Introductory Presentation on ‘The Ministry of Utmost Happiness’.pptx

Introductory Presentation on ‘The Ministry of Utmost Happiness’ by Arundhati Roy

1. Introductory Presentation on ‘The Ministry of Utmost Happiness’ Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University Date: 6th Jan , 202 5 Presenters : Trupti Naik, Riya Bhatt, Khushi Rathod, Hardi Vhora, Unnati Baroliya, Bhumiba Gohil Yashraj Sodha

2. Table of Contents About the Author About the Novel Characters Narrative technique Plot Overview Major Themes Symbols Articles

3. Arundhati Roy Full Name : Suzanna Arundhati Roy Birth Date : November 24, 1961 Birthplace : Shillong, Meghalaya, India Parents : Mary Roy, a prominent women's rights activist from Kerala. Rajib Roy, a Bengali tea plantation manager. Raised in a multicultural environment, Roy’s upbringing was shaped by her mother’s activism and strong feminist ideals. She moved to Kerala at a young age and later to Delhi. Education : Studied architecture at the Delhi School of Architecture and later worked as a production designer. Early in her career, she worked as a production designer in films and television. Her screenplay In Which Annie Gives It Those Ones won the National Film Award for Best Screenplay .

4. Social causes : Advocates for marginalized groups in India, anti-globalization, environmentalist, human rights activist Controversies: Faced arrests and contempt charges for criticizing the Supreme Court and corruption charges. Influence: One of India's most renowned contemporary writers and activists. Voice for the oppressed. First novel: The God of Small Things (1997) - Won the Man Booker Prize in 1997 Literary style: Known for her poetic prose and unconventional narrative style Political activism: Outspoken critic of India's social injustices, nuclear policy, Kashmir conflict, environmental issues

5. Major non-fiction works: The Cost of Living(1999) Power Politics (2001) The Algebra of Infinite Justice (2002) Listening to Grasshoppers (2009) Major awards: National Film Award for Best Screenplay (1988) Booker Prize (1997) Lannan Cultural Freedom Award (2002) Sydney Peace Prize (2004) Orwell Award (2004) Sahitya Akademi Award (2006 declin) Norman Mailer Prize (2011) PEN Pinter Prize (2024)

6. # Key Facts : Full Title: The Ministry of Utmost Happiness When Written: 2002 Where Written: Minnesota When Published: 2017 Literary Period: Contemporary, Postmodern Genre: Postcolonial Literature, Magical Realism, Political Literature, Realism Setting: India Total Pages: 449 Climax: Tilo moves into Jannat House Funeral Services to raise a baby with Anjum. Antagonist: The Indian government Point of View: First and Third Person The Ministry of Utmost Happiness

7. # Historical/Cultural Context : What Inspired the Novel? The Ministry of Utmost Happiness was born out of Roy's deep engagement with India’s socio-political landscape over two decades. The novel reflects her observations on marginalized communities, including hijras (transgender individuals), Dalits, Muslims, and the disenfranchised. Roy drew inspiration from the Kashmir conflict, communal riots, and her encounters with grassroots activists. Connections to Historical and Social Events : Kashmir Conflict : The novel portrays the decades-long political strife in Kashmir, highlighting the human cost of militarization. Communal Riots and Religious Intolerance : References to events like the Gujarat riots underscore the growing sectarian violence in India. Caste and Gender : Roy weaves narratives of Dalit oppression, gender identity struggles, and societal exclusion to critique systematic inequality. Cultural Significance : The novel celebrates India’s diversity while critiquing its deep-seated inequalities. It redefines the idea of a "nation" by giving voice to the voiceless and embracing a pluralistic identity.

