The Ministry of Utmost Happiness | Flipped Class Activity
Hello viewers 👋
I am Maya Batiya, A student of M.A. sem 4 in Department of English MKBU.
This blog post is part of a flipped learning activity for the modern Indian novel The Ministry of Utmost Happiness by Arundhati Roy. As part of the task, we are expected to watch videos related to the novel and provide a summary of the key content from each video.
_Assigned by Dilip Barad sir.
Part 1 | Khwabgah
https://youtu.be/-29vE53apGs?si=DTDHZ_m-b3tHODjn
Arundhati Roy’s The Ministry of Utmost Happiness is a sprawling and multilayered narrative featuring a diverse array of characters and their intertwined lives. The plot is intricate, fragmented, and can be divided into five distinct segments: Khwabgah, Jannat Guest House, Jantar Mantar, Kashmir, and Dandakaranya. These segments are pivotal to the novel's structure. At its heart is the life of Anjum, a hijra (a term used in South Asia for a third-gender person), who resides in the Jannat Graveyard, living a life steeped in surrealism and magic realism. The opening chapter, titled Where Do Old Birds Go to Die?, introduces us to Anjum’s unique existence.
“She lived in the graveyard like a tree. At dawn, she saw the crows off and welcomed the bats home. At dusk, she did the opposite.”
Anjum, an elderly hijra, has created a sanctuary at the Jannat Guest House, a space open to all, regardless of identity. The narrative then shifts to Anjum's past in the second chapter, Khwabgah, introducing Imam Ziauddin, a blind religious scholar. This chapter unveils the origins of Anjum’s journey, born as Aftab to Mulaqat Ali and Jahanara Begum. Her birth was a source of immense shock, as revealed when the midwife disclosed that the child had both male and female genitalia. The descriptions of Jahanara’s initial reactions underscore her inability to reconcile this reality:
"Her first response was despair; her second, disbelief. Her third reaction was to recoil from what she had given life to, and her fourth was a fleeting thought of ending both their lives."
This visceral response reflects the societal challenges of accepting a child who doesn't conform to the rigid gender binary. The narrative critiques a world deeply entrenched in these binaries, shedding light on the marginalization of third-gender individuals.
While accompanying her mother to the market one day, Aftab encounters Bombay Silk, a hijra, and follows her to Khwabgah, a community where people like Aftab find belonging. Here, Roy introduces other pivotal characters: Mary, Gudiya, Bulbul, Bismillah/Bimla, Raziya, and Nimmu Gorakhpuri, with Begum Kulsoom Bi presiding over the household. Although Aftab’s parents gradually come to terms with her identity, they attempt to seek divine intervention by visiting Hazrat Sarmad’s shrine. Sarmad, a mystic executed for his unconventional beliefs and his love for a man, becomes a poignant figure symbolizing resistance against societal norms.
Aftab’s story takes a turn when, at Jama Masjid, she discovers an abandoned baby girl, Zainab. She takes Zainab to Khwabgah, where the child falls ill, and Aftab seeks blessings at Ajmer Sharif Dargah. However, during their journey, Aftab and Zakir Mian find themselves caught in the horrors of the 2002 Gujarat riots. Zakir Mian is brutally killed by a mob, but Aftab is spared, as harming a hijra is considered inauspicious. Traumatized by this event, Aftab embraces her identity as Anjum and retreats to live in solitude at Jannat Guest House, raising Zainab as her own.
Part 2 | Jantar Mantar
https://youtu.be/gr1z1AEXPBU?si=VxWY4Ek3_Ny2ciZ8
The narrative progresses to introduce Saddam Hussain, a new resident at Jannat Guest House. Saddam, born Dayachand, belongs to the oppressed Chamar caste in Haryana. Traditionally associated with leatherwork, the Chamar community faces systemic discrimination. Dayachand’s father is lynched by Inspector Sehravat for allegedly killing a cow, an act rooted in casteist and communal hatred. Fueled by a desire for vengeance, Dayachand adopts the name Saddam Hussain, inspired by the Iraqi leader, and vows to avenge his father’s death.
The story moves to Jantar Mantar, a protest site in Delhi where individuals gather to voice their dissent against systemic injustices. Anjum observes a tapestry of protesters, including Gandhian activists, environmentalists, and families of the disappeared. Amid this chaos, Dr. Azad Bhartiya emerges as a unifying voice. In a surreal moment, Anjum notices a baby at the protest, but it vanishes before she can comprehend its significance.
