The Ministry of Utmost Happiness | Flipped Learning Task

 The Ministry of Utmost Happiness 

This blog post is created as a component of a flipped learning exercise focused on Arundhati Roy’s The Ministry of Utmost Happiness. For this activity, we are required to watch videos connected to the novel and provide a summary of the content for each video. [Click Here]

Part 1 | Khwabgah | The Ministry of Utmost Happiness | Arundhati Roy

The video explores the introduction of Arundhati Roy’s The Ministry of Utmost Happiness and provides an overview of its characters and their relationships. The novel can be difficult to follow initially, even after multiple readings, due to its complex narrative structure and elements of magical realism.

The story spans five primary locations: Khwabgah, Jannat Guest House, Jantar Mantar, Kashmir, and Dandakaranya, and centers on Anjum, a hijra living in the Jannat Graveyard.

In the second chapter, Khwabgah, Anjum meets a blind Imam named Ziauddin, and the narrative then delves into Anjum’s past. Born to Mulaqat Ali and Jahanara Begum, Anjum was revealed by the midwife, Ahlam Baiji, to be intersex, possessing both male and female genitalia. Initially named Aftab, Anjum’s parents struggled to accept their child’s identity as a hijra.

Aftab eventually discovers Khwabgah while out shopping with his mother, a space where he encounters others like him, including Mary, Gudiya, Bulbul, Bismillah, Raziya, and Nimmu Gorakhpuri, under the guidance of matriarch Begum Kulsoom Bi. Over time, Aftab’s parents slowly come to accept their child’s third-gender identity, even visiting Hazrat Sarmad’s Dargah for blessings, though this yields no tangible change. The novel also recounts the story of Sarmad, who was executed at Jama Masjid for reciting an incomplete Kalima while in love with a man named Abhaychand.

Later, Aftab witnesses this execution and discovers an abandoned baby, Zainab, on the steps of Jama Masjid. He brings her to Khwabgah, but when she falls ill, he blames Saeeda, another hijra, whom he considers an adversary. Hoping for Zainab’s recovery, Aftab visits the Ajmer Sharif Dargah with Zakir Mian. Zakir then suggests a trip to Ahmedabad to settle some family matters.

This journey introduces the Gujarat Riots of 2002, a turning point in the novel. During the riots, Zakir is killed by a mob, while Aftab is spared, as it is believed that harming a hijra brings misfortune. The violence profoundly affects Aftab, prompting him to change both his and Zainab’s identities. Fully embracing the name and identity of Anjum, he begins an independent life at the Jannat Guest House.

Part 2 | Jantar Mantar | The Ministry of Utmost Happiness | Arundhati Roy

The video introduces a character named Saddam Hussain, who moves into the Jannat Guest House. He works at a local hospital and previously served as a security guard. His real name is Dayachand, and he comes from the Chamar caste in Haryana—a community historically associated with leatherworking and considered socially low in the caste hierarchy. Dayachand’s father, a leatherworker, was brutally lynched by an inspector named Sehravat, who accused him of killing a “holy cow,” even though the animal was already dead. Seeking revenge, Dayachand renames himself Saddam Hussain, inspired by the execution of the former Iraqi leader, and vows to avenge his father by killing Sehravat.

The story then shifts to Jantar Mantar in New Delhi, a prominent site for protests. Here, Anjum observes various groups demonstrating, including the Tubby Old Gandhian (representing Anna Hazare), Mr. Aggarwal (symbolizing Kejriwal), the Mothers of the Disappeared, Manipur nationalists, Delhi Kabadiwala, and Dr. Azad Bhartiya. Jantar Mantar serves as a platform for expressing grievances against the government, with Dr. Azad Bhartiya acting as a central figure connecting these movements. While there, Anjum notices a baby, which suddenly disappears just as quickly as it appeared.

Part 3 | Kashmir and Dandakaranyak | The Ministry of Utmost Happiness | Arundhati Roy

As the lecture continues, we gain insight into the novel’s deeper themes and the connections between its characters. The narrative shifts between third-person and first-person perspectives, with Piglet, a landlord, narrating part of his own story. This section introduces key characters like Tilo, whose life is intertwined with others, and Musa, who becomes involved in terrorism. The story addresses major issues such as terrorism in Kashmir, the impact of violence, and the personal struggles of the characters, illustrating how tragedies often push people into cycles of revenge and conflict.

