The Ministry of Utmost Happiness

 The Ministry of Utmost Happiness 

Arundhati Roy’s ‘The Ministry of Utmost Happiness’, is a powerful and sprawling novel that weaves together multiple narratives to explore themes of identity, resilience, and resistance in contemporary India. Published in 2017, two decades after her Booker Prize-winning debut ‘The God of Small Things’, the novel delves into the lives of marginalised communities and individuals, against the backdrop of India’s complex socio-political landscape. With its lyrical prose and intricate storytelling, Roy presents a vivid tapestry of love, loss, and the enduring quest for dignity and justice. This blog is a flipped learning activity assigned by Barad Sir, where we shall examine this novel in detail. For more information, check out teacher’s blog here - The Ministry of Utmost Happiness.

For ease of understanding, the novel can be divided into five parts based on the locations where the action takes place. These include - Khwabgah, Jannat Graveyard/Guesthouse, Jantar Mantar, Kashmir and Dandakaranya. 

Khwabgah - Part 1

The novel begins with introduction of Anjum, a hijra (transgender woman), who chooses to live in a graveyard, creating a home there among the tombstones. She befriends an elderly Imam named Ziauddin. The narrative explores Anjum’s identity, her struggles with societal norms, and her quest for belonging, setting the stage for her journey toward self-acceptance.

The narrative then delves into Anjum’s origins as Aftab, the fourth child of Jahanara Begum and Mulaqat Ali, born intersex. Her family’s struggle to come to terms with her identity is juxtaposed with her discovery of the Khwabgah—a sanctuary for hijras. We also get a brief backstory of Hazrat Sarmad Shaheed. Anjum then moves into the Khwabgah and adopts an abandoned girl, Zainab. Her travels with Zakir Mian to Ajmer Sharif and the traumatic events of the 2002 Godhra riots underscore the intersection of personal and political tragedies in her life. 

After all these traumatic events, Anjum moves into the graveyard and transforms it into a guesthouse named Jannat (Paradise). 

Jantar Mantar - Part 2

We begin with the introduction of a permanent guest in Anjum’s guesthouse, Saddam Hussein. He is a man with his own tragic past, including witnessing his father’s murder by a mob. Saddam’s thirst for revenge contrasts with Anjum’s weariness and desire for peace.

Jantar Mantar becomes a hub for protests against corruption, with demonstrations reflecting the unrest caused by issues like the Armed Forces Special Powers Act (AFSPA) in Manipur and the Tibetan refugee struggle for liberation. The Association of Mothers protesting against the disappearance of loved ones in Kashmir adds another layer of human suffering. Amidst this, media coverage brings selective attention to certain protests, shaping political narratives. Anjum, along with Saddam, Nimmo, Ustad Hameed, and Ishrat, becomes involved in these protests. The appearance of a baby introduces a tender yet mysterious element. Anjum’s desire to adopt the baby sparks resistance from figures like Mr. Aggarwal, reflecting societal biases. Tensions escalate with the arrival of the police, leading to the arrest of Anjum. The chapter concludes on a note of uncertainty with the mysterious disappearance of the baby.

Kashmir and Dandakaranya - Part 3 

At Jantar Mantar, we get introduction of two more characters: Dr. Azad Bhartiya, who becomes a link that connects all these people and Tilottama who is a very mysterious character. 

In this part of the story, we find a chapter narrated by a first person narrator called Biplab Dasgupta. He is a bureaucrat, who recalls his college days with Tilottama (Tilo), Naga, and Musa. Tilo marries Naga, a journalist in Kashmir, while Biplab secretly harbors feelings for her. He intervenes to save Tilo from Major Amrik Singh, a military officer infamous for his brutality in Kashmir. Four years later, Tilo rents an apartment from Biplab, and he discovers strange documents in her possession. These documents reveal details about Major Amrik Singh’s involvement in human rights abuses, his eventual flight from the country, and his guilt-driven suicide. The story delves into Tilo’s relationship with Musa and the lingering pain of his personal losses during the Kashmir conflict.

We also find out that the baby that disappeared at Jantar Mantar was actually taken by Tilottama and she names the baby Miss Jebeen. Dr. Azad advises Tilo to leave the baby with Anjum, recognizing her nurturing abilities.