This section showcases the novel’s engagement with India’s socio-political landscape, highlighting themes of resistance, marginalization, and solidarity among the oppressed. Through Anjum’s journey and the lives of those she encounters, Roy masterfully weaves a narrative that critiques societal hierarchies while celebrating human resilience.
Part 3 | Kashmir & Dandakaranyak
https://youtu.be/cIKH_89rML0?si=8OgFexPKTdWRs_F1
This segment marks a shift in the narrative, moving away from Anjum's perspective to Biplab Dasgupta’s unreliable first-person narration. Biplab works for the intelligence bureau, and the introduction of several new characters occurs here. These include Tilottama, a mysterious woman who adopts a child who has gone missing, naming her Miss Jebeen the Second. The question that arises is, who was Jebeen the First? Other notable characters in this section are Nagraj Hariharan, a journalist, Musa Yeswi, who eventually becomes a terrorist, and harsh figures like Inspector Amrik Singh, ACP Pinky Sodhi, and her brother Balbeer Sodhi.
The narrative takes us through the viewpoint of a character known as the "Landlord," who rents out his property, offering insights into the lives of the people living in the building. Among them is Tilottama, whose enigmatic presence becomes central to the story. She was an architecture student in Delhi and has ties to characters like Musa, Naga, and Hariharan.
Musa's tragic story is central to the narrative, and he transforms into a terrorist after the loss of his wife, Arifa, and daughter Miss Jebeen the First in a military operation. The moment of their death, where a single bullet takes both their lives, shapes Musa's path towards joining the insurgency in Kashmir. The novel explores the devastating cycle of violence in the region, showing how personal tragedy often fuels radicalization. However, the portrayal of the Kashmir conflict has faced criticism for offering an overly sympathetic view of the insurgency, while failing to address the suffering of Kashmiri Pandits.
The story delves into the characters' shared past, including their time together in college, where they collaborated on a play and had feelings for Tilottama. Her involvement in hiding the missing child and interacting with a range of characters, including Dr. Azad and Saddam, adds further complexity to the story.
The narrative also includes a poignant symbol—a young terrorist’s body found with flowers in his hand—representing the paradox of death and hope. The idea that even in death, there is a belief in a brighter future for Kashmir persists. The hope for freedom and the vision of a sovereign Kashmir where the land will no longer be controlled by outsiders, form a key part of the narrative. From the Indian perspective, the hope is for Kashmir to peacefully integrate with India, envisioning a future of unity and coexistence. This extends to a broader dream of regional reconciliation, where nations like Pakistan and Bangladesh might one day choose to reunite with India.
The story also reveals the heart-wrenching fate of Revathy, the mother of the disappeared child, Miss Jebeen the Second (also known as Udaya Jebeen). Revathy’s life was shaped by trauma, having been raped by six police officers, which led to the birth of her daughter. The mother’s letter, spanning nine pages towards the end of the novel, describes the unspeakable suffering and the resilience of those affected by violence. Miss Jebeen represents the broken identities and painful legacies of her parents, embodying violence but also the enduring human spirit.
The novel also explores the psychological toll of conflict on security personnel. The tragic demise of Amrit Singh and his wife Lavleen Singh highlights the mental strain of living under constant threat. Though the terrorists were not directly responsible for his death, the fear and paranoia instilled in him led to his collapse. This illustrates the shared human cost of violence, regardless of which side of the conflict one is on.
Through its complex characters and narratives, the novel unpacks themes of identity, resistance, and the devastating impacts of conflict, offering a deep exploration of human resilience and the haunting realities of living amidst turmoil.
Part 4 | Udaya Jebeen & Dung Beetle
https://youtu.be/VH5EULOFP4g?si=o6l7Q08McDgxMM6p
How does one convey a fractured story? By gradually becoming everyone. No. By gradually becoming everything.
The fragmented tale begins to converge in this section, with Dr. Azad Bhartiya acting as the unifying thread. We learn that Saddam has married Miss Udaya Jebeen, and the two now reside at Jannat Guest House. Tilottama also teaches at the nearby Jannat Graveyard.
Musa spends his final night at the guest house with Tilottama, the woman he loves. Their connection is defined by tenderness, tinged with the knowledge that Musa's return to Kashmir will likely be his last journey. Tilottama, in turn, shares her life at the guest house, recites a rebellious Urdu poem, and reveals her reflections on identity and storytelling. Musa is deeply moved by her unique perspective and the strangeness she exudes, finding it both endearing and profound.
