Arundhati Roy

"September 11th has a tragic resonance in the Middle East, too. On the 11th of September 1922, ignoring Arab outrage, the British government proclaimed a mandate in Palestine, a follow-up to the 1917 Balfour Declaration which imperial Britain issued, with its army massed outside the gates of Gaza. The Balfour Declaration promised European Zionists a national home for Jewish people. (At the time, the Empire on which the Sun Never Set was free to snatch and bequeath national homes like a school bully distributes marbles.)"

"It was herself she was exhausted by. She had lost the ability to keep her discrete worlds discrete—a skill that many consider to be the cornerstone of sanity. The traffic inside her head seemed to have stopped believing in traffic lights. The result was incessant noise, a few bad crashes and eventually gridlock. (p235)"

"They all crossed into forbidden territory. They all tampered with the laws that lay down who should be loved, and how. And how much."

"I use the word love loosely, and only because my vocabulary is unequal to the task of describing the precise nature of that maze, that forest of feelings... (p153)"

"The moment I saw her, a part of me walked out of my body and wrapped itself around her. And there it still remains. (p156)"

"People—communities, castes, races and even countries—carry their tragic histories and their misfortunes around like trophies, or like stock, to be bought and sold on the open market. (p198)"

"Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing."

"The United States supported Saddam Hussein and made sure that he ruled with an iron fist for all those years. Then they used the sanctions to break the back of civil society. Then they made Iraq disarm. Then they attacked Iraq. And now they’ve taken over all its assets. p. 126-127"

"These interviews were a flexible way of thinking aloud, of exploring idea, personal As well as political, without having to nail them down with an artificially structured cohesion and fit them into an unassailable grand thesis. This book was born and raised in that amorphous, luminal space – somewhere between the spoken and the written word. (Preface)"

"The TV channels never ran out of sponsorship for their live telecasts of despair. They never ran out of despair. (p103)"

"Modern democracies have been around long enough for neoliberal capitalists to learn how to subvert them. They have mastered the technique of infiltrating the instruments of democracy—the 'independent' judiciary, the 'free' press, the parliament—and moulding them to their purpose."

"maybe that’s what life is, or ends up being most of the time: a rehearsal for a performance that never eventually materializes. (p155)"

"Even in the most uneventful of our lives, we are called upon to choose our battles (p165)"

""...India belongs not to Punjabis, Biharis, Gujaratis, Madrasis, Muslims, Sikhs, Hindus, Christians, but to those beautiful creatures—peacocks, elephants, tigers, bears…" (p172)"

"Osama Bin Laden and George Bush were both terrorists. They were both building international networks that perpetrate terror and devastate people’s lives. Bush with the Pentagon, the WTO, the IMF and the World Bank. Bin Laden with Al-Qaeda. The difference is that nobody elected Bin Laden..."

"Last night a friend from Baroda called. Weeping. It took her fifteen minutes to tell me what the matter was. It wasn't very complicated. Only that Sayeeda, a friend of hers, had been caught by a mob. Only that her stomach had been ripped open and stuffed with burning rags. Only that after she died, someone carved 'OM' on her forehead.... "A mob surrounded the house of former Congress MP Iqbal Ehsan Jaffri. His phone calls to the Director-General of Police, the Police Commissioner, the Chief Secretary, the Additional Chief Secretary (Home) were ignored. The mobile police vans around his house did not intervene. The mob broke into the house. They stripped his daughters and burned them alive. Then they beheaded Ehsan Jaffri and dismembered him. Of course it's only a coincidence that Jaffri was a trenchant critic of Gujarat Chief Minister, Narendra Modi, during his campaign for the Rajkot Assembly by-election in February.""

"In a situation like the one that prevails in Gujarat, when the police are reluctant to register firs, when the administration is openly hostile to those trying to gather facts, and when the killings go on unabated—then panic, fear and rumour play a pivotal role. People who have disappeared are presumed dead, people who have been dismembered and burnt cannot be identified, and people who are distraught and traumatised are incoherent.... This and other genuine errors in recounting the details of the violence in Gujarat in no way alters the substance of what journalists, fact-finding missions, or writers like myself are saying."

