ARUNDHATHI ROY'S POSTMODERNIST ART OF NARRATIVE TECHINIQUE AND THEME IN HER NOVEL "THE GOD OF SMALL THINGS.

Arundhati Roy's God of Small Things is a typical Postcolonial text, as the basis of her imagination is the idea of Postcoloniality. Within this ambiance of the Postmodernist world, there are the ideas of transgression, hegemony hybridity, and mimicry. This is a difficult recitation, where the issues of the Orient, (that is, Said's Orient), the question of Feminist affirmation (or the lack of it), patriarchy and finally the important aspect, the question of the subaltern are the critical issues which Arundhati Roy's Postmodernist art discusses. Arundhati Roy’s images in The God of Small Things are so variegated, so strikingly new, so dewy fresh and yet so apt that they linger on the reader’s mental screen even when his eyes glide forward on the text of the novel. The reader remains spellbound with his mouth agape, wondering why he did not think of them! An image is not simply a yoking together of two similar ideas. Some of Arundhati Roy's images also serve the purpose of creating an atmosphere appropriate for the corresponding action. Her poetic passages, mythical allusions, and rich and evocative imagery are commendable for their artistic effect (R. Bhargavi 2002: 107). Shakespeare used animal imagery in Othello to provide the general atmosphere of cruelty, deceit, and evil in the world. In Hamlet, the images of disease and dearth create such an atmosphere. The novel has some of the devices used in a cinematic technique with episodes, flashbacks, and flash-forwards largely because it is viewed through the eyes of a seven-year-old child, Rahel. Such a narrative is bound to remain raw, honest and as repetitive, slow and fragmentary as children in their immaturity do not always exercise control over their thoughts and imagination. Ammu, as the connection between the Heart of Darkness and the History House is a failure in her own world, as a wife, a daughter, and mother. First, she is betrayed by Baba, whom she marries in Calcutta by sheer wrong judgment. Baba is not handsome or intelligent or responsible, as she wants him to be. The failure of her marriage is symbolic of the lack of domestic support