From the novel Arundhati Roy’s The God of Small Things. What does setting entail in fiction. What is the setting of the novel? Why is the setting significant thematically or conceptually?

Setting is an important element in fiction that can help to create a vivid, immersive experience for the reader. Setting refers to both the physical and social environment in which the characters exist, as well as the time period in which the story takes place. The setting of a novel often plays a central role in helping to establish its themes and plot points. Arundhati Roy’s The God of Small Things (Random House ISBN 978-0812979657) is set primarily in Kerala, India during 1969-1993. This distinct setting has considerable influence on how events unfold throughout the novel and helps shape its main themes.

The rustic beauty of Kerala serves as an ideal backdrop for this story about family life, love, loss and tradition. The tropical landscape with its lush foliage provides many stunning images throughout the narrative; it is an organic source of joy that stands apart from much of what happens between characters within their intense lives. At other times however, this same landscape can become oppressive: when Esta begins her affair with Velutha amidst his ramshackle shack near Vellayani Lake she finds herself surrounded by “the humid smell of wet wood and fresh coconut husks…it felt like being locked up inside someone else’s dream” (Roy 107). With this description Roy conjures up contrasting emotions within her readers- one moment providing comfort through tranquility and later conveying despair via isolation or entrapment – highlighting how important setting can be for creating these nuanced moments within a narrative

Kerala too carries with it some unique cultural aspects that are essential to understanding certain thematic elements present throughout Roy’s work such as caste politics or gender roles/oppression. For instance Velutha is deemed untouchable due to his Paravan heritage making his relationship with Estha all but impossible given their respective standings on opposite sides of India’s rigid class system at this time period – something made even more potent against Kerala’s backdrop where traditions remain so deeply ingrained into society’s fabric despite emerging modernity elsewhere (Roy 87). Further still there are glimpses into traditional customs or rituals like those evident at Ammu’s funeral reminding us again just how significant culture remains here while also hinting towards larger themes related to religion/ritualism versus secularism/modernity (Roy 304).

Kerala thus functions not only as an interesting visual stage for Arundhati Roy’s wonderful debut novel but also serves conceptually as an integral part of understanding many underlying issues presented within its pages such as power dynamics between classes or genders due largely thanks to history/tradition clashing against progress present-day India experienced during 1980s & 90s . By situating her tale so carefully here we gain real insight into why certain relationships might fail whilst others may thrive without necessarily relying on simple black & white plot lines alone but instead allowing color seep into our reading experience courtesy Hinduism & Indian culture itself – something made all possible thanks to Roy opting specifically for Kerala over perhaps any other location she could have chosen instead