8. Learning Outcomes Understanding Marginalized Communities Awareness of Political and Social Realities in India Critical Examination of Identity and Belonging Appreciation of Narrative Innovation Engagement with Themes of Resistance and Resilience

9. [My second novel] is like a city – it has form and then that form is ambushed, and yet it still has form . . . it‟s not an accretion but it circles around itself, it has a structure . . . It is an Indian city, it has unauthorized colonies, it has illegal immigrants, it has do Dogs and cows and creatures and bats . . . it is a porous Indian city with its own plans (Roy, personal communication, Jan 16, 2018). Fragmented Structure and Multiplicity : The narrative resembles a city, described as having "unauthorized colonies" and "illegal immigrants," emphasizing its porous, sprawling nature. It shifts between multiple timelines, characters, and locations, such as the necropolis, Kashmir, and urban Delhi. The story is built as a “shattered jigsaw puzzle,” with scattered hints and foreshadowing that weave the narrative threads together, ensuring no question or element is left unresolved .(Joy) Narrative Technique

10. Multiple Narrators and Perspectives : The novel alternates between third-person omniscient narration and first-person perspectives. For instance, the first half focuses on Anjum, with a third-person narrator, while the second half is narrated by Biplab Das, an unreliable narrator, adding subjectivity and bias. These shifts in narrative voice enhance the exploration of characters’ psyches and provide a more multifaceted view of events. Autobiographical and Realistic Elements : Roy blends fiction with elements of reality, such as the depiction of political leaders resembling real figures. The characters’ lives also reflect autobiographical tinges, as seen in Tilo, who shares traits with Roy. Language Play and Humour : The novel uses wordplay, puns, and phonological sensitivity to introduce humor and satire, as seen in lines like "Is this Democracy or Demon Crazy." Roy critiques the trivialization of serious issues through deliberate language choices and the use of euphemisms.(Joy) Continue…

11. The narrative incorporates epistolary elements (letters), stream-of-consciousness passages, pamphlets, news articles, hospital records, photographs, and poems. These diverse media forms enrich the narrative texture and highlight the novel’s socio-political commentary. The text uses foreshadowing to connect disparate storylines, such as the significance of Miss Jebeen, who links the dystopian and utopian halves of the narrative. Parallelism and metaphor are employed to emphasize themes, such as systemic injustice, and to connect characters’ personal struggles with broader socio-political realities. A recurring motif is Roy’s “maneuver of empathy,” evident in her inclusion of marginalized voices and perspectives. The narrative champions the underprivileged and reflects their resilience through Anjum’s creation of a utopian space. Despite its fragmented style, the novel ensures closure by answering questions raised earlier and tying loose ends, such as the rise of Jannat Guest House.(Joy) Continue….

12. Understanding Complex Narrative Structures Appreciating Multiple Perspectives Exploring Realism and Autobiography Examining Language and Humor in Storytelling Understanding Intertextuality and Mixed Media Develop analytical skills to evaluate complex literary works. Appreciate the role of narrative choices in conveying socio-political themes. Enhance empathy by engaging with diverse and marginalized perspectives in storytelling. Learning Outcome

13. Characters part 1: Khwabgah Mulaqat Ali ( Hakim, Father of anjum) Jahanara Begum (Mother of anjum ) Aftab/Anjum - Son of Jahanara Alham Baaji (Midwife of Mulaqat ali) Iman Ziauddin - (Blind Iman) Kulsumbi - Ustad of Khwabgah Bombay, silk, Mary, Gudia & Bulbul Razia, saeeda Nimmo Gorakhpuri Bismillah (Bimla) Zainab - A child (later on marries Saddam Hussein)

14. Characters part 2 : Graveyard/Jannat Zakir Mian Contractor Gupta Dr. Azad Bharatiya (One from protestors) Saddam Hussein (Dayachand) (Wanted to take Revenge of his father’s death) Sherawat (Allegedly blamed for murder of Dayachand’s Father)