Towards the end, a letter highlights the close interconnections among all the characters. Each one represents a unique aspect of the human experience, showing how individual lives are shaped by broader social forces. For instance, Musa’s turn to terrorism is depicted not merely as a moral failing but as a consequence of the violence and loss he has endured, encouraging readers to understand his actions in a more nuanced way.

The narrative also explores the Kashmir conflict, portraying both victims and perpetrators of violence in a humanized manner. It demonstrates how violence perpetuates further violence and how individuals striving for peace or justice can become trapped in cycles of revenge. Overall, the story emphasizes how society shapes people’s choices and highlights the enduring psychological and social effects of violence on everyone involved.

Part 4 | Udaya Jebeen & Dung Beetle | The Ministry of Utmost Happiness | Arundhati Roy

The final chapter, Guih Kyom (meaning “a dung beetle”), marks a significant point in the story. It shows that Tilo has begun teaching children at the guest house, while the graves of other characters, including Ahlam Bazi, are also highlighted. In one moment, Ahlam shifts her sleeping position as the conversation among the characters continues. The chapter features a striking line: “How to tell a shattered story, by slowly becoming everybody, no, by slowly becoming everything,” emphasizing the narrative’s complexity.

Tragedy occurs when it is revealed that Musa has died in an encounter. One night, unable to sleep, Anjum takes Udaya Jebeen for a walk through the city. During the walk, Udaya pauses to relieve herself, and Anjum waits by her side. On their return, they notice a dung beetle lying on its back, staring at the sky as if it could save the world. This image serves as a symbol of hope and resilience. The novel ends on a note of optimism, suggesting that with Udaya Jebeen’s arrival, things may improve, and time will bring change.

5.Thematic Study | The Ministry of Utmost Happiness | Arundhati Roy

The Nature of Paradise:

The Jannat Guest House represents a reimagined concept of paradise, challenging the traditional notion that heaven exists only in the afterlife. It suggests that a form of paradise can be created on earth through empathy, understanding, and peaceful coexistence among diverse communities.

Ambiguity and Diversity:

The novel highlights India’s immense cultural and social diversity and the tensions that arise from it. Everyday situations—like vegetarians dining with non-vegetarians—symbolize these differences. Religious traditions, such as Hindus offering prashad, Christians sharing wine, and Muslims sharing meat, reflect distinct cultural values while illustrating the possibility of coexisting identities.

The Cost of Modernization:

Development often carries significant consequences. Projects like urban modernization and infrastructure expansion frequently displace marginalized communities, including farmers and slum dwellers. The novel critiques such one-sided progress and calls for development that is equitable and benefits everyone rather than increasing social inequality.

Blurring Life and Death:

The boundaries between life and death are portrayed as fluid. Characters like Musa and Revathy continue to exist in memories and hearts, even after death. The practice of reburial, moving graves from one place to another, further illustrates this blending. The Jannat Guest House, named after paradise, becomes a space for the living, challenging conventional ideas about mortality.

Storytelling and Its Purpose:

Roy explores the complexity of storytelling through the line, “How to tell a shattered story? By slowly becoming everybody, no, by slowly becoming everything.” Multiple narratives—transgender struggles, the Kashmir conflict, Maoist resistance—are woven together to reflect the fractured reality of India. Storytelling becomes a cathartic, almost life-giving process, necessary to reveal truth despite its difficulty.

Social Status in Contemporary India:

The novel provides a panoramic view of modern India, addressing the lives of Hijras, urban transformation, and the Kashmir conflict. Although seemingly unrelated, these themes are connected through Roy’s critique of capitalism and her focus on marginalized communities.

Corruption, Political Violence, and Exploitation:

The novel examines socio-political issues in India, especially the Kashmir conflict, critiquing actors like the Indian Army, Kashmiri militants, and leftist activists for exploiting situations for personal or financial gain. Even under the guise of moral or religious justification, these actions harm innocent people.