"The trouble is that once America goes off to war, it can't very well return without having fought one. If it doesn't find its enemy, for the sake of the enraged folks back home, it will have to manufacture one. Once war begins, it will develop a momentum, a logic and a justification of its own, and we'll lose sight of why it's being fought in the first place."

"Here is a list of the countries that America has been at war with - and bombed - since the second world war: China (1945-46, 1950-53), Korea (1950-53), Guatemala (1954, 1967-69), Indonesia (1958), Cuba (1959-60), the Belgian Congo (1964), Peru (1965), Laos (1964-73), Vietnam (1961-73), Cambodia (1969-70), Grenada (1983), Libya (1986), El Salvador (1980s), Nicaragua (1980s), Panama (1989), Iraq (1991-99), Bosnia (1995), Sudan (1998), Yugoslavia (1999). And now Afghanistan."

"People rarely win wars, governments rarely (completely) lose them. People (do completely) get killed."

"I remember sitting in a lecture hall in a college in Hyderabad in front of an audience of five or six hundred students. On my left, chairing the event, was the vice-chancellor of the university. On my right, a professor of poetry. The vice-chancellor whispered in my ear, “You shouldn’t spend any more time on fiction. Your political writing is the thing to concentrate on.” The professor of poetry whispered, “When will you get back to writing fiction? That is your true calling. This other stuff you do is just ephemeral.”... Sitting between the two professors, I enjoyed their contradictory advice."

"The God of Small Things, published in the summer of 1997, was the result of a search for a language and a form to describe the world I had grown up in, to myself and to people I loved, some of whom were entirely unfamiliar with Kerala... Back home in Kerala, I was quickly labeled anti-communist, a crying-talking-sleeping-walking Imperialist Plot. I had been critical, it is true, and the sharp end of my critique was that the Left, by which I mean the various communist parties in India, has been not just opaque to caste, but, more often than not, overtly casteist... The consternation had as much to do with the novel's politics of caste as it did with gender... was not received with applause and hallelujahs. Five male lawyers got together and filed a criminal case against me, accusing me of obscenity and “corrupting public morality.”"

"As the essays kept appearing, so did the five male lawyers (not the same ones, different ones, but they seemed to hunt in packs). And so did the criminal cases, mostly for contempt of court. One of them ended in a very short jail sentence, another is still pending. The debates were often acrimonious. Sometimes violent. But always important. Almost every essay got me into enough trouble to make me promise myself that I wouldn’t write another. But inevitably, situations arose in which the effort of keeping quiet set up such a noise in my head, such an ache in my blood, that I succumbed, and wrote."

"Capitalism’s gratuitous wars and sanctioned greed have jeopardized the planet and filled it with refugees. Much of the blame for this rests squarely on the shoulders of the government of the United States. Seventeen years after invading Afghanistan, after bombing it into the ‘stone age’ with the sole aim of toppling the Taliban, the US government is back in talks with the very same Taliban. In the interim it has destroyed Iraq, Libya and Syria. Hundreds of thousands have lost their lives to war and sanctions, a whole region has descended into chaos, ancient cities—pounded into dust. Amidst the desolation and the rubble, a monstrosity called Daesh (ISIS) has been spawned. It has spread across the world, indiscriminately murdering ordinary people who had absolutely nothing to do with America's wars. Over these last few years, given the wars it has waged, and the international treaties it has arbitrarily reneged on, the US Government perfectly fits its own definition of a rogue state."

"May in Ayemenem is a hot, brooding month. The days are long and humid. The river shrinks and black crows gorge on bright mangoes in still, dust green 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. The nights are clear, but suffused with sloth and sullen expectation. But by early June the southwest monsoon breaks and there are three months of wind and water with short spells of sharp, glittering sunshine that thrilled children snatch to play with. The countryside turns an immodest green. Boundaries blur as tapioca fences take root and bloom. Brick walls turn moss green. Pepper vines snake up electric poles. Wild creepers burst through laterite banks and spill across the flooded roads. (first lines)"

"The story of the tragic decline of an Indian family whose members suffer the terrible consequences of forbidden love, The God of Small Things is set in the state of Kerala, on the southernmost tip of India."