We get a brief backstory of Miss Jabeen the first, who is actually Musa’s daughter. Her and her mother, Arifa’s gruesome death in Kashmir and Musa’s grief and subsequent radicalization are explored as he goes underground and joins the resistance. Tilo spends time with Musa and his associate, Gulrez, while navigating the dangers of being captured by the state. She is tortured by ACP Pinky but manages to send a message to Biplab for help. The chapter concludes with Tilo’s last meeting with Musa, after which she decides to marry Naga and aborts her unborn child.

Anjum establishes a haven for outcasts at Jannat, turning it into a community center and school for underprivileged children. Zainab frequently visits and develops a bond with Saddam. Saddam, initially driven by revenge for his father’s death, lets go of his hatred after giving his father a proper funeral. A letter from Revathy, a communist activist and Jebeen’s biological mother, narrates the trauma of rape by police officers and her decision to abandon her child at Jantar Mantar. The chapter culminates in the re-naming of the child as Miss Udaya Jebeen, symbolizing hope and resilience.

Udaya Jabeen and Dung Beatle - Part 4

The end brings a sense of closure as Musa meets Tilo at Jannat for the last time. The chapter explores the poem written by Tilo, which questions how can one tell a shattered story. 

The novel ends with “Guih Kyom”, a dung beetle lying on his back, prepared to catch the heavens in case they fell. However, this dung beetle believes that everything will be alright because Miss Udaya Jebeen has arrived. The story ends on this hopeful note.

Thematic Study 

1. The Nature of Paradise

The novel explores what happiness means and where it can be found, equating it with the search for “paradise.” Paradise is depicted both as an earthly possibility and a spiritual ideal. However, it often proves fragile or symbolic.The Khwabgah symbolizes a paradise-like space but is unreal in many ways, existing outside the oppressive “Duniya”. Jannat Guest House, located in a graveyard, serves as another “paradise” for misfits and marginalized individuals, symbolizing a sanctuary where life and death coexist. The novel suggests paradise isn’t separate from suffering and death but is intertwined with them. Contentment is found in accepting this ambiguity.

2. The Importance of Ambiguity and Diversity

Roy emphasises internal and external divisions within people and societies. Anjum, a Hijra, experiences inner conflict in her identity as both male and female. Nimmo, another Hijra, likens this discord to the divide between India (Hindu) and Pakistan (Muslim). The novel addresses the Kashmir conflict, where divisions between religious and political groups lead to cycles of violence.While diversity creates tension, the novel argues it is life-affirming. Attempts to impose uniformity, such as through religious nationalism or governmental control, are destructive. Anjum’s ambiguity becomes her strength, allowing her to connect with outcasts. In contrast, those clinging to rigid certainties (e.g., Mr. Aggarwal) are portrayed as diminished.

3. The Costs of Modernization

India’s modernization is critiqued for its destructiveness, especially its impact on marginalized communities. Western-style capitalism exploits culture, displaces people, and erases traditions. Skyscrapers replace homes, rivers are privatized, and the poor are excluded from the narrative of progress.In Kashmir, modernization fuels violence, with arms dealers and militaries profiting from the conflict. Hindu nationalism, spurred by modernization’s inequalities, oppresses minorities, especially Muslims and Dalits.

4. The Boundaries Between Death and Life

Roy challenges traditional boundaries between life and death, portraying them as intertwined. In Kashmir, martyrdom makes the dead “live forever,” while the living merely “pretend” to be alive due to oppression and trauma. Survivors like Anjum and Tilottama live in a liminal space, deeply scarred by their experiences. Anjum, living in a cemetery, embodies this blurred line, existing as if “between life and death.” Jannat Guest House, surrounded by death but full of life, exemplifies this ambiguity. It provides comfort to characters who find healing in the coexistence of the two states.

5. How and Why Stories Are Told 

The novel’s fragmented structure reflects the difficulty of telling “shattered” stories of trauma and loss. Storytelling is shown as evolving with the audience, offering comfort and purpose. For example, Anjum rewrites her story to appear happier for Zainab, which changes her own perspective. However, storytelling can be commodified or manipulated, as seen with the “Mothers of the Disappeared,” whose tragedies are repackaged for international attention. Roy critiques the rewriting of history by those in power. This rewriting is dangerous, as it enforces singular narratives at the expense of diversity.

