Relevant bibliographies by topics / Arundhati Roy

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Arundhati Roy'

Author: Grafiati
Published: 4 June 2021
Last updated: 21 February 2023

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Journal articles on the topic "Arundhati Roy"

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Kingsnorth, Paul. "Arundhati Roy." Peace Review 13, no. 4 (December 2001): 591–95. http://dx.doi.org/10.1080/10402650120100990.

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Margit, Irène. "Arundhati Roy." Critique 872-873, no. 1 (2020): 21. http://dx.doi.org/10.3917/criti.872.0021.

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Bautista, Stacy. "BOOK REVIEW: Arundhati Roy. THE CHECKBOOK AND THE CRUISE MISSILE. and Arundhati Roy. AN ORDINARY PERSON'S GUIDE TO EMPIRE. and Arundhati Roy. WAR TALK." NWSA Journal 18, no. 3 (October 2006): 211–13. http://dx.doi.org/10.2979/nws.2006.18.3.211.

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Gowralli, Maryam. "Azadi: Freedom. Fascism. Fiction by Arundhati Roy." ariel: A Review of International English Literature 53, no. 4 (October 2022): 180–83. http://dx.doi.org/10.1353/ari.2022.0038.

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Khair, Tabish. "India 2015: Magic, Modi, and Arundhati Roy." Journal of Commonwealth Literature 50, no. 3 (April 2, 2015): 398–406. http://dx.doi.org/10.1177/0021989415579298.

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Ahmad, Iesar. "The Politics of Canons, Identity and Representation: A Study of the Counter Canonical Discourse Strategies in Arundhati Roy’s Novel the Ministry of Utmost Happiness." Advances in Language and Literary Studies 10, no. 2 (April 30, 2019): 49. http://dx.doi.org/10.7575/aiac.alls.v.10n.2p.49.

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This study is an attempt to investigate the widespread diffusion of the dominant western canonical practices embedded in the western discourses, which simultaneously, entail the counter canonical practices in terms of the ambivalence, language, representation, identity and culture in the postcolonial narratives. This study primarily bases on Arundhati Roy’(Henceforth, on ward Roy) novel ‘The ministry of utmost Happiness’ (MOUH, Henceforth on ward) how does She deconstruct the western dominant discourses, but simultaneously install the counter narratives in the context of the irreducible complex lived experiences of the linguistic and cultural hybridity. The research methodology of the study is to identify and to analyze the selected counter canonical strategies inducted by Roy in the novel MOUH in the context of the deconstructionst and postcolonial discourse perspective. In addition, the study also analyzes the identified texts in the framework of the multi canons and pluralistic perspective. Similarly, the polemical concern of the western canonical practices and Counter discursive strategies are still engaging the perennial and irresolvable debate among the critical literary theorists,cultural theorists, modern linguists and postcolonial discourse critics in the academic landscape across the globe. Accordingly, the study sums up that the counter discursive strategies deployed by Arundhati Roy in MOUH are also, trustworthy, pragmatic and authentic in terms of the western canonicity. In addition, the study concludes that the counter canonical strategies deployed by Arundhati Roy in her novel foreground the subtle issues of identity, language, culture and literary norms; which are also realistic and authentic on the bases of sameness but with difference.
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Nayar, Pramod K. "Mobility and Insurgent Celebrityhood: The Case of Arundhati Roy." Open Cultural Studies 1, no. 1 (January 26, 2017): 46–54. http://dx.doi.org/10.1515/culture-2017-0005.

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Abstract Indian novelist and Booker winner Arundhati Roy is a celebrity author, but her celebrityhood is a cross-genre and cross-domain one. This essay argues that a certain insurgent celebrityhood emerges in the case of Roy through her mobility into and across many public domains. In this process of mobility, Roy also mobilises in her rhetoric and her polemics, the precariat public sphere by her participation in it. There is, first her generic mobility (across genres). Then, Roy moves from the cosmopolitan domain to the vernacular when she employs her cosmopolitan cultural capital of the English language, but also political ideas of citizenship, in order to alter her vernacularisation. Third, Roy’s activism enables her mobilisation of “insurgents,” those with political views opposed to the state’s and involved with social justice struggles.
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Bibi, Ambreen, Saimaan Ashfaq, Qazi Muhammad Saeed Ullah, and Naseem Abbas. "Class Struggle in “The God of Small Things” by Arundhati Roy (A Marxist Analysis of the Novel)." Review of Applied Management and Social Sciences 4, no. 1 (March 31, 2021): 295–305. http://dx.doi.org/10.47067/ramss.v4i1.123.