15. Characters Part 3: Kashmir and Dandakaranya Biplab Dasgupta Chitrarupa (Wife of Biplab) S.tilottama (Friend of musa, nagaraj(marries),biplab) Nagaraj Hariharan (Journalist) Musa Yeswi (Was involved into terrorist activities) Arifa Yeswi (Wife of Musa) Jebeen The First (Died) Captain Amrik Singh (Officer) Jalib Qadri (Human Right Activist) Loveleen Singh (Wife of Amrik) Acp Pinky Sodhi (Brutal Interrogator) Balbir Sodhi (Pinkey’s brother) Revathy (Mother of Udaya) Udaya (Jebeen the second)

16. Learning Outcomes The novel emphasizes the symbolic importance of spaces, such as the graveyard, in connecting characters and themes. The novel deepens understanding of India’s history, including events like the Kashmir conflict and communal riots. It sheds light on the challenges of navigating identity in a diverse and divided society. The book explores the fluidity of gender and identity through the character of Anjum It reveals how caste, gender, and religion intersect to shape individual identities. I understood how political events like the Kashmir conflict and communal riots shape individual and collective lives.

17. Plot Overview Where do Old Birds Go to Die? A woman living in the graveyard - Anjum “She lived in a graveyard like a tree” S he befriends elderly Imam named Ziauddin Khwabgah Jahanara Begum and Mulaqat Ali’s 4th child - Aftab Born with both male and female genitals Urdu words - ‘Hijra’ and ‘Kinnar’ Dargah of Hazrat Sarmad Shaheed Identity struggle and yearning for ‘Khwabgah’ Nimmo - Indo-pak war inside them

18. Adopting Zainab Saeed, suspicion of curse and 9/11 in America Travelling to Ajmer Sharif with Zakir Mian Godhra kand of 2002 Being caught in riots and death of Zakir Mian “Killing Hajra brings bad luck” Teaching Zainab hindu mantras and dressing up in boy’s clothes Shifting to the graveyard Guesthouse Jannat (Paradise) Permanent guest - Saddam Hussain (Dayachand) Handling cadavers at hospitals, losing eyesight in museum and killing of his father by a mob Saddam’s desire for revenge “Anjum waited to die, Saddam waited to kill.” Anjum’s growing political interest

19. The Nativity Arrival of international companies Mass removal of the slums from city Protest against corruption at Jantar Mantar Manipur nationalist protesting Armed Forces Special Powers Act Refugees from Tibet advocating for their country’s liberation Association of Mothers (missing people from Kashmiri conflict) Media coverage to one protest and political support it gets Anjum going to the protests along with Saddam, Nimmo, Ustad Hameed and Ishrat Appearance of a baby who is the colour of the night and does not cry Anjum’s desire to adopt a baby and resistance from Mr. Aggarwal Arrival of police, arresting of Anjum and Ustad Hadeem Disappearance of the baby

20. Dr Azad Bhartiya Story of Dr Azad Bhartiya who is on protest for 12 years He last saw the missing baby The Slow-Goose Chase Saddam and Ishrat follow a rickshaw The class differences seen in Delhi “They have cars for their dogs and gardens for their cars” Introduction to Tilottama Some Questions for Later Series of questions about whether ”Baby Seal” will remember it’s past and the forest

21. The Landlord First person narration of Biplab Dasgupta College days - Tilotamma, Naga and Musa Tilo marries Naga, who is a journalist in Kashmir Biplab saving Tilo from Major Amrik Singh 4 years later, she comes to rent an apartment Strange documents are found in Tilo’s room Story of Major Amrik Singh who fled the country and committed suicide Anjum and Saddam comes to collect Tilo’s things The Tenant Naming the child Miss Jebeen Naga finding Tilo’s documents about her mother’s illness

22. Tilo is advised by Dr. Azad to give the baby to Anjum Unclear story of Musa and how he lost his family Tilo goes to Jannat with the baby The Untimely Death of Miss Jabeen the First The brutal death of Miss Jabeen and her mother Arifa Musa’s meeting with Major Amrik Singh Musa goes underground and becomes a terrorist Tilo’s time with Musa and Gulrez Captured by Major and tortured by ACP Pinky Sending the message to Biplab Last meeting with Musa and decision to marry Naga Tillo aborts a child