Resilience and Hope:

Despite the hardships depicted, the novel emphasizes hope and resilience. Characters endure immense suffering but draw strength from relationships and beliefs. In Kashmir, people risk their lives to bury the dead, demonstrating perseverance. Udaya Jebeen, a child symbolizing new beginnings, embodies hope for a better future, suggesting that positive change is possible through resilience.

Gender Identity and Societal Divisions:

Anjum’s journey as a transgender woman highlights the discrimination Hijras face in India. Her resilience and unique identity challenge societal norms surrounding gender and belonging. Her survival during a massacre, based on superstitions about harming Hijras, underscores her strength. Through Anjum, Roy questions rigid gender roles while also addressing broader societal divides, including religion and nationality.

Social Hierarchy and Inclusivity:

India’s caste and religious hierarchies often lead to isolation and violence, as seen in Biplab, an intelligence officer disconnected despite his privilege. In contrast, Anjum’s inclusive approach at the Jannat Guest House fosters belonging and hope for marginalized people. Her actions show that kindness and inclusivity can bridge societal divides and promote harmony.

Religion and Power:

The novel critiques the dangerous intersection of religion and politics. It shows how Hindu-Muslim tensions, fueled by extremist figures like “Gujarat ka Lalla,” create division and violence. Islamic extremism in Kashmir also leads to internal conflict and narrow views of freedom. Roy warns that mixing religion and politics threatens individual freedoms, societal unity, and peace, urging readers to recognize the damage caused by such extremism.

6.Symbols and Motifs | The Ministry of Utmost Happiness | Arundhati Roy

Hazrat Sarmad Shaheed:

Originally from Armenia, Hazrat Sarmad Shaheed was a deeply spiritual figure who traveled to India, embraced Islam, and formed a close bond with a Hindu man named Abhaychand. He was executed due to his questioning of religious orthodoxy, yet his story endures as a symbol of love that transcends religion and identity. His shrine embodies inclusivity, welcoming people from all walks of life, and his life underscores how love and spirituality can overcome rigid societal norms.

The Old Man-Baby:

This elderly figure gained recognition for his hunger strike protests against corruption in India. He became a symbol of hope for marginalized communities, particularly those displaced from their homes. Over time, however, wealthier groups and political agendas co-opted his movement, shifting it away from its original purpose. Despite his vulnerability, his actions represented the potential for a better future for overlooked populations.

The Shiraz Cinema:

Shiraz Cinema symbolizes India’s cultural outreach, particularly in Kashmir. It was later shut down by Muslim separatists who saw it as a tool of cultural dominance. Subsequently, the Indian Army repurposed it as a detention center where people were tortured, highlighting how unresolved social tensions can escalate into violence and oppression.

Jannat Guest House and Funeral Parlor:

The Jannat Guest House serves as a sanctuary for those marginalized due to religion, class, or identity, embodying inclusivity and the potential of an accepting India. Located near spaces of death, it represents both fragility and hope, bridging the real world with a vision of paradise.

Duniya and Jannat:

“Duniya” (the world) and “Jannat” (paradise) are contrasting symbols in the novel. While the world reflects struggle and harshness, paradise signifies peace and harmony. The narrative, however, complicates these ideas, showing that even paradise can hide danger or violence.

Motherhood:

Motherhood recurs as a theme, seen through characters like Anjum, who aspires to become a mother but faces societal barriers. The novel also ties motherhood to the idea of “Mother India,” though characters from other religious backgrounds find it difficult to relate. Motherhood is redefined as an act of empathy and inclusiveness that transcends religion and culture.

Bodies, Waste, and Inner Struggles:

The novel uses imagery of bodies and waste to highlight systemic and social inequalities. Dalits, who handle cleaning and dead bodies, symbolize marginalized communities burdened with societal injustice. The body also serves as a metaphor for resistance against oppression, reflecting the inner conflicts and traumas of the characters.

Guih Kyom, the Dung Beetle:

The dung beetle in the final chapter symbolizes resilience and hope. Though small, it plays an essential role in maintaining environmental balance, illustrating how even seemingly minor actions can have a meaningful impact. The beetle serves as a reminder that hope and change can emerge from unexpected sources.