6. Social Status in Contemporary India

The novel addresses the marginalization of Dalits, Muslims, and Hijras in India’s hierarchical society. Hindu nationalism tightens the association between Hindu identity and Indian citizenship, excluding non-Hindus as outsiders or threats. Dalits, traditionally relegated to “polluted” labor, face increased hostility under Hindu nationalism. Modernization worsens inequality, displacing the poor and ignoring their existence. Hijras, for example, risk cultural extinction as gender reassignment surgery becomes more accessible. These marginalized groups find refuge in spaces like Jannat Guest House, which rejects societal norms and embraces diversity.

7. Corruption, Political Violence, and Capitalism

Arundhati Roy critiques contemporary postcolonial Indian politics, highlighting corruption across various groups—military, leftist factions, and Kashmiri militants. The Kashmir conflict is central, with all sides profiting from ongoing violence. The Indian army, for example, profits by selling ammunition to militants, perpetuating the conflict. Soldiers fabricate terrorist threats for cash incentives, showcasing the misuse of nationalism for monetary gain. Leftist journalists like Naga are co-opted by government rewards, revealing media corruption. Even Kashmiri businessmen exploit the “peace process,” aligning profit motives with continued strife. Roy portrays all groups as morally compromised, using religious or ideological justifications to mask capitalist self-interest.

8. Resilience and Hope

Despite bleak depictions of violence and inequality, the novel emphasizes resilience and hope. Anjum, a transgender woman, draws strength from the shrine of Hazrat Sarmad Shaheed, a martyr symbolizing defiance and enduring love. Acts of resistance, like Kashmiri families risking their lives to bury loved ones, highlight courage. The metaphor of mustard flowers growing from a murdered man’s fists embodies life emerging from death. The adopted child Miss Udaya Jebeen symbolizes hope and renewal, representing resistance against violence and injustice. The narrative concludes on an optimistic note, suggesting that resilience and hope can eventually triumph over oppression.

9. Gender Identity, Social Division, and Coexistence

The novel challenges the gender binary through Anjum, a transgender woman born intersex, and the Hijra community. Anjum navigates societal discrimination and paradoxically benefits from folklore that deems Hijras holy, sparing her during a massacre. The gender binary is compared to the Indo-Pak partition, with the artificial division causing conflict. Anjum’s acceptance of both masculine and feminine traits symbolizes coexistence, challenging strict societal divisions based on gender, religion, and nationality. Roy uses Anjum’s identity to advocate for embracing differences rather than perpetuating exclusion or violence.

10. Social Hierarchy vs. Social Inclusivity

Roy contrasts India’s rigid caste system and social hierarchy with Anjum’s inclusive community. Characters like Biplab Dasgupta exemplify privilege and isolation, as his caste loyalty prevents him from pursuing personal happiness. Anjum rejects these divisions by creating Jannat Funeral Services, a sanctuary for marginalized individuals of all religions and castes. The graveyard becomes a utopian space, contrasting the dystopian violence and inequality of broader society. Roy demonstrates that inclusivity fosters peace and happiness, while hierarchies perpetuate isolation and conflict.

11. Religion and Power

The novel critiques the entanglement of religion and politics, depicting how it fuels violence and intolerance. Hindu nationalism is shown through government complicity in massacres of Muslims and the deification of political figures like Gujarat ka Lalla. Muslim militancy in Kashmir also perpetuates division, with radicals targeting even their allies. Usman Abdullah, a moderate Kashmiri ideologue, is murdered for opposing extremist interpretations of freedom. Roy highlights how religious extremism on both sides undermines unity and freedom, warning against the dangers of intertwining religion with political power.

Symbols and Motifs 

Hazrat Sarmad Shaheed - Hazrat Sarmad Shaheed, an Armenian Jew who converted to Islam out of love for a Hindu man, was executed for apostasy after challenging conventional religious beliefs. His shrine today embodies love that transcends cultural and religious boundaries, promoting a spirit of inclusivity and spirituality. Sarmad’s legacy invites diverse interpretations, symbolizing a celebration of simplicity, love, and universal acceptance despite his marginalization.

The Old Man-Baby - A symbolic figure of hope, the “Old Man-Baby” leads a hunger strike against corruption at Jantar Mantar, uniting diverse groups under a shared cause. However, his movement, organized by upper-middle-class professionals, becomes more about the thrill of protest than tangible change. By aligning with Hindu nationalists, his image reflects the conflict between idealism and the social complexities of modern India.