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The aim of this study is to give a glimpse of class conflict depicted in the novel of Arundhati Roy “The God of Small Things”. Arundhati Roy seems to show that Marx perception of life is not without faults, having this conception Marxists believe that the proletariat class is nothing to lose but their unity. In this perspective the predominant view is that proletariat class has no privileges in India and this is the basic purpose of the study to reveal that it creates a sense of insecurity in the minds of those who are less considered in that society and they are mostly behaved less than the level of human. This research highlights that in the conception of Marxism all the workers should be united and there should be equality in the society.
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Saeed, Bayar. "Caste and Gender in Arundhati Roy`s The God of Small Things." Humanities Journal of University of Zakho 9, no. 4 (December 30, 2021): 1011–19. http://dx.doi.org/10.26436/hjuoz.2021.9.4.769.

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In this study, I focus primarily on gender and caste issues and their effects on the agonized inner mind of the repressed female and child characters in the novel The God of Small Things (1997) by Arundhati Roy. In this novel, Indian woman novelist Arundhati Roy focused primarily on the existential psychological predicaments and travails in the lives of the subjugated Indian women who were imperiled by the psychological and physical abuse in a male-dominated society ruled by rigid social and religious conventions and constraints. In other words, Roy sought to appraise the aberrant psychology of men and women in the conventional Indian social climate. She focused on the traumatic experiences of her women characters under the impact of social class and gender discrimination. She employed Freud's psychoanalytic theory to reveal the disturbed psyche of her women characters. The methodology of this study concerns two major directions: close-text analysis and cultural studies. It deals with sociological and psychological problems, which analyze and expose the symbolism of man’s behavior particularized in a patriarchal society.
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Lodhi, Muhammad Arfan, Faiza Khalid, Iqbal Mehmood, Faiz Rasool, Farhan Akbar, and Muhammad Amir Kamal. "Social and Physical Entrapments of Women in Bapsi Sidhwa’s Ice-Candy Man and Arundhati Roy’s The God of Small Things." English Language and Literature Studies 9, no. 2 (May 23, 2019): 57. http://dx.doi.org/10.5539/ells.v9n2p57.

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The study highlights the social and physical entrapments of women in two novels: Bapsi Sidhwa’s Ice-Candy Man and Arundhati Roy’s The God of Small Things. Both writers belong to two different cultures. Bapsi Sidhwa is a Punjabi, Parsi, Pakistani novelist while Arundhati Roy is an Indian Author. Regardless of their different cultures, they have discussed similar issues faced by women of their contemporary societies. This case study adopted exploratory research framework to gather data and undergo its content analysis from the text of two selected novels. The findings explicate that woman exploitation can be observed evidently among different societies irrespective of any culture, religion, caste or creed. In both novels, women are represented as shallow creatures and they are utterly victimized physically as well as emotionally. They are raped and beaten brutally by males being their unbidden masters. Sidhwa and Roy enlighten the plight of women in their novels, though slight elements of unjust maltreatment of the male characters can also be seen at many places.
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Dissertations / Theses on the topic "Arundhati Roy"

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Schneider-Krzys, Emily. ""For practical purposes in a hopelessly practical world ..." towards a new postcolonial resistance in Arundhati Roy's The God of small things /." Diss., Connect to the thesis, 2005. http://thesis.haverford.edu/136/01/2005Schneider-KrzysE.pdf.

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Longworth, Sarah Young. "Trauma and the ethical dilemma in Arundhati Roy's The God of Small Things /." Electronic version (PDF), 2006. http://dl.uncw.edu/etd/2006/longworths/sarahlongworth.pdf.

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Stockdale, Emily. "Language and the creation of characters in Arundhati Roy's The God of small things." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/stockdalee/emilystockdale.pdf.

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Olsson, Angelika. "Arundhati Roy : Reclaiming Voices on the Margin in The God of Small Things." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8366.