Meanwhile, Anjum, the transgender owner of Jannat Guest House, reflects on her life while wandering through the graveyard. She takes Miss Udaya Jebeen, the child she cares for, on a midnight walk, introducing her to the nighttime life of the city. These intimate moments with the child juxtapose the darker themes of love, loss, and war that define Musa and Tilottama’s storyline.
The novel concludes on a note of hope, symbolized by Anjum’s resilience and the continued survival of life, represented in the small yet enduring act of a dung beetle "on duty." Despite the pervasive tragedy and struggle, there is an underlying belief that ultimately, everything will be okay.
∆Thematic Study of The Ministry of Utmost Happiness
https://youtu.be/5NYSTUTBoSs?si=j_4UhAR2fEVzbpth
Arundhati Roy's The Ministry of Utmost Happiness delves deeply into the socio-political and cultural landscape of modern India, intertwining stories of marginalized characters to explore universal themes of humanity, resilience, and coexistence. The novel presents a complex and fragmented narrative, mirroring the disjointed realities of the characters and the nation they inhabit. Below is an in-depth thematic analysis of the novel:
1. The Nature of Paradise
Roy examines the concept of paradise as a spiritual, emotional, and political aspiration. However, the paradises portrayed in the novel—like the Khwabgah (a sanctuary for the Hijra community) and the Jannat Guest House (built in a cemetery)—are temporary and fragile.
Khwabgah: A haven for the Hijra community, symbolizing unity and safety, yet its name, meaning "House of Dreams," signifies its detachment from reality.
Jannat Guest House: Located in a graveyard, it represents a liminal space where life and death coexist. Despite being overshadowed by death, it becomes a sanctuary for outcasts.
Tilo’s Journey: Tilo’s quiet acceptance of life’s fragility and her embrace of small joys in Jannat Guest House illustrate Roy’s philosophy that true paradise lies in accepting impermanence and suffering.
Roy critiques the idea of an idealized, enduring paradise, suggesting that contentment comes from fleeting, imperfect sanctuaries.
2. Ambiguity and Diversity
The novel emphasizes the beauty and strength of ambiguity—both in individual identities and societal structures.
Anjum’s Identity: As a Hijra, Anjum’s gender is fluid, representing the tension between societal norms and personal reality. Her voice, described as "two voices quarreling," symbolizes internal conflict and acceptance of duality.
Kashmir Conflict: The region’s struggles highlight the dangers of enforcing homogeneity. The Indian government’s and rebels’ attempts to impose singular narratives result in division and violence.
Empathy in Ambiguity: Anjum’s openness to diversity fosters a sense of community and healing, contrasting with characters like Mr. Aggarwal, whose rigid beliefs cause alienation.
Through Anjum and spaces like Jannat Guest House, Roy advocates for embracing complexity and diversity as life-affirming values.
3. Costs of Modernization
The novel critiques India’s rapid modernization, which, driven by capitalism, often benefits the elite while marginalizing the vulnerable.
Westernization: Economic development favors commercialization over traditional values, with tourism exploiting cultural heritage while neglecting the impoverished.
Displacement: Farmers lose their lands, beggars are banished from cities, and the poor are pushed to the margins.
Religious Nationalism: Hindu nationalism rises alongside economic changes, exacerbating anti-Muslim sentiment and increasing social divisions.
Kashmir’s Exploitation: Roy highlights how the ongoing violence in Kashmir benefits both government forces and militant groups, who profit from the perpetual conflict.
The Jannat Guest House serves as a refuge from modernization’s harsh realities but offers no permanent solution, reflecting Roy’s skepticism about India’s developmental trajectory.
4. Life and Death as Interconnected
The novel blurs the boundaries between life and death, portraying them as intertwined rather than oppositional.
Kashmir and Martyrdom: In Kashmir, death becomes a symbol of resistance and honor, while survival under occupation feels like a living death.
Trauma and Survival: Characters like Anjum and Tilo experience symbolic deaths due to trauma, carrying scars that blur their existence between life and death.
Jannat Guest House: Situated in a graveyard, it becomes a place where death provides a foundation for life, offering solace to those seeking healing.
Roy suggests that recognizing this interconnectedness allows for a deeper understanding of existence and resilience.
5. Storytelling and Its Power
Roy’s fragmented narrative structure mirrors the complexities of the characters’ lives and critiques traditional storytelling conventions.