Gujarat ka Lalla:

“Gujarat ka Lalla” represents a political figure inspired by Narendra Modi, symbolizing the rise of Hindu nationalism in India. His connection to the 2002 Gujarat riots highlights the dangers of extremist ideologies, which exacerbate divisions and marginalize vulnerable groups.

The Color Saffron:

Saffron in the novel symbolizes Hindu extremism, associated with nationalist followers and the violence inflicted on minorities. Anjum’s survival of a massacre demonstrates the trauma caused by such violence, with saffron representing the oppressive nature of extremist ideologies.

The Vulture:

Vultures symbolize the impact of modernization on both society and the environment. Their decline, caused by chemical use in farming, also represents those who challenge dominant systems but are silenced. The disappearance of vultures mirrors the loss of voices that question societal harm.

Worksheet : 

Activity A: The “Shattered Story” Structure

Shattered Storytelling in The Ministry of Utmost Happiness: Trauma and Non-linear Narrative

Arundhati Roy’s The Ministry of Utmost Happiness employs a deliberately fragmented and non-chronological narrative, reflecting the shattered psyches of its characters. Prof. Dilip Barad notes that Roy tells stories in a “fragmented and non-chronological way” because the characters themselves are fragmented by personal and historical traumas. This method allows the novel to “slowly become everything,” merging multiple perspectives, locations, and timelines into a single, interconnected web that mirrors the fractured reality of postcolonial India.

The novel moves fluidly between spaces like the Khwabgah in Old Delhi, a haven for marginalized individuals, and the Graveyard (Jannat), where Anjum builds a home for those society discards. This spatial shift parallels the narrative fragmentation: just as the characters navigate multiple social and emotional terrains, the reader moves through a disjointed timeline that reflects the characters’ internal and external disruptions. For instance, Anjum’s experiences are interwoven with Tilo’s story in Kashmir, creating a narrative echo across time and space. The connection is literalized when Anjum finds the baby left by Tilo, demonstrating how the characters’ lives intersect in ways that defy linear causality.

Roy’s non-linear approach also mirrors the trauma of the characters. By presenting events out of order, the narrative replicates the way trauma disrupts memory: past and present co-exist in a jarring simultaneity. The reader experiences Tilo’s Kashmir backstory alongside Anjum’s life in Delhi and the Graveyard, highlighting the lingering effects of political violence and social marginalization. The temporal shifts force readers to reconstruct events, just as the characters themselves must piece together their identities amid loss, displacement, and societal neglect.

The concept of “telling a shattered story by slowly becoming everything” is embodied in the narrative’s interweaving of diverse voices and locations. Each fragment—whether it is a flashback to Tilo’s trauma in Kashmir or a vignette of Anjum’s care for the foundling—serves as a microcosm of the broader social and political fractures in India. The novel resists a single, authoritative perspective, instead embracing multiplicity, which emphasizes that understanding trauma requires inhabiting multiple viewpoints and spaces simultaneously.

In conclusion, the non-linear timeline and spatial shifts in The Ministry of Utmost Happiness are not mere stylistic choices but essential strategies to embody the characters’ trauma. By shattering chronology and perspective, Roy compels the reader to engage with the fragmented realities of her characters, while the interconnections—such as the linkage between Tilo’s tragedy and Anjum’s adoption of the baby—demonstrate how personal and collective histories are inseparably intertwined.

Activity B: Mapping the Conflict

Activity C: Automated Timeline & Character Arcs (Auto-mode with Comet)

Automated Timeline of Events

Anjum's Journey

Birth as Aftab - Anjum is born into a family in Gujarat, where she experiences early life marked by community expectations and cultural norms.

Life in Khwabgah - Following the trauma faced during the Gujarat Riots in 2002, Anjum finds refuge in Khwabgah, a space for marginalized individuals. Here, she grapples with her identity and the impact of violence on her community.

Trauma in Gujarat (2002) - The Gujarat Riots cause significant upheaval in Anjum's life. She witnesses communal violence that shapes her perspective and drives her to seek justice and understanding of her identity.