The Shiraz Cinema - Shiraz Cinema represents the intersection of cultural and military imperialism in Kashmir. Initially shut down by the separatist group “Allah Tigers,” who viewed it as a symbol of Indian cultural dominance, it was later repurposed by the Indian Army as an interrogation center. This transformation critiques both fundamentalist and imperialist actions, exposing the dangers of extremism and the unintended consequences of resistance.

Jannat Guest House and Funeral Parlor -  Built by Anjum in a Muslim cemetery, Jannat Guest House and Funeral Parlor is a sanctuary for marginalized individuals of all backgrounds. It symbolizes an inclusive and diverse India, standing as an idealized vision of unity. However, its proximity to death serves as a reminder of life’s fragility. The name “Jannat” (paradise) evokes a spiritual haven, offering a vision of utopia amidst a fractured reality.

Duniya and Jannat - In ‘The Ministry of Utmost Happiness’, “Duniya” (world) and “Jannat” (paradise) embody contrasting realities that ultimately converge. Refuge spaces like the Khwabgah and Jannat Guest House provide solace from societal violence, yet the stark realities of characters like Revathy and Amrik Singh challenge the boundaries between paradise and the harsh world, blurring the lines between idealism and reality.

Motherhood - Motherhood is a central theme, explored through characters like Anjum, Revathy, and Tilo, who navigate rejection, trauma, and fear. The novel critiques the myth of “Mother India,” presenting motherhood as a fluid concept that transcends biological and nationalistic constraints. Through Anjum and Tilo’s adoption of Miss Jebeen the Second, the novel redefines motherhood as a more inclusive and compassionate bond.

Bodies, Refuse, and Internal Organs - Bodies and waste in the novel symbolize resistance, particularly against caste oppression. Dalit characters like Saddam Hussain are marginalized through their association with waste disposal, which becomes a tool of defiance during Dalit protests. Waste, as a metaphor, critiques political narratives that erase marginalized histories. The endangered vultures, affected by modernization, reflect communities and traditions threatened by social and economic upheaval.

Gujarat ka Lalla - “Gujarat ka Lalla” serves as an allegory for Narendra Modi, symbolizing the rise of Hindu nationalism. His role in the 2002 Gujarat riots and subsequent political ascent underline the novel’s critique of rising authoritarianism and religious extremism. His presence casts a shadow over the story, leaving the novel’s hopeful ending tinged with uncertainty.

The Color Saffron - Saffron represents the violence and dominance of Hindu extremist groups, linking it to Modi’s Hindu nationalist agenda. The color is a symbol of religious aggression, as seen in the massacre witnessed by Anjum, where the attackers are likened to “saffron parakeets with steel talons and bloodied beaks.” Saffron reflects both the trauma of survivors and the cultural violence inflicted by extremist ideologies.

Vultures - The decline of vultures, caused by diclofenac poisoning, serves as a metaphor for the loss of artists, writers, and intellectuals who succumb to the pressures of nationalism. As the nation prioritizes power and militarization, the voices that preserve cultural plurality are stifled. The novel mourns the suppression of diversity and critical thought in an increasingly authoritarian society.

Guih Kyom, the Dung Beetle - The novel ends with hope, symbolized by Guih Kyom, the dung beetle. Despite its small and seemingly insignificant stature, the beetle plays a vital ecological role by cleaning land and aiding afforestation. This metaphor highlights the potential of even the smallest contributions to bring about meaningful change, urging humanity to embrace eco-sensitivity and resist self-destruction.

Check out the video given below for a brief introduction of the novel -

You can even check out the introductory presentation of this novel, Presented by me and my classmates - 

You can also check out this video by The Quint, where Delhi is explored through the words of Arundhati Roy and her descriptions from this novel - 

Words - 2785

Images - 2

Videos - 9

References - 

Barad, Dilip. “The Ministry of Utmost Happiness.” 28 December 2021, https://blog.dilipbarad.com/2021/12/the-ministry-of-utmost-happiness.html. Accessed 12 January 2025.

Roy, Arundhati. The Ministry of Utmost Happiness. Penguin Books, 2017.

