Critical Analysis

Shazia Sadaf’s response to Arundhati Roy’s The God of Small Things is quite unique, as color never seemed to be a large part of the storyline. Sadaf’s article pertains to the use of color in the novel, and what each color symbolizes and how these colors fit into the story. Roy once stated that nothing in the novel was there by mistake, and this statement must include colors, which Sadaf covered quite succinctly. Sadaf explains that the book is based on an underlying web of interconnected ideas, and that colors are a part of these ideas. Colors are then used to bring out emotions of some of the characters and give the readers opportunities to either relate to or understand these characters further. After reading this article, as well as visiting passages in the novel, color does play a larger role than first anticipated.

            Sadaf refers to philosophical studies of color perception early in the article, which seems rather unnecessary due to the fact that the basis of colors discussed in the article are all well-known, and usually symbolize something concrete. The four main colors discussed were red, blue, green, and yellow. Red was the most often used color, and was used 113 times. Red seemed to be a color of danger or forewarning when looking back on the novel, but the article explains many other viewpoints. Red could be used to foreshadow a dark event, such as Sophie Mol’s death in the quote “the salted limes were red. The tender mangoes were red. The label cupboard was red. The dusty sunbeam (that Ousa never used) was red.” (pg. 188). This scene describes various objects around the factory that appeared red. This instance was one of the first times Estha had pondered fleeing, which would eventually lead to his running away and ultimately Sophie Mol’s death. Red could also symbolize rebellion, especially against the color blue (symbolizing British presence in India). Blue’s British connotation can be seen through Pappachi, Chacko, and the family, who “were a family of Anglophiles.” (pg. 51). Red and blue were two colors, that when used together, meant conflict between two parties.

            Yellow, unlike blue and red, does not combat another color when paired. Yellow predominantly symbolizes fear, as stated by Sadaf. After reflecting back on the book, this claim does in fact make sense. As seen in the Orangedrink Lemondrink Man experience for Estha, a color that comes into mind is yellow (due to the yellow lemon drink Estha receieves). This moment in the book scarred Estha for years to come, and it is safe to say the man filled Estha with fear. It is mentioned in this particular scene that the Orangedrink Lemondrink Man’s drew Estha in “by yellow teeth” (pg. 98), and the fear of the Orangedrink Lemondrink Man shown by Estha caused him to nervously follow the man’s orders.  The color green is used the least out of any of the words in the novel, but that does not take away from its importance. Green symbolizes oppression, as if some sort of green vine was metaphorically choking a dream or person. This is seen primarily through Baby Kochamma, whose garden was choked out by weeds and other vegetation. This metaphor explains that Baby Kochamma’s aspirations and love life were once existent but are now nothing more than a collection of passed on dreams that now wither away.

            The colors described in the novel not only give insight to different emotions experienced by the characters in the book, but they also add to the overall mood of the book. As noted above, all the colors convey primarily negative connotations, which add to and emphasize the mood of the novel. In the end, Estha and Rahel are still longing for a deeper love, and many of the other characters end up dead. Color identification is a facet of this novel that is overlooked that provides a much deeper insight to Roy’s novel as a whole, and ends up giving the reader a reinforced understanding of the mood of the novel.