23. The Ministry of Utmost Happiness Tilo starts a school for poor children at Jannat Zainab comes regularly to meet Miss Jabeen and is in love with Saddam Saddam leaves his revenge motivation and gives a funeral to his father Letter from Revathy, a communist party member and mother of Jabeen The letter shares the story of Jabeen’s birth Raped by police officers Leaving the baby at Jantar Mantar Miss Udaya Jabeen

24. The Landlord Biplab reading the old documents and changing his views about Kashmir Meeting with Musa Guilt ridden sucide of Major Amrik Singh Guih Kyom Musa meets Tilo at Jannat Poem written by Tilo Guih Kyom - the dung b eetle lying on his back in case the heavens fell But things would turn out alright in the end because Miss Udaya Jabeen was come

25. Learning Outcome Tapestry of voices created by multiple perspectives and interwoven stories Struggles of marginalised communities Commentary on contemporary Indian Socio-political issues like cast, gender, religious violence, and nationalism Fiction as a tool to challenge societal injustice

26. The Nature of Paradise:- The novel presents paradise as a fragile, symbolic refuge for marginalized people, embodied by spaces like the Khwabgah (House of Dreams) and Jannat Guest House (Paradise). Roy shows that this paradise exists alongside suffering and death—highlighting that true happiness lies in accepting life’s inseparability from mortality. The search for paradise is linked to socio-political struggles, suggesting a better world is possible but often fleeting and imagined. The novel rejects utopian ideals , portraying contentment as resilience within life's harsh realities rather than complete overcoming of suffering. Major Themes

27. 2 . The Importance of Ambiguity and Diversity:- The novel explores internal divisions in identity and society, linking personal struggles (like Anjum’s gender identity) to national conflicts, particularly the Kashmir issue. Roy critiques enforced uniformity , showing that attempts to impose singular identities lead to violence and societal breakdown. Ambiguity and diversity are portrayed as life-affirming, with Jannat Guest House symbolizing a safe space for society’s outcasts. Empathy emerges from embracing brokenness and differences, contrasting with the destructiveness of rigid bureaucratic systems.

28. 3. The Costs of Modernization:- Modernization in India, driven by Western capitalism, commodifies culture and marginalizes the poor. Economic progress benefits the elite, while farmers, beggars, and Kashmiris suffer displacement and death. The Kashmir conflict sustains profiteers on all sides, turning violence into a business. Modernization fuels Hindu nationalism and worsens anti-Muslim and anti-Kashmiri sentiments. Jannat Guest House symbolizes refuge from modernization destructive march, though India’s fate remains uncertain.

29. 4. The Boundaries Between Death and Life : The novel blurs the line between life and death , portraying them as interconnected rather than opposites. In Kashmir, martyrdom culture glorifies death , making survival itself a punishable crime under occupation. Survivor's guilt affects Anjum and Tilo, who feel haunted by the deaths of others and see survival as a curse. Jannat Guest House, surrounded by death yet full of life, symbolizes healing and coexistence between life and death. The novel questions whether true living is possible under oppression, suggesting that dying can be another way of living. Death offers liberation, while life remains entangled with trauma, loss, and political violence.

30. 5. How and Why Stories are Told: Fragmented Narratives : The novel’s non-linear, broken structure reflects the complexity of "shattered" stories that can't fit traditional plots. Stories and Identity : Storytelling shapes personal identity; Anjum rewrites her story to transform herself, showing narratives can offer comfort or reshape lives. Power and Control : Those in power manipulate stories and history to marginalize voices, turning narratives into tools of oppression. Multiplicity of Truths : Roy emphasizes diverse perspectives, warning against singular, "official" stories and highlighting the fluid nature of truth. Commodification of Grief : Victims are forced to package their stories as consumable products in global "supermarkets of grief." Narratives as Resistance : Alternative stories challenge dominant narratives, resisting cultural erasure and reclaiming agency.