Non-linear Narration: The disjointed structure reflects the brokenness of the world it describes, emphasizing that some stories resist linear representation.
Trauma and Narratives: Storytelling becomes a tool for coping with pain and reshaping memories, as seen in Anjum’s reinterpretation of her past.
Critique of Commercialization: Roy exposes how victims of tragedy are often forced to commodify their stories to gain attention, reducing their suffering to spectacle.
Erasure of History: The novel warns against official narratives that erase minority histories, as seen in the suppression of Muslim heritage in Gujarat.
Roy underscores the importance of multiple perspectives, emphasizing the danger of dominant, singular narratives.
6. Marginalization in Contemporary India
The novel sheds light on the systemic oppression faced by various marginalized groups.
Dalits: Relegated to menial labor, they remain excluded from mainstream society.
Hijras: Anjum’s story highlights the struggles of the transgender community, navigating identity and exclusion.
Muslims and Kashmiris: Hindu nationalism exacerbates violence against minorities, marginalizing them further.
Globalization’s Impact: While advancements like affordable gender-reassignment surgeries emerge, they threaten traditional cultural practices, such as those of the Hijra community.
Roy critiques how modernization and nationalism perpetuate inequality, urging readers to acknowledge and address these injustices.
7. Corruption, Violence, and Capitalism
The novel critiques the interplay of corruption, economic greed, and political violence.
Kashmir’s Economy of Violence: Roy exposes how all parties involved—the Indian army, militants, and businessmen—profit from the ongoing conflict.
Political Opportunism: Figures like Naga, a leftist journalist, prioritize personal gain over genuine activism, reflecting the self-interest behind many causes.
Capitalism and War: Roy highlights how economic motivations often overshadow ideological or moral claims, perpetuating cycles of violence.
This theme underscores the moral decay at the heart of modern political and economic systems.
8. Resilience and Hope
Amidst the novel’s darkness, Roy highlights the resilience and hope of the marginalized.
Symbolic Characters: Anjum, Miss Jebeen the Second, and the dung beetle symbolize rebirth, survival, and renewal.
Community and Solidarity: Jannat Guest House becomes a microcosm of inclusivity, offering solace and unity to those rejected by society.
Defying Oppression: The characters’ ability to find joy and purpose amidst suffering reflects the indomitable spirit of humanity.
Roy portrays resilience and hope as essential tools for survival and transformation.
9. Gender and Social Coexistence
Through Anjum’s experiences, Roy challenges rigid gender binaries and advocates for coexistence.
Gender Fluidity: Anjum’s identity as a Hijra transcends traditional notions of masculinity and femininity, symbolizing inclusivity.
Partition and Gender: Roy parallels the arbitrary division of the gender binary with the senseless violence of the India-Pakistan partition.
Coexistence: Anjum’s identity becomes a metaphor for unity across divisions, reflecting the possibility of peaceful coexistence.
∆∆Symbols and Motifs
https://youtu.be/UbBOqLB487U?si=6yVix8s7tNjxiMW5
Hazrat Sarmad Shaheed: Represents love and spiritual inclusivity, transcending societal norms.
Jannat Guest House: A fragile utopia symbolizing coexistence and healing.
Saffron Color: A metaphor for Hindu extremism and its violent impact.
Dung Beetle: A symbol of resilience and ecological harmony, offering hope for renewal.
∆∆Conclusion
In The Ministry of Utmost Happiness, Arundhati Roy intricately weaves themes of identity, oppression, resilience, and hope, offering a profound critique of modern India’s socio-political landscape. By celebrating ambiguity, diversity, and human connection, the novel presents a powerful vision of coexistence and renewal amidst chaos.
Thank you.. 🍁🍂🍁
References :
DoE-MKBU. (2021a, December 28). Part 1 | Khwabgah | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=-29vE53apGs
DoE-MKBU. (2021b, December 28). Part 2 | Jantar Mantar | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=gr1z1AEXPBU
DoE-MKBU. (2021c, December 28). Part 3 | Kashmir and Dandakaranyak | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=cIKH_89rML0
DoE-MKBU. (2021d, December 28). Part 4 | Udaya Jebeen & Dung Beetle | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=VH5EULOFP4g
DoE-MKBU. (2021e, December 30). Symbols and Motifs | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=UbBOqLB487U
DoE-MKBU. (2021f, December 30). Thematic Study | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=5NYSTUTBoSs
Penguin Books South Africa. (2018, August 13). The Ministry of Utmost Happiness by Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=_JAOmFlMlMc