Research and Writing

In this blog, I will answer questions on two types of research, a paraphrasing activity and discuss CIS. This blog is a thinking activity assigned by Prakruti Ma’am. 

1. In your opinion, should research always strive to achieve something new and creative or is it ok to pursue an existing direction and arrive at newer understanding of the same? In which one of these two categories would you classify the topic that you have chosen for your dissertation? 

I believe that both of these type of research are essential. A research that strives to achieve something new and creative would lead to ground breaking discoveries. On the other hand, revisiting existing research with new tools and perspective can lead to a deeper understanding. These re-evaluations are crucial in a field like literature. 

My dissertation topic is about comparing myths across the world. Although I do strive to unveil something new with this research, I would classify this as the second type of research because I am pursuing an existing direction. My work will be building on the foundation of prior works. 

2. Ask a chatbot of your choice to paraphrase the following passage. Check the paraphrase it gives you by answering the questions attached below the paragraph.

Original Paragraph - 

"There is little to be gained from seeking to isolate any artistic form or movement from its antecedents and counterparts. Myopia is the product of critical segregation, wherein readers disengage practices from those contexts that have forged their contours. This might seem obvious, but there is value in rearticulating the axiomatic in times of transformation--when something "new" emerges, many of us fall into the trap of isolating our darlings, whether old or young, from all those other contexts that play a significant role in their construction. How does one look at electronic literature without considering the literary, the ludic, that which we can see, touch, and hear---how does one look critically at anything without such frames of reference, and how do we overcome natural limitations in capacity when attempting to do so? The best we can do is look to those who have gone before, build upon their foundation, and indeed, emphasize those aspects of an exploration we deem worthy of greater emphasis." (Sullivan)

Paraphrase by Chat GPT - 

It is unproductive to attempt to separate any artistic form or movement from its predecessors and related contexts. Such critical isolation often leads to a narrow perspective, where practices are removed from the influences that have shaped them. While this may seem self-evident, it is important to restate foundational principles during periods of change—particularly when something “new” arises, as we often isolate our preferred ideas or creations, whether established or emerging, from the broader contexts that contribute to their development. For instance, how can we examine electronic literature without acknowledging its connections to traditional literature, play, and sensory experiences? How can we critically analyze anything without these contextual frames, and how do we address the inherent challenges in doing so? The most effective approach is to learn from those who came before us, build on their work, and highlight the elements we consider most significant for further exploration.

After receiving the bot's response, answer the following questions:

1) Is the paraphrase approximately the same length as the original passage?

Yes the paraphrased passage provided by Chat GPT is almost the same length as the original passage. 

2) Has any part of the passage been copied word for word?

No, there isn’t any part that has been copied entirely. The wording has been altered. Take the following lines for example. 

Original passage - “How does one look at electronic literature without considering the literary, the ludic, that which we can see, touch, and hear” 

These are paraphrased like this - “how can we examine electronic literature without acknowledging its connections to traditional literature, play, and sensory experiences?”

The words are changed but the meaning remains the same. 

3) Does the paraphrase have the same meaning as the passage?

Yes. The words have changed but the meaning remains the same. 

3. What is the full form of CIS? Discuss some of the types of searches which can be employed to search for sources in a library equipped with CIS.

The full form of CIS is as follows - 

C - Central  

I - Information 

S - System

It refers to a library management system or software that allows users to search for library resources efficiently using digital means. Normally, it includes the library’s catalogue of holdings, bibliographic databases, and other electronic resources. 

Some types of searches which can be employed are as follows - 

Title Search: If the user knows the exact title of a resource, they can input it into the system to locate it quickly. Partial titles can also be used with wildcard characters.

Author Search: Users can search for books, articles, or other resources by entering the name of an author. It is beneficial for those looking for works by a particular writer or researcher. 

Subject Search: This type of search focuses on a specific subject or topic. Users can enter predefined subject terms or categories to find all resources classified under that subject. 

Boolean Search: Using Boolean operators like AND, OR, and NOT, users can refine their searches. For example, “colonialism AND literature” will find sources that include both terms. 

Bibliographic Search: Users can search using specific bibliographic information such as ISBN, ISSN, or call numbers.

Words - 918

Images - 3

References - 

MLA Handbook for Writers of Research Papers, 7th Edition. American Greetings, 2009.