31. 6 . Social Status in Contemporary India: Marginalization and Identity: The novel explores the exclusion of Dalits, Muslims, and Hijras from mainstream Indian identity due to caste, religion, and gender. Hindu Nationalism and Oppression: The rise of Hindu nationalism deepens the marginalization of non-Hindu communities, particularly Muslims, linking it to Kashmiri separatism. Displacement and Modernization: Economic progress and gentrification displace the poor, rendering them invisible to the government and society. Caste and Religious Politics: Roy critiques how caste-based labor and religious biases shape social hierarchies and influence political narratives. Cultural Extinction: The tension between modernity and tradition threatens the cultural identity of marginalized groups , like the Hijras. Dehumanization: Political and social rhetoric dehumanizes minorities, treating them as lesser citizens or threats to national unity.

32. # Learning Outcomes: Understanding how marginalization impacts identity and citizenship in contemporary India. Recognizing the dangers of religious nationalism in deepening social divisions. Gaining insight into how modernization can perpetuate social and economic inequalities. Realizing the role of caste and gender in sustaining oppression in society. Exploring the dehumanization of minorities through political and social exclusion. Reflecting on the cultural loss faced by marginalized communities in the face of progress. Developing empathy for the lived experiences of oppressed and forgotten groups.

33. Symbols Hazrat Sarmad Shaheed Sarmad’s Background, Journey and representation of Love: Sarmad’s story symbolizes unconditional love that embraces differences, including diversity in religion, sexuality, and belief systems. Acceptance and Diversity : Refused to recite the Kalima (declaration of Islamic faith). Despite being seen as marginal or dangerous by society due to his sexuality and unorthodox beliefs, Sarmad’s spirit welcomes everyone at his shrine. Core Values: Visitors often don’t know all the historical details about him. The shrine embodies values like spirituality, simplicity, and love, which stand above rigid societal and religious rules. 2. The Old Man-Baby The Old Man : Represents hope and decay simultaneously, with his youthful smile (hope) on an aging, dying body (decay and downturn). The Protest : The protest initially unites people from diverse backgrounds, creating hope for a better future. Symbolizes a fleeting vision of utopia, but one tied to wealth and prejudice. The Supporters : Represent the shallow participation of the upper class, who enjoy the thrill of protesting without addressing deeper issues. National Flags and Patriotic Songs : The old man’s rhetoric begins to appeal to Hindu nationalists, who eventually dominate the protest. Symbolize shallow nationalism, used as a cover for the lack of meaningful change.

34. 3. The Shiraz Cinema Shiraz Cinema : Initially symbolizes cultural imperialism—India spreading Western influences in Kashmir. Later became a symbol of military imperialism—India using force to dominate the region. The Allah Tigers : Represent religious extremism and the dangers of rigid fundamentalist views. The Interrogation Center : After the closure, the Indian Army converted the theater into an interrogation center. It became a place of detention and torture for suspected insurgents. A stark symbol of oppression and violence, showing how military control can escalate conflicts. 4. Jannat Guest House and Funeral Parlor Jannat Guest House : A symbol of inclusivity and diversity, representing an ideal version of India that values all people. A utopian vision of a spiritual paradise beyond the physical world. The Cemetery : With help from Imam Ziauddin and Saddam Hussain, part of the house is turned into a funeral parlor for those rejected by other cemeteries. Represents the fragility and hardships faced by marginalized people. Bright Colors and Decorations: The guest house becomes home to marginalized people like Tilo and Miss Jebeen the Second, representing a safe haven for everyone. Symbolize hope, resilience, and the joy of creating a safe, welcoming space amidst hardship.

