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The God of Small Things

Arundhati Roy

Type

Novel

Published

1997

Questions

3 with answers

Access

Free

A Level EnglishAP LiteratureAQACommon CoreGeneral SecondaryIB EnglishIB Language & Literature

Curated set · answers marked

Which of the following best describes the narrative structure of The God of Small Things?

AA straightforward chronological account of the Ipe family across three generations
BA non-linear narrative that shifts between 1969 and 1993, gradually uncovering the tragic events involving Ammu and Velutha
CA collection of letters exchanged between Rahel and Estha following their reunion in Ayemenem
DA frame narrative narrated by an all-knowing voice set in colonial British India

Rationale

Roy's novel intentionally disrupts its timeline, moving back and forth between the twins' childhood in 1969 — leading up to Sophie Mol's death and Velutha's tragic outcome — and Rahel's return to Ayemenem in 1993. This non-linear approach enhances suspense and highlights the novel's themes of memory, trauma, and the unspoken truths that linger.

Which of the following best describes the structural technique Arundhati Roy uses to tell the story in The God of Small Things?

AA straightforward chronological narrative that follows Rahel and Estha from childhood to adulthood
BA non-linear narrative that shifts between 1969 and 1993, gradually revealing the tragic events surrounding Sophie Mol's death
CA series of letters exchanged between the twin protagonists, Rahel and Estha
DAn omniscient narrator who reveals all events in the order they occurred

Rationale

Roy uses a non-linear structure, moving back and forth between two key time periods — 1969, when the main tragedy occurs, and 1993, when Rahel returns to Ayemenem. This fragmented timeline creates suspense and highlights the lasting psychological effects of the past on the characters.

Which of the following best describes the narrative structure of The God of Small Things?

AA simple chronological story about the Ipe family over three generations
BA non-linear narrative that shifts between 1969 and 1993, gradually revealing the tragic events involving Ammu and Velutha
CA frame narrative told from Rahel's adult perspective as she reflects on her childhood
DAn epistolary novel made up of letters exchanged between Ammu and Velutha

Rationale

Roy's novel features a non-linear narrative, moving between two key time periods — 1969, when the main tragedy occurs, and 1993, when Rahel returns to Ayemenem. This fragmented approach creates suspense and reflects the emotional burden of repressed memories.

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