Moving to the Graveyard - After her traumatic experiences and the loss of her community, Anjum relocates to a graveyard, which symbolizes her search for solace and acceptance. The graveyard becomes a metaphor for the lives lost during the riots and her own transformation.

Saddam Hussain's Journey

Witnessing Father's Lynching - As a child, Saddam witnesses the brutal lynching of his father due to cow protection violence, a horrific event that deeply traumatizes him and influences his views on oppression and violence in society.

Changing His Name to Saddam - In a powerful act of defiance against the oppressive circumstances surrounding him, Saddam adopts the name Saddam Hussain. This name change symbolizes his rejection of his past identity and his stance against perceived American imperialism and local oppression.

Meeting Anjum - Saddam encounters Anjum at a pivotal moment in their lives. Their meeting is marked by shared experiences of trauma and loss, fostering a deep connection that explores themes of identity, resistance, and the search for belonging.

Verification of Timeline

Timeline Consistency: Review the video transcripts for mentions of the key events and character motivations, focusing on context surrounding Anjum's trauma and Saddam's name change, ensuring they align with the established narrative.

Motivations Behind Events: Emphasize how Anjum's experiences during the Gujarat Riots directly impact her identity and choices. Similarly, focus on how Saddam’s choice of name serves as both an act of defiance and a reaction to the violence he has witnessed.

Final Adjustments: Make any necessary updates to the timeline based on the verification process, ensuring all details regarding motivations and events align accurately with the content of the original lectures and transcripts.

Activity D: The "Audio/Video" Synthesis

References : 

DoE-MKBU. (2021a, December 28). Part 1 | Khwabgah | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=-29vE53apGs 

DoE-MKBU. (2021b, December 28). Part 2 | Jantar Mantar | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=gr1z1AEXPBU

DoE-MKBU. (2021c, December 28). Part 3 | Kashmir and Dandakaranyak | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=cIKH_89rML0

DoE-MKBU. (2021d, December 28). Part 4 | Udaya Jebeen & Dung Beetle | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=VH5EULOFP4g

DoE-MKBU. (2021e, December 30). Symbols and Motifs | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=UbBOqLB487U

DoE-MKBU. (2021f, December 30). Thematic Study | The Ministry of Utmost Happiness | Arundhati Roy [Video]. YouTube. https://www.youtube.com/watch?v=5NYSTUTBoSs 

Lab Activity: Gun Island

This blog is prepared for a Lab Activity on Gun Island assigned by Dr. Dilip Barad. The purpose of the task is to critically examine Amitav Ghosh’s novel, focusing on its themes, narrative strategies, and cultural relevance. Click Here.

Research Activity

Mythification of history and historicisation

Prompt 1: Create a table showing each source with its publication dates,author credentials,and whether its primary source, secondary analysis or opinion piece.

Source Title	Publication Date(s)	Author Credentials	Source Type
"Gun Island" and "The Great Derangement" by Amitav Ghosh: Summary & Analysis	Circa 2021–2024	Forrest Brown: Climate writer and creator of Stories for Earth; work featured in Facing South and The Long Now Foundation.	Secondary Analysis (Summary and literary analysis)
Legends of Loss: Climate, Myth, and Displacement in Amitav Ghosh’s Gun Island	September 2025	Dr. Santosh Kumar: Assistant Professor of English at Dr. Ambedkar Govt. Post Graduate College.	Secondary Analysis (Peer-reviewed academic journal)
Dilip Barad | Teacher Blog	December 2021 – March 2022	Prof. Dilip Barad: Professor and Head of the Department of English at Maharaja Krishnakumarsinhji Bhavnagar University.	Secondary Analysis (Educational summaries and study guides)
Gun Island | Thematic Study | PPTX	Not explicitly dated (refers to 2019 novel)	Prof. Dilip Barad: Academic and researcher at Maharaja Krishnakumarsinhji Bhavnagar University.	Secondary Analysis (Thematic presentation)
Myth as Epistemology and Historical Memory in Amitav Ghosh’s Gun Island	August 5, 2025	Mrs. D.G. Kalaivani & Dr. P. Selvi: Scholars at Vellalar College for Women, Erode, India.	Secondary Analysis (Comparative literary research article)
Part I - Historification of Myth... (YouTube Transcript)	Circa 2022 (based on linked blog activities)	Department of English (DoE-MKBU): Faculty and students at Maharaja Krishnakumarsinhji Bhavnagar University.	Secondary Analysis (Academic lecture/discussion transcript)
Postcolonial Nonhuman Blurring (B)orders in Migrant Ecologies	2022	Ashwarya Samkaria: Independent researcher.	Secondary Analysis (Peer-reviewed research article in Ecozon@)
Reclaiming the Sacred: The Mythic Imagination in Amitav Ghosh’s Gun Island	October 2025	C. Mobisha Keni (MA Student) & A. Annie Divya Mahisha (Assistant Professor): Affiliated with Holy Cross College and Manonmaniam Sundaranar University.	Secondary Analysis (Research article in the International Journal of Advanced Research)