35. 5. Duniya and Jannat Duniya : Means "world" and is used by the Hijras to describe life outside the Khwabgah (their home). It represents the harsh realities of Indian society—full of violence, discrimination, and suffering. Jannat : Means "paradise" and is the name Anjum gives to her house in the cemetery. It represents a peaceful, utopian space that is separate from the chaos of the world. Khwabgah : A utopian space where Hijras find acceptance, separate from the cruelty of the outside world. Jannat Guest House : A symbol of hope, diversity, and an inclusive vision of paradise. Amrik Singh’s "Jannat Express" : A dark, ironic twist where an officer claims killing militants is his way of sending them to heaven. A cruel teasing of the idea of paradise, showing how violence can distort even the concept of heaven.

36. 6. Motherhood Motherhood : Reflects societal rejection of intersex individuals. A reflection of societal pressures and personal struggles, as well as a way to imagine new forms of identity and care. Miss Jebeen the Second : Anjum and Tilo create a loving, unconventional family, symbolizing hope for a more inclusive idea of motherhood and identity. Represents hope, healing, and the possibility of redefining motherhood and family. Mother India : Anjum is humiliated during the Gujarat riots and made to chant nationalist slogans, showing how Indian identity is imposed on marginalized individuals. Symbolizes Indian nationalism, which excludes and oppresses those who don’t fit its rigid ideals. Anjum’s Desire for Motherhood : Reflects a longing for belonging and love, as well as the difficulties faced by marginalized people in achieving those dreams.

37. 7 . Bodies, Refuse, and Internal Organs Bodies and Waste : India’s caste system makes Dalits (the lowest caste) responsible for cleaning waste and handling dead bodies, which are considered impure. Saddam Hussain, a Dalit, and his family face even more challenges because they dispose of dead cows, which are sacred in Hinduism. Internal Organs and Alienation : Musa, a guerrilla fighter, experiences such trauma that even his internal organs seem disconnected, whispering to each other as if they are separate beings.This reflects the novel’s theme of inner divisions and learning to live with them, both personally and as a society. 8. The Vultures The vultures symbolize marginalized groups who are threatened by modernization and social changes in India. Their extinction foreshadows the struggles faced by other vulnerable groups in the novel . Waste and Dead Bodies : Represent resistance and marginalized lives. Internal Organs : Reflect inner trauma and division. Sound and Light Show : Shows how history is rewritten for political purposes. Vultures : Symbolize the vulnerable and their struggles against modernization.

38. 9. Gujarat ka Lalla 2002 Gujarat Riots: Gujarat ka Lalla’s rise is linked to these riots, where widespread anti-Muslim violence occurred. Anjum is traumatized during this event, barely surviving the massacre. Gujarat ka Lalla: This represents Gujarat ka Lalla’s campaign to become Prime Minister, highlighting the growing influence of Hindu nationalism. Symbolizes the threat of Hindu nationalism and its impact on minorities. Jannat Guest House: A safe haven for marginalized people, but its safety is under threat as the outside world becomes more hostile under Gujarat ka Lalla’s rule. 10. Guih Kyom, the Dung Beetle Dung Beetle’s Role in Nature : Dung beetles remove waste by rolling dung into balls and burying them. This keeps the earth clean. The buried dung often contains seeds, helping plants grow and contributing to afforestation.The dung nourishes the soil, improving its fertility and supporting deep-rooted trees. Hope for Humanity : The dung beetle, though small, plays a crucial role in maintaining balance in nature. Its efforts symbolize the idea that even the smallest actions can have a big impact. Roy uses this tiny insect to remind humanity that we must learn to work together, respect nature, and avoid self-destruction.

39. L earning outcomes Utopian and Dystopian Visions Critique of Nationalism and Militarism Role of Marginalized Communities Human Connection with Nature Role of Trauma and Healing Hope for Change

40. ‘ Personal is political: the alchemy of happiness in Arundhati Roy’s The Ministry of Utmost Happiness’ - Aisha Jadoon Key Themes Spiritual Transcendence Marginalization and Resistance Personal is Political Anjum’s Journey Symbolism: Transformation from a marginalized figure to a unifying force. The Graveyard: Becomes a metaphorical paradise and sanctuary for the excluded. Faith in God: Spiritual resilience as a source of happiness. Secular vs. Religious Views Secular happiness: Material fulfillment and individualism. Religious happiness: Transcendental, based on self and divine knowledge. Novel critiques secular neglect of Islamic views on happiness. Post-9/11 Context Set against the backdrop of post-9/11 India and communal violence. Challenges stereotypes about Islam as a threat to peace. Promotes inclusivity, love, and spiritual harmony. ( Jadoon)