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The aim of this essay is to critically consider Arundhati Roy’s novel The God of Small Things from a postcolonial feminist perspective, with a special focus on how she models different representations of women, taking as a background the discussions within postcolonial feminism about subalternity and the representations of women from the so-called Third World in theory and literature, as well as the concept of agency from Cultural Studies. This purpose is reached by studying and comparing three main female characters in the novel: Mammachi, Baby Kochamma and Ammu, centering on their different ways of relating to the male hero of the novel, Velutha, an Untouchable in the lingering caste system of India. The essay argues that Roy has contributed with diverse representations of subaltern women in the ‘Third World’ who—despite their oppressed and marginalized status—display agency and are portrayed as responsible for their own actions.
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CHAN, Wing Yi Monica. "A stylistic approach to the God of Small Things written by Arundhati Roy." Digital Commons @ Lingnan University, 2007. https://commons.ln.edu.hk/eng_etd/2.

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This thesis presents a creative-analytical hybrid production in relation to the stylistic distinctiveness in The God of Small Things, the debut novel of Arundhati Roy. Roy’s text drew the world’s gaze after winning the Booker Prize in 1997. Many studies have been written on diverse aspects of the book, and much has been said regarding the writer’s style. However, those studies rarely focus on the minutiae of Roy’s writing and this thesis provides a greater degree of detailed analysis. The objective is to achieve a deeper understanding of the relationship between style and literary aesthetics in The God of Small Things by studying the stylistic patterns behind Roy’s resonating poetic prose. The stylistic study is carried out adopting two approaches: the corpus-based approach (Part A) and the empirical-creative approach (Part B). The first section provides a stylistic analysis concentrating on the most significant stylistic features of the novel. The study is based on the list of style markers rendered by Leech and Short, Style in Fiction (1981) and elaborated according to the following key aspects that were extracted from the repertoire using my intuitive observation of the novel. These chosen style markers taken together represent key aspects of Roy’s style: (1) Lexis—Roy’s very frequent and particular utilization of adjectives; (2) Grammar—the high concentration of minor sentences and the listing of noun phrases in the text; (3) Figures of Speech— repetition and neologism. The second section presents a self-written pastiche which aims at imitating Roy’s style in literary prose and adapting its approach to a Chinese context. The creative process serves as an experiment on taking pastiche writing as an “experiential” approach to stylistics. In addition, since the resemblance of the pastiche to Roy’s style should not be the only value of the piece, some key themes in the original text are also reproduced. The analysis in Part A illustrates patterns of Roy’s stylistic choices. On the use of adjectives, Roy tends to arrange adjectival elements in sequence, construct a fixed “like” sentence structure, and adopt combining word forms and affective adjectives. On minor sentences, Roy chooses to separate adverbial phrases, sentence fragments starting with “like”, “as though”, and clauses beginning with “that”, “which”, “and”, “but”, “or”. As for repetitions, there is repeated use of set phrases, sentence patterns and recurrent appearance of certain lines and images. Lastly, on neologisms, Roy’s patterns of creating new words include hyphenation, direct merging, and prefix/suffix building. The pastiche is entitled Hong Kong Locust Stand I. By juxtaposing with the original, it is found that many stylistic features in The God of Small Things, are present in the pastiche, though with variation. While stylistic elements cannot totally be independent from the theme, the atmosphere, character and plot of the pastiche also demonstrate qualities representing those in Roy’s novel. The pastiche presents an innovative and respectful way to come to terms with Roy’s style through selective imitation and creative adaptation. In conclusion, it is hoped that this study opens the way for further hybrid studies of style that incorporate both analytical and creative approaches.
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Sohn, Suk Joo. "Strategic Transgressions and Agency in Postcolonial Indian Literature in English: Rohinton Mistry, Arundhati Roy, and Salman Rushdie." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9760.

