Born in 1961 in the verdant realms of Shillong, northeast India, Arundhati Roy’s life has been anything but ordinary. The terrain of her early life, moulded amidst the tea gardens where her father managed plantations and the vibrant activism of her mother in women's rights, hinted at the fierce tempest she would become. When her parents parted ways in 1963, two-year-old Roy found herself heading southward to Kerala, her mother's homeland.
Kerala, with its rich legacy of social reforms and political activism, unknowingly prepared Roy for the stages the world would offer her. At 16, she ventured into Delhi in the late 1970s, swapping Kerala’s lush landscapes for Delhi's cacophonous streets, and her abode became a humble tin-roofed hut. She eked out a living selling empty beer bottles but remained an eager observer of the world around her.
In the 1980s, Arundhati Roy worked for the National Institute of Design in Ahmedabad, where she met her filmmaker husband, Pradip Krishen. Her connection with Krishen and her background in architecture led her to the world of film. She played a minor role in the movie "Massey Sahib" (1985), which was directed by Krishen. The film revolves around the colonial period in India and was lauded for its unique take on the era.
Roy's major cinematic contribution was as the screenwriter for the critically acclaimed film "In Which Annie Gives It Those Ones" (1989). The movie was a satirical take on the life of architecture students, drawing heavily from her own experiences as an architecture student at the Delhi School of Architecture. The film, which was telecasted on the Indian national channel, Doordarshan, won the National Film Award for Best Screenplay. Another film written by Roy, "Electric Moon" (1992), directed again by Pradip Krishen, didn't gain as much traction as her previous work but showcased her distinct storytelling voice.
While her active participation in filmmaking was brief and limited mainly to the late '80s and early '90s, the themes Roy explored in her films, such as colonialism, societal norms, and the pressures of institutional education, have remained consistent throughout her career, resonating in her later literary and political work.
Fast forward to 1997, and Roy emerged as a literary sensation with her semi-autobiographical novel, "The God of Small Things." Set in Kerala, the novel took a deep dive into India’s complex caste hierarchy, and notably, the inhumane treatment and systemic oppression faced by the ‘Untouchables’. More than just a literary marvel, the novel was a political statement and an invitation to challenge deep-seated societal norms. Upon its publication, "The God of Small Things" became an international bestseller and was translated into numerous languages. The Man Booker Prize, which Arundhati Roy won for the novel, is one of the literary world's most esteemed awards, and her win brought her into the global literary limelight.
But Roy was never one to be confined by fiction. Throughout the late '90s and 2000s, she became an increasingly pivotal figure in India's socio-political landscape. Her essays, often tinged with sharp critiques, took on nuclear armament, big dam projects, and India’s stance on Kashmir. Her 1998 essay against India's nuclear tests not only questioned the ethical implications but posed severe concerns on its environmental aftermath.
“Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing.”
― Arundhati Roy
In 2002, her spirited opposition to the Narmada dam project saw her facing a day's imprisonment. A project that promised development at the cost of displacing over a million people and environmental degradation was something Roy couldn’t remain silent about. Later, in 2010, her remarks on Kashmir led to charges of sedition, and in 2015, she voiced her support for Professor Saibaba, calling out the dubious circumstances under which he was imprisoned.
Since 2015, Arundhati Roy has cemented her reputation as a relentless critic of socio-political issues, both within the contours of India and on the global stage. She hasn't hesitated to cast a critical eye on the Indian government, particularly under the administration of Prime Minister Narendra Modi. Issues such as the government's handling of Kashmir, its approach to minority groups, and its overarching stance on civil rights have all been topics of her critique.
In addition to her observations on governmental policies, 2017 marked the release of her much-awaited second novel, "The Ministry of Utmost Happiness." While a fictional narrative, it serves as a tapestry of India's political and social dilemmas, spanning from the long-standing Kashmir conflict to the stories of transgender individuals in Delhi. Furthermore, she has been vehement in her opposition to the Citizenship Amendment Act (CAA) and the National Register of Citizens (NRC). According to Roy, these laws echo discrimination against Muslim citizens, and she hasn't shied away from expressing these views in articles and at protests.
“There's really no such thing as the 'voiceless'. There are only the deliberately silenced, or the preferably unheard.”
― Arundhati Roy
However, Roy's perspectives are not limited to India's boundaries. Her commentaries have dissected global matters like the refugee predicament, the complexities of American politics, and the escalating climate crisis. During the tumultuous period of the COVID-19 pandemic, she penned the evocative essay "The pandemic is a portal", positing the crisis as a potential turning point for global societies. Through dialogues with global activists and intellectuals, and her ongoing criticism of environmental degradation and corporate overreach, Roy consistently underscores her dedication to global civil rights and justice. Yet, her views, while lauded by many, have also been met with dissent, making her a simultaneously revered and controversial figure in the socio-political landscape.
Roy's political contributions have always been characterized by her unwavering commitment to justice and equity. She has consistently spotlighted the marginalized, be it the tribal communities facing displacement due to corporate land acquisitions or the citizens protesting undemocratic laws.
Today, nearly six decades since her journey began in Shillong, Arundhati Roy stands tall not just as a gifted writer, but as an emblem of dissent and a voice for the voiceless. In an era of fleeting attention spans, she compels us to look, to question, and to never accept injustice as the status quo.
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