Identity
Through Anjum, the novel explores the struggles of transgender individuals to find acceptance, dignity, and love.
3. Religious and Communal Violence
Events like the Gujarat riots and the Babri Masjid demolition are referenced to show how religion is manipulated for political gain.
4. Kashmir Conflict and State Repression
The Kashmir narrative highlights state violence, militarization, media distortion, and the blurred lines between freedom fighters and terrorists.
5. Love and Loss
The relationships among Tilo, Musa, Naga, and Biplab reflect the enduring power of love in a world marked by separation and trauma.
6. Space of Sanctuary
The graveyard Anjum inhabits transforms into a home for the marginalized, symbolizing resistance, inclusion, and communal care.
7. Environmental and Urban Decay
The novel critiques ecological degradation and urban expansion that displace both people and animals.
Otherness in Arundhati Roy’s The Ministry of Utmost Happiness:-
Anjum's Arrival in the Graveyard:
Anjum, a transgender woman, a central character introduced within the novel, has taken up residence in a graveyard situated behind a government hospital. In the early months of her stay, she grapples with the challenges of coexisting alongside junkies and homeless individuals. She faces a significant amount of scorn from the other denizens of the graveyard, who mockingly label her as a "clown without a circus, queen without a palace" (Roy, 2017, p. 3), but when she made an elderly blind Imam named Ziauddin her friend, others in the graveyard left her alone. The names used by graveyard residents to make fun of Anjum underscore her position in society. With the plot moving readers grasp the magnitude of alienation that Anjum is facing at the hands of society. During the conversation between Anjum and Imam, the reader notices that Anjum clearly belongs to transgender community that is specifically excluded from traditional norms and customs. Hindus are traditionally not cremated, so the Imam's assertion that "even the Hindus among you." (Roy, 2017. p. 61. People like Anjum are not cremated and inform readers that she fits into a group of people who are not supposed to deserve even the traditional transit ritual from this world.
Jahanara's Struggle with Aftab's Tran Sexuality:
After the mysterious and othered presentation of Anjum 's identity, the plot finally moves to reveal more about her. Anjum holds the fourth position among five siblings, the initial three being females. During Anjum's birth, the midwife presents her to her mother as a male child, sparking immense joy in Jahanara Begum, who had nurtured the desire for a son and had already settled on the name "Aftab" Nevertheless, a the sun graces the day following Aftab's birth, Jahanara picks up her infant son, only to be confronted with an inescapable and harsh revelation regarding his transsexuality. "The next morning, when the sun was up and the room nice and warm, she unswaddled little Aftab. She explored his tiny body-eyes nose head neck armpits. fingers to with sated, unhurried delight. That was when she discovered, nestling underneath his hoy-parts, a small, unformed, but undoubtedly girl-part. Is it possible for a mother to be terrified of her own baby? Jahanara Begum was. Her Mother's first reaction was to feel her heart constrict and her bones turn to ash. Her second reaction was to take another look to make sure she was not mistaken. Her third reaction was to recoil from what she had created while her howels convulsed and a thin stream of shit ran down her legs. Her fourth reaction was to contemplate killing herself and her child. Her fifth reaction was to pick her baby up and hold him close while she fell through a crack between the world she knew and worlds she didn't know existed." (Roy, 2017, p. 7. 8)
Aftab's Early Years and Influences:
Jahanara reached a pivotal juncture in her life when concealing Aftab's gender reality became untenable, compelling her to confide in her husband, her long-endured companion in suffering. Upon learning the shattering truth, Mulaqat (father of Aftab) concluded that he and his wife needed to consult Dr. Ghulam Nabi, a "sexologist," regarding Aftab's situation. Dr. Nabi's determination was that Aftab did not technically fall under the category of Hijra, a term of paramount importance throughout the novel. Dr. Nabi's elucidation of Hijra is as follows: "a female trapped in a male body" (Roy, 2017, p.16). Yet, as the narrative progresses. This conventional understanding of gender continually faces challenges.
Anjum's Life in the Khwabgah:
Aftab often spends extended periods outside a building referred to as the "," which translates to "dream house." This carries multiple layers of significance within the narrative. Firstly, it symbolizes a realm of Aftab's aspirations, a space previously unknown to her, where she can express her identity freely, something she had never envisioned to be possible in her acknowledged reality. Secondly, the term "khwabgah" is laden with distinct connotations and serves as a representation of divergence from other spaces in the story. Khwabgah stands apart from mainstream society, existing almost as a parallel universe-a dreamlike world for individuals deemed unconventional and alien in the eyes of the so-called normative society.
Anjum's Relationship with Zainah and 9/11 Impact:
Moving forward. Anjum exposes certain aspects of her alienated existence in the novel. Her inclination to reveal her life's truths to Zainab, even though the child is too young to fully grasp them, signifies her longing to be acknowledged, recognized, and comprehended for her authentic self. Paradoxically, despite being surrounded by individuals who share her identity, she remains misunderstood by her peers who share her experiences. This desire to communicate her feelings might stem from her lack of close familial bonds and understanding, prompting her to establish a close relationship with her newfound child. Her belief that Zainab can navigate the harsh realities of violence mirrors her own childhood experiences, which extended beyond the typical challenges faced by a child of her gender. "After 9/11 -Every day Anjum, new in the news, watched TV reports about bomb blasts and terrorist attacks that suddenly proliferated like malaria. The Urdu papers carried stories of young Mustim boys being killed in what the police called "encounters", or being caught red-handed in the act of planning terrorist strikes and arrested. A new law was passed that allowed suspects to be detained without trial for months. In no time at all the prisons were full of young Muslim men. Anjum thanked the Almighty that Zainably was a girl. It was so much safer". (Roy, 2017)
Exploitation of the Character "Anjum" in the Ministry of Utmost Happiness:
As the political right gains influence in her country. Anjum, the resilient Hijra (transgender), becomes a poignant symbol of vulnerability and rebellion. In an intimate moment outdoors with Saddam and Biroo, their loyal companion, Anjum shares the cherished "Flyover Story," leading to an unexpected revelation that she was born to be a mother" (Ray, 2017). This revelation becomes a vulnerable confession, shaping Anjum's defiance against societal norms and expectations. Yet, the feasibility of such a role is immediately questioned by Saddam, who pragmatically introduces the element of "Reality" Frustrated by his realism, Anjum challenges him, asserting that once individuals fall from societal grace, they continue to descend while supporting others in their shared descent. The profound declaration, "We don't really exist, "(Roy, 2017) becomes the core of Anjum's philosophy, unraveling the exploitation she endures and the rebellion that defines her involvement with Funeral Services and the creation of the Jannat Guest House.
Character "Anjum" Discriminative Experiences in The Ministry of Utmost Happiness:
The struggle between the poor and the government causes the city to break out of tension in the novel, in what is supposed to be its "renewal" summer. "Scores of young reporters roam the streets of the city, they were asking urgent, empty questions; they asked the poor what it was like to be poor, the hungry what it was like to be hungry, the homeless what it was like to be homeless. Bhai Sahib, yeh baatein, aap ko kaisa lag raha hai...? Tell me, brother, how it feels to be..." (Roy. 2017, p. 99). In this passage. Roy's ridicule of young journalists is the beginning of a serious criticism of the role of the media in exploitation and discrimination. It is evident at this moment that the reporters have no sincere interest in helping the poor.
Anjum's Tapestry of Otherness: A Comparative Exploration with Tilo, Saddam Hussiam and Rubina:
In this nuanced analysis, we delve into Anjum's narrative, weaving a rich tapestry that draws. comparisons with the experiences of Tilo. Each character, in their unique way, grapples with the complexities of otherness and societal marginalization. Anjum, a resilient Hijra, builds a sanctuary at Jannat Guest House, carving out her space on the fringes of society. Drawing parallels with Tilo, the illegitimate daughter of a Christian mother and Dalit father, we unravel the common threads of' dissent against societal norms. The title encapsulates the essence of this analysis, inviting readers to explore the intersections and distinctions in the lives of Anjum and Tilo as they navigate the labyrinth of societal expectations and carve out their identities amidst adversity
Tilo was the Untouchable child of an untouchable father and a Syrian Christian mother. Her mother, to cover her sin, gave her new baby girl to an orphanage and then went back and adopted her. Tilo emerges as a passionate freedom fighter of Kashmir. Being deprived of the important requirements of life like home, proper upbringing, and parents, she turns to be rebellious against the established norms of society. Casteism and racial discrimination are also very much prevalent in Tilo's story who is "the Other", an unusual, rambling woman and the protagonist of the second section of the novel. Tilo's effort to resist the established authority can be traced to her own terrible history. Tilo has strong ideological and physical relations with Kashmiri freedom fighter Musa Yeswi. She also adopted a baby girl, who was born in Central Indian jungles to another resistance fighter Revathy. Her name was Miss Jaheen the Second, illegitimate daughter of Revathy. Tilo being the daughter of a Christian mother and a Dalit father is another "Other" in Indian society, who dissents against the social elimination of Christian and Dalit-born Indians and shows struggle and resistance through her antinormative character.
Conclusion:-
The analysis of "The Ministry of Utmost Happiness" through the lens of Orientalism reveals profound insights into the stigmatization, exploitation, and discrimination faced by the main character, Anjum, as the "Other" existing at the periphery of society. Anjum's journey serves as a microcosm of the broader Orientalist discourse, unraveling the power dynamics and societal norms that perpetuate the marginalization of transgender individuals.
The exploration of Anjum's experiences of being stigmatized, exploited, and discriminated against by those at the center of society. Through Anjum's vulnerability and resilience, the novel vividly illustrates the oppressive forces that seek to confine individuals like her within predefined societal roles. Anjum's revelation about being "born to be a mother" becomes a poignant moment of defiance, challenging the normative expectations and sparking a nuanced exploration of her identity. The shared feeling of detachment between Anjum and others, symbolized by being "astronauts" in their own right, underscores the profound disconnection from societal norms and the exploitation embedded within those expectations.
How Anjum, as an "Other," goes against customs, tests new ways of life, carves new spaces, and experiments with new roles in the society depicted in the novel. Anjum's deliberate divergence from societal norms becomes an act of rebellion, reclaiming agency in defining her identity beyond the limitations imposed by a conformist society. The creation of the Jannat Guest House and Funeral Services stands as a powerful testament to Anjum's resistance, demonstrating her commitment to building alternative spaces for marginalized individuals. Anjum's success in assembling a powerful community around these spaces highlights the transformative potential of dissent and the ability to survive and thrive on the fringes of society.
References:-
Babar Urooj, Ahmed shehryar. (n.d.). (PDF) otherness in Arundhati Roy’s “The ministry of utmosthappiness.”https://www.researchgate.net/publication/377025170
Barad, Dilip (1970, January 1). The Ministry of Utmost Happiness. https://blog.dilipbarad.com/2021/12/the-ministry-of-utmost-happiness.html
Mishra, Binod. (2020). Arundhati Roy's The Ministry of Utmost Happiness: Exploring Human Relationships through Changing Socio-CulturalLens.https://www.researchgate.net/publication/338502746
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