Prompt 2: Which of these sources are more frequently cited or referenced by other sources in this notebook ?

Based on the sources provided in this notebook, the most frequently cross-referenced materials are those associated with Prof. Dilip Barad and the Department of English at Maharaja Krishnakumarsinhji Bhavnagar University (MKBU).

While the other academic articles are independent studies that rarely cite one another, the Barad/MKBU sources function as a connected educational network.

The MKBU / Dilip Barad Citation Network

The following sources are interlinked through direct mentions, links, and shared curriculum:

• Dilip Barad’s Teacher Blog [Source 3]: This source acts as a central hub for the other MKBU materials. It explicitly directs readers to the Thematic Study PPTX [Source 4] and the YouTube Lecture Series [Source 6] for further study.

• Gun Island Thematic Study PPTX [Source 4]: This presentation specifically recommends "Related Content" produced by the Department of English MKBU, which is the same entity responsible for the YouTube transcript [Source 6].

• YouTube Lecture Transcript [Source 6]: The speaker in this transcript references "our thematic study of this novel," which aligns with the structure and titles found in Barad’s blog and PPTX.

Subject vs. Source Citations

It is important to distinguish between the subject of the notebook and the sources within it:

• Amitav Ghosh: Every single source in this notebook cites or references Amitav Ghosh’s books, specifically Gun Island and The Great Derangement. However, because Ghosh’s original texts are not included as source documents in this notebook, they are considered external references rather than cross-referenced notebook sources.

• Independent Academic Sources: The research papers by Dr. Santosh Kumar [Source 2], Kalaivani & Selvi [Source 5], Ashwarya Samkaria [Source 7], and Keni & Mahisha [Source 8] are independent analyses. They do not cite the other blog posts or transcripts found in this notebook, preferring instead to reference established scholars like Stacy Alaimo, Dipesh Chakrabarty, and Joseph Campbell.

Summary of Frequent Internal References

Source Entity	Internal References Found In...
Prof. Dilip Barad / MKBU	Barad’s Blog, MKBU YouTube Transcript, Slideshare PPTX
Thematic Study Materials	Directly cross-linked between Source 3, Source 4, and Source 6

Prompt 3: Summarize the primary perspective of the top five most substantial sources

The five most substantial sources in this collection offer complementary analyses of Amitav Ghosh’s work, primarily focusing on how myth, history, and the climate crisis intersect to challenge modern Western rationalism.

1. Forrest Brown: The Role of Storytelling

Forrest Brown’s perspective centers on how stories act as vital tools for imagining a future in the face of the climate emergency.

• Response to Realism: He views Gun Island as a direct response to the "Great Derangement," a term for the failure of modern realist literature to address the "wild, unthinkable" realities of climate change.

• Deliverance through the Past: Brown argues that Ghosh suggests our "deliverance lies not in the future but in the past," specifically in ancient stories that were written when humans lived in closer connection to the Earth.

• Colonial Roots: He emphasizes that the current refugee crisis is a direct consequence of centuries of European colonial exploitation of natural resources.

2. Dr. Santosh Kumar: Myth as a Narrative Framework

Dr. Kumar frames the novel as a "critical intervention in Anthropocene literature" that uses myth to make planