- May in Ayemenem is a hot, brooding month
The dreaded stumbling-block comma! Indeed this first chapter is an avalanche of adjectives, with sentences like this one to be found later:
- She heard (on Sophie Mol’s behalf) the soft sounds of the red mud and the hard sounds of the orange laterite that spoiled the shining coffin polish.
Five adjectives in one sentence! But let’s go back and look at the rest of that opening paragraphs to figure out how Roy gets away with using so many adjectives without trying the reader’s patience:
- The days are long and humid. The river shrinks and black crows gorge on bright mangoes in still, dustgreen trees. Red bananas ripen. Jackfruits burst. Dissolute bluebottles hum vacuously in the fruity air. Then they stun themselves against clear windowpanes and die, fatly baffled in the sun.
Ten more adjectives and, what’s worse, two adverbs! Yet it’s a glorious opening paragraph, is it not? So what is she doing?
- First of all, it’s intriguingly odd how she imputes human emotions to nature: “Dissolute bluebottles hum vacuously.” She’s not really describing what we would see, she’s generating a strange world we would never see if we didn’t see it through her eyes. Simply saying “bluebottles hum” wouldn’t do that job.
- She’s using fresh adjectives of her own invention: We get the first of many portmanteaus with “dustgreen”. Later we’ll get “wetgreen” and “thunderdarkness”. When the mom passes away, Roy will point out that 31 is “a viable die-able age” (Roy knows she’s got a great, pithy phrase there, and so she reuses it four times in the book!)
- Her adjectives create conflict: Black crows (death) gorge (a violent verb) on bright mangos (life). “Dustgreen” is death and life in one word. She’s not just painting a pretty tableau, she’s imbuing nature with life so that it can fight itself. Her adjectives clash.
Ultimately, she will justify her non-leanness, her abundance of detail, with the book’s title. Who is the God of Small Things? It’s Roy herself. The whole idea is that tragedies can only be remembered as, and are perhaps best understood as, an accumulation of small things. Why does Sophie (and the book’s actual victim of injustice, Velutha) die? What is the one cause? There isn’t one, because there are hundreds of small things that added up to it.
This is a memory book (though the book is third-person and not entirely limited to Rahel’s firsthand memories). Rahel is trying to piece it all back together and sifting through portentous images and impressions that she accumulated that week, which she and Roy are now re-examining in great detail. Fine-grained descriptions are the whole point. Somewhere in these small things, there is a god who will tell us why these people had to die.