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Transgression as a mode of resistance and transformation is significant yet largely untheorized in postcolonial literature. This dissertation is concerned with theoretical and textual practices by which transgression can be studied as a locus of agency and difference toward the possibility of fostering moments and spaces of transformation. To that end, it explores various enabling counter-hegemonic modes of strategy and tactic with a focus on the body in the texts of Rohinton Mistry, Arundhati Roy, and Salman Rushdie. Transgression does not simply give rise to the capacity of resistance to transform the dominant structure. Rather than dwelling on a mere sequence or repeat of events, this dissertation focuses on critical points of grounding for a new beginning as well as powerful metaphorical effects of practice, which defy essentialist discourses and raise possibilities of an alternative discursive space. Drawing upon a range of textual examples, the study critically examines not only the workings of prevailing norms but also the ways in which transgressive desire and practice enable marginalized characters to become ‘bodies that matter’ rather than being banished to the ‘abject zone.’ This dissertation reflects a complex intertwining of postcolonial, sexuality and gender, feminist, and cultural studies vis-à-vis transgression and agency. Therefore, the arguments made in this study represent an array of ideas drawn from various disciplines and discourses, especially from theorists such as Michel Foucault, Homi Bhabha, Judith Butler, Gayatri Spivak, Edward Said, Bill Ashcroft, Mikhail Bakhtin, and Jacques Lacan. This hybrid approach puts essentialist discourses—mediated by colonial history and postcolonial reality—under scrutiny to rethink the question of power and agency in exploring the possibility of subaltern others’ transformation into subjects of their own history and experience in specific contexts. By arguing the importance of the strategic use of essentialism based on everyday practice, I also emphasize the need to problematize the hegemonic concept of history so as to trace reterritorialization and repossession on the part of the silenced or invisible who live on borrowed time in minimal space. The highlight of this research is to explore how the established boundaries are expanded, redefined and redrawn in the circulatory, recursive structure of transgression and protest, opening the way for transforming oppression or abjection into agency. With this critical lens in mind, I heed the dynamics of similarity and difference in the narrative as a framework of postcolonial critique to provide a new reading of postcolonial texts.
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Moura, Taís Leite de. "Transgressões em O Deus das Pequenas Coisas, de Arundhati Roy: níveis e motivações em contraponto." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-03102018-134348/.

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No romance O Deus das Pequenas Coisas (1997) de Arundhati Roy, as transgressões são atitudes que se configuram como abundantes na narrativa, sendo realizadas em sua maioria pelos personagens marginalizados. A fim de obter uma compreensão mais profunda das razões que impulsionam tanto a narrativa quanto os personagens a cometer estas infrações, elas foram divididas em três níveis neste trabalho: pós-colonial, sociopolítico e afetivo. São aqui analisadas as transgressões dos personagens Velutha, Ammu, Estha, Rahel e Sophie. Os níveis das transgressões, suas motivações e os conceitos de trauma individual e cultural são colocados em contraponto para aprofundar a análise da narrativa do romance. No nível pós- colonial, são empregados conceitos de Panikkar (1969), Festino (2007), Forter (2014) e Outka (2011), enquanto Sztompka (2000, 2004), Alexander (2000) e Joseph (2010) permeiam o nível sociopolítico, finalizando o nível afetivo com Caruth (1995), Bose (1998) e Almeida (2002). A hipótese deste trabalho é de que Roy foca nas transgressões para, em primeiro lugar, criticar determinados elementos da sociedade indiana, e para provocar reações em seus leitores. Esta é sustentada através da citação de seus ensaios e discursos na análise do romance.
In The God of Small Things (1997), from Arundhati Roy, the transgressions are substantial throughout the narrative, as the majority of them are performed by marginalized characters. In order to comprehend more deeply the reasons which propel the narrative and the characters to such violations, they were divided into three levels in this work: post-colonial, socio-political and affective. The transgressions analyzed here are the ones performed by the characters Velutha, Ammu, Estha, Rahel and Sophie. The levels of the transgressions, their motivations and the concepts of individual and cultural trauma are all correlated so that the intentions of the narrative are elucidated. In the post-colonial level, the concepts of Panikkar (1969), Festino (2007), Forter (2014) and Outka (2011) are applied, whereas Sztompka (2000, 2004), Alexander (2000) and Joseph (2010) are used for the socio-political level; the affective level is observed with notions from Caruth (1995), Bose (1998) and Almeida (2002). The hypothesis of this work is that Roy focuses on the transgressions of minor characters not only to criticize particular elements from the Indian society but also to trigger the reaction of the readers. This is supported by her essays and speeches quoted along the analysis of the novel.
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Camargo, Luciana Moura Colucci de [UNESP]. "The god of small things: uma voz poética entre o Oriente e o Ocidente." Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/102416.