"In those early amorphous years of life, when memory had only just begun, when life was full of Beginnings and no Ends, and everything was Forever"

"The secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen.. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end yet you listen as though you don't. In the way that you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again. That is their mystery and their magic. ..."

"Her own grief grieved her. His devastated her. (On Sophie Mol's death, describing Mamachi's grief, and Chacko's)."

"Ammu explained to Estha and Rahel that people always loved best what they Identified most with."

"she had learned from experience that Need was a warehouse that could accommodate a considerable amount of cruelty. (p10)"

"Kochu Maria watched with her cake-crumbs. The Fond Smiles watched Fondly. Little Girls Playing. Sweet. One beach-coloured. One brown. One Loved. One Loved a Little Less."

"Ammu had an elaborate Calcutta wedding. Later, looking back on the day, Ammu realized that the slightest feverish glitter in her bridegroom's eyes had not been love, or even excitement at the prospect of carnal bliss, but approximately eight large pegs of whiskey. Straight. Neat."

"Humbling was a nice word, Rahel thought. Humbling along without a care in the world."

"She wondered what had caused the bald pilgrims to vomit so uniformly, and whether they had vomited together in a single, well-orchestrated heave (to music perhaps, to the rhythm of a bus bhajan), or separately, one at a time."

"'Ammu,' Chacko said, his voice steady and deliberately casual, 'is it at all possible for you to prevent your washed-up cynicism from completely colouring everything?' Silence filled the car like a saturated sponge. Washed-up cut like a knife through a small thing. The sun shone with a shuddering sigh. This was the trouble with families. Like invidious doctors, they knew just where it hurt."

"It didn't matter that the story had begun, because kathakali discovered long ago that the secrets of the Great Stories is that they have no secrets. The Great Stories are the ones that you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don't deceive you with thrills and trick endings. They don't surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover's skin. You know how they end, yet you listen as though you don't. In the way that although you know that one day you will die, you live as though you won't. In the Great Stories you know who lives, who dies, who finds love, who doesn't. And yet you want to know again. That is their mystery and their magic."

"To the Kathakali Man these stories are his children and his childhood. He has grown up within them. They are the house he was raised in, the meadows he played in. They are his windows and his way of seeing. So when he tells a story, he handles it as he would a child of his own. He teases it. He punishes it. He sends it up like a bubble. He wrestles it to the ground and lets it go again. He laughs at it because he loves it. He can fly you across whole worlds in minutes, he can stop for hours to examine a wilting leaf. Or play with a sleeping monkey's tail. He can turn effortlessly from the carnage of war into the felicity of a woman washing her hair in a mountain stream. From the crafty ebullience of a rakshasa with a new idea into a gossipy Malayali with a scandal to spread. From the sensuousness of a woman with a baby at her breast into the seductive mischief of Krishna's smile. He can reveal the nugget of sorrow that happiness contains. The hidden fish of shame in a sea of glory. He tells stories of the gods, but his yarn is spun from the ungodly, human heart. The Kathakali Man is the most beautiful of men. Because his body is his soul. His only instrument. From the age of three he has been planed and polished, pared down, harnessed wholly to the task of story-telling. He has magic in him, this man within the painted mark and swirling skirts. But these days he has become unviable. Unfeasible. Condemned goods. His children deride him. They long to be everything that he is not. He has watched them grow up to become clerks and bus conductors. Class IV non-gazetted officers. With unions of their own. But he himself, left dangling somewhere between heaven and earth, cannot do what they do. He cannot slide down the aisles of buses, counting change and selling tickets. He cannot answer bells that summon him. He cannot stoop behind trays of tea and Marie biscuits. In despair he turns to tourism. He enters the market. He hawks the only thing he owns. The stories that his body can tell. He becomes a Regional Flavour."

