1. The God of Small Things
Chapter Two

2. What is the terror?

3. Characters Rahel Ammu Comrade K.N.M Pillai Estha Baba Velutha Mammachi
Sophie Mol
Pappachi
Chacko
Baby Kochamma
Margaret Kochamma
Kochu Maria

4. Literary Technique - Allusion
Roy makes multiple allusions throughout, what does she allude to?
What aspects of culture are highlighted and why?
What impression does this give you of the setting?

5. Gender The issue of gender is regularly brought up in chapter two.
Caste/Society
Gender
Family
The issue of gender is regularly brought up in chapter two.
Describe how Roy characterizes gender in 20th century India.
Is there any hope attached to this world?
How does family enforce gender stereo- types and caste and societal pressures?

6. Chapter Two – Back story and rising tensions
Tensions between the family are revealed
“She subscribed wholeheartedly to the commonly held view that a married daughter had no position in her parents’ home. As for a divorced daughter-according to Baby Kochamma, she had no position anywhere at all. And as for a divorced daughter from a love marriage, well, words could not describe Baby Kochamma’s outrage. As for a divorced daughter from a intercommunity love marriage—Baby Kochamma chose to remain quiveringly silent on the subject.”
“In the way that the unfortunate sometimes dislike the co-unfortunate, Baby Kochamma disliked the twins, for she considered them doomed, fatherless wail. Worse still, they were Half-Hindu Hybrids whom no self respecting Syrian Christian would ever marry”
“This fell into a pattern. Drunken violence followed by postdrunken badgering.”
“Ammu loved her children (of course), but their wide-eyed vulnerability and their willingness to love people who didn’t really love them exasperated her and sometimes made her want to hurt them—just as an education, a protection. “

7. Close Read
“He had always been a jealous man, so he greatly resented the attention his wife was suddenly getting. He slouched about the compound in his immaculately tailored suits, weaving sullen circles around mounds of red chilies and freshly powdered yellow turmeric, watching Mammachi supervise the buying, the weighing, the salting and drying, of limes and tender mangoes. Every night he beat her with a brass flower vase. The beatings weren’t new. What was new was only the frequency with which they took place. One night Pappachi broke the bow of Mammachi’s violin and threw it in the river.”