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Made available in DSpace on 2014-06-11T19:32:08Z (GMT). No. of bitstreams: 0 Previous issue date: 2006-12-14Bitstream added on 2014-06-13T19:21:21Z : No. of bitstreams: 1 camargo_lmc_dr_arafcl.pdf: 4212129 bytes, checksum: 50fa4f58f8d18fc6016ee1ed375a6bc2 (MD5)
Este estudo apresenta uma análise da obra The God of Small Things, da escritora indiana Arundhati Roy (1961), na qual ficção e episódios históricos, relativos às conseqüências da colonização inglesa na Índia, mesclam-se em um espaço e tempo míticos, favorecendo uma análise baseada na Teoria da Narrativa Poética, conforme a formulação de Jean-Yves Tadié (1978). Com esse enfoque, são examinados vários aspectos ligados à narrativa como personagem, narrador, espaço, tempo, mito, estrutura e estilo, buscando compreender as vozes lírica e social da obra, que ecoam em seu universo híbrido, composto de elementos da cultura oriental e da ocidental.
This dissertation presents an analysis of the book written by the Indian writer Arundhaty Roy (1961), entitled The God of Small Things, in which, fiction and historical facts related to the consequences of the British colonization in India are brought together in a mythical setting that favors an analysis based on the theory of the lyrical novel, as presented by Jean-Yves Tadié (1978). With this approach, aspects related to the narrative genre, such as, character, narrator, setting, myth, structure and style are explored in order to reveal the lyrical and social voices that eco in its hybrid universe that mingles eastern and western cultural traits.
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Sacksick, Elsa. "Éloge de l'excès : tissage et métissage dans l'oeuvre de Salman Rushdie, Jeanette Winterson et Arundhati Roy." Paris 3, 2004. http://www.theses.fr/2004PA030111.

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Cette thèse met en regard trois romanciers contemporains écrivant en anglais, A. Roy, J. Winterson, S. Rushdie, autour de la notion d’excès. A partir d’une analyse textuelle précise, chaque auteur est d’abord étudié séparément sous l’angle du mouvement, première réalisation de l’excès : passage (Rushdie), va-et-vient (Winterson), retour (Roy), esquissant des thèmes communs: travail sur la forme (corps et roman), la voix, l’imaginaire. En synthèse, les liens entre les trois écritures sont retissés mettant en évidence les formes de l’excès :stratégies de mélange par hybridation et tissage, effets de débordement par accumulation et surenchère. Enfin, l’excès permet de placer les trois romanciers dans une position singulière sur la scène du roman contemporain et sur la question de la représentation : la réponse à l’épuisement postmoderne par une esthétique de la démesure qui affirme la substantialité du réel par le débordement organique tout en passant par le biais d’un imaginaire délirant
This thesis compares three contemporary novelists writing in English, A. Roy, J. Winterson, S. Rushdie, through the question of excess. With a precise textual analysis as a starting point, each author is first studied separately from a perspective of movement: passage (Rushdie), to and fro (Winterson) return (Roy) - dealing with common themes : form (of the body or of the novel), voice, the imaginary. In a last section, the links uniting the three writers are interwoven, revealing the various forms excess can take : blending strategies through hybridization and weaving, overflowing effects through accumulation. Lastly, excess allows us to assert the singular position of these novelists on both the contemporary literary scene and the issue of representation : it functions as a response to the postmodern exhaustion through an aesthetic of disproportion and outrageousness, asserting reality’s substance through organic proliferation as well as through the unleashing of a wild imagination
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Silveira, Alcione Cunha da. "Políticas e poéticas da transgressão: corpo e escrita em Ana Miranda, Arundhati Roy e Jeanette Winterson." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/ECAP-8F6G35.