41. ‘ Exploring Borders in The Ministry of Utmost Happiness’ - Mst. Sharmin Sultana Cartographical Borders: Indo-Pak border symbolizes historical and political divisions. Kashmir’s militarized border shows fragmentation of identity. Gender Borders: Anjum challenges gender binaries as a Hijra. Society excludes non-binary identities. Religious Borders: Hindu-Muslim tensions fuel societal divides. Gujarat massacre reflects religious violence. Caste Borders: Dayachand faces caste-based discrimination. Caste and religion intersect in oppression. Economic Borders: Rich vs. poor: Economic disparity and class struggles. Marginalization of the non-consumer class. Linguistic Borders: Hindi and Urdu divisions reflect post-partition identity issues. Urdu speakers face marginalization in India. Human vs. Animal Borders: Exploitation of animals mirrors environmental exploitation. Anjum’s bond with animals challenges the human-animal divide. ( Sultana)

42. ‘ Ecofeminist study of Arundhati Roy’s The Ministry of Utmost Happiness’ - Swati Choudhary Exploitation of Women and Nature: Patriarchal systems exploit both, as seen in Anjum’s struggles and the poisoned vultures. Marginalized Voices: Anjum creates a graveyard sanctuary for outcasts, symbolizing resilience against exclusion. Environmental Critique: Highlights ecosystem destruction, such as vultures dying from chemicals and suffering lab animals. Gender Violence: Tilo faces abuse and societal stigma for defying traditional roles. Symbol of the Graveyard: A refuge for marginalized beings, advocating for coexistence and equality. Call for Change: Advocates dismantling oppression for gender and ecological justice, symbolized by the graveyard’s transformation into “Jannat.” ( Choudhary)

43. Learning Outcome Understanding mob violence and religious discourse Insight into queer identities. Exploring societal norms and challenges to them. The effects of riots on normal life. Role of media (e.g., Nirbhaya case) and its attention dynamics. Awareness of Kashmir's struggles. Writer's responsibility in portraying reality. Representation of marginalized groups (Transgender identity, Untouchability, Religious minorities, Indigenous communities, Rape survivors) Open Mindedness

44. Resources Choudhary, Swati. “Ecofeminist Study of Arundhati Roy’s The Ministry of Utmost Happiness.” IJCRT, 2018, www.ijcrt.org/papers/IJCRT1892966.pdf . Accessed 04 Jan. 2025. Jadoon, Aisha. “Personal Is Political: The Alchemy of Happiness in Arundhati Roy’s The Ministry of Utmost Happiness.” Tandfonline.Com, 2024, www.tandfonline.com/doi/full/10.1080/23311983.2024.2326251#abstract . Accessed 04 Jan. 2025. Joy, Ann Theres. Roy’s Narrative Patterns in the Ministry of Utmost Happiness , www.questjournals.org/jrhss/papers/vol6-issue12/p3/E0612032023 .pdf. Accessed 6 Jan. 2025. Roy, Arundhati. The Ministry of Utmost Happiness. Alfred A. Knopf, 2017. Sultana, Sharmin. “Exploring Borders in The Ministry of Utmost Happiness.” V (A Research Journal), Faculty of Arts, University of Rajshahi Special Volume-3 on Issues and Discourses around Liberal Arts and Humanities 2 Nd International Conference, 2022, www.ru.ac.bd/arts/wp-content/uploads/sites/61/2023/08/2nd-International-Conference-13-14-November-2022-Special-Volume-3-2.pdf#page=71 . Accessed 04 Jan. 2025.

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