"He is Karna, whom the world has abandoned. Karna Alone. Condemned goods. A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga. Stoned out of his skull. Then Kunti appeared. She too was a man, but a man grown soft and womanly, a man with breasts, from doing female parts for years. Her movements were fluid. Full of women. Kunti, too, was stoned. High on the same shared joints. She had come to tell Karna a story. Karna inclined his beautiful head and listened. Red-eyed, Kunti danced for him. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, Kunti said, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun. The young mother loved her first-born son deeply, Kunti said, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhirata, a charioteer. And named Karna. Karna looked up to Kunti. Who was she? Who was my mother? Tell me where she is. Take me to her. Kunti bowed her head. She's here, she said. Standing before you. Karna's elation and anger at the revelation. His dance of confusion and despair. Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be? In reply Kunti took the regal face in her hands, green the face, red the eyes, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss. Did you know how much I missed you? Rahel could see it coursing through his veins, as clearly as an egg travelling down an ostrich's neck. A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is them that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract. She invoked the Love Laws."

"He watched her. He took his time. Had he known that he was about to enter a tunnel whose only egress was his own annihilation, would he have turned away? Perhaps. Perhaps not. Who can tell?"

"Thirty-one. Not old. Not young. But a viable die-able age."

"He stepped onto the path that led through the swamp to the History House. He left no ripples in the water. No footprints on the shore. He held his mundu spread above his head to dry. The wind lifted it like a sail. He was suddenly happy.Things will get worse, he thought to himself. Then better. He was walking swiftly now, towards the Heart of Darkness. As lonely as a wolf. The God of Loss. The God of Small Things. Naked but for his nail varnish."

"The U.S. empire rests on a grisly foundation: the massacre of millions of indigenous people, the stealing of their lands, and following this, the kidnapping and en- slavement of millions of black people from Africa to work that land. Thousands died on the seas while they were being shipped like caged cattle between continents. "Stolen from Africa, brought to America"-Bob Marley's "Buffalo Soldier" contains a whole universe of unspeakable sadness."

"There are many Americans who would be mortified to be associated with their government's policies. The most scholarly, scathing, incisive, hilarious critiques of the hypocrisy and the contradictions in U.S. government policy come from American citizens. When the rest of the world wants to know what the U.S. government is up to, we turn to Noam Chomsky, Edward Said, Howard Zinn, Ed Herman, Amy Goodman, Michael Albert, Chalmers Johnson , William Blum, and Anthony Arnove to tell us what's really going on."

"What can we do? We can hone our memory, we can learn from our history. We can continue to build public opinion until it becomes a deafening roar. We can turn the war on Iraq into a fishbowl of the U.S. government's excesses. We can expose George Bush and Tony Blair-and their allies for the cowardly baby killers, water poisoners, and pusillanimous long-distance bombers that they are."

"Our strategy should be not only to confront empire, but to lay siege to it. To deprive it of oxygen. To shame it. To mock it. With our art, our music, our literature, our stubbornness, our joy, our brilliance, our sheer relentlessness – and our ability to tell our own stories. Stories that are different from the ones we’re being brainwashed to believe."

"The corporate revolution will collapse if we refuse to buy what they are selling – their ideas, their version of history, their wars, their weapons, their notion of inevitability."

"Remember this: We be many and they be few. They need us more than we need them."

"While, legally and constitutionally, speech may be free, the space in which that freedom can be exercised has been snatched from us and auctioned to the highest bidders."

"Normality in our part of the world is a bit like a boiled egg: its humdrum surface conceals at its heart a yolk of egregious violence. It is our constant anxiety about that violence, our memory of its past labours and our dread of its future manifestations, that lays down the rules for how a people as complex and as diverse as we continue to coexist – continue to live together, tolerate each other and, from time to time, murder one another. As long as the centre holds, as long as the yolk doesn’t run, we’ll be fine. In moments of crisis it helps to take the long view. (p154-5)"