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In Ana Mirandas Amrik (1997), Arundhati Roys The God of Small Things (1997) and Jeanette Wintersons The Passion (1987) created around the same time by writers from Brazil, India and England politics and poetics of transgression become interconnected in many ways. From a comparative perspective, I explore this dynamic having as a basis the fact that these works reveal an equivalent concern with the transgressive intertwinement of body and writing. Considering the portrayal, also common among these three works, of protagonists represented by subversive figures, I discuss the development of disruptive processes perpetrated on the systems that oppress and subordinate subjects, especially patriarchy. Then, I examine the movements of disorder depicted in these literary texts, also through the body and writing, that attempt to question and destabilize totalitarian discourses. I dwell, in particular, on the issue of the rewriting of history from the margins, as an element that enables the emergence of voices often silenced, and on the questioning of the gendered concept of madness, which, across time and space, still emerges as a sign that retains asymmetrical power relations. With the aim to provide a contemporary reading of these narratives, I base my analysis on gender studies, with a focus on feminist literary criticism and psychoanalytic theories.
Nos romances Amrik (1997), de Ana Miranda, O deus das pequenas coisas (1997), de Arundhati Roy, e A paixão (1987), de Jeanette Winterson, criados praticamente na mesma época por escritoras originárias de países distintos - Brasil, Índia e Inglaterra, respectivamente -, políticas e poéticas da transgressão se encontram de várias maneiras. A partir de uma perspectiva comparatista, exploro essa dinâmica tendo por base o fato de as obras revelarem uma preocupação equivalente com o entrelaçamento transgressor do corpo e da escrita. Considerando-se a utilização, igualmente comum às três obras, de protagonistas representadas por figuras subversivas, discuto o consequente desenvolvimento de processos de contestação dos sistemas de opressão e subordinação dos sujeitos, em especial o patriarcalismo. Em seguida, examino os movimentos de desordem elaborados, também pela via do corpo e da escrita, nesses textos literários, em suas tentativas de questionar e desestabilizar discursos totalitários. Detenho-me, em especial, na questão da reescrita da história a partir das margens como elemento capaz de possibilitar o aparecimento de vozes comumente silenciadas, e na problematização do conceito gendrado da loucura, que, atravessando tempos e espaços, ainda é usado como um signo de manutenção das relações assimétricas de poder. Objetivando uma leitura contemporânea das narrativas em questão, valho-me, portanto, de uma metodologia bibliográfica dos estudos de gênero, embasada pela crítica literária feminista e pelas teorias psicanalíticas.
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Books on the topic "Arundhati Roy"

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Institute of Development Studies, Kolkata, ed. Arundhati Roy: Environment and literary activism. Kolkata: Institute of Development Studies, 2011.

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Dr, Pathak R. S., ed. The fictional world of Arundhati Roy. New Delhi, India: Creative Books, 2001.

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Ranjan, Ghosh, and Navarro Tejero Antonia, eds. Globalizing dissent: Essays on Arundhati Roy. New York: Routledge, 2009.

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The god of small things, Arundhati Roy. Paris: A. Colin, 2002.

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Ali, Halimah binti Mohamed. Orientalism from within: Arundhati Roy and her contemporaries. [Glugor], Pulau Pinang: Penerbit Universiti Sains Malaysia, 2011.

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Arundhati, Roy. The shape of the beast: Conversations with Arundhati Roy. New Delhi: Penguin, Viking, 2008.

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Barsamian, David. The chequebook and the cruise missile: Conversations with Arundhati Roy. London: Harper Perennial, 2004.

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Arundhati Roy und Joseph Conrad: Der Einbruch des Erdkolonialismus in die Familie. Hamburg, Germany: Kovac, 2001.

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The submerged plot and the mother's pleasure from Jane Austen to Arundhati Roy. Columbus: The Ohio State University Press, 2015.

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Mullaney, Julie. Arundhati Roy's The God of small things: A reader's guide. New York: Continuum, 2002.

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Book chapters on the topic "Arundhati Roy"

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Kreutzer, Eberhard. "Roy, Arundhati." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21859-1.

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Guignery, Vanessa. "Arundhati Roy." In Novelists in the New Millennium, 106–22. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29270-4_7.

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Arya, Rina. "Roy, Arundhati (1961– )." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-91206-6_291-1.

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Arya, Rina. "Roy, Arundhati (1961– )." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 2345–50. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-29901-9_291.

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Kreutzer, Eberhard. "Roy, Arundhati: The God of Small Things." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_21860-1.

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Mukherjee, Upamanyu Pablo. "The River and the Dance: Arundhati Roy." In Postcolonial Environments, 82–107. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251328_5.

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Punter, David. "Arundhati Roy and the House of History." In Empire and the Gothic, 192–207. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9781403919342_12.

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Peters, Susanne. "Doubling Of Parts: Arundhati Roy As Novelist And Political Critic." In Fundamentalism and Literature, 123–39. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230601864_7.

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Rüchardt, Christopher. "Mythos versus Wirklichkeit: Mohandas Gandhi im Lichte der Kritik von Arundhati Roy." In Indien verstehen, 201–15. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-08908-5_16.

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Katrak, Ketu H. "The Arts of Resistance: Arundhati Roy, Denise Uyehara, and the Ethno-Global Imagination." In Violence Performed, 244–63. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-0-230-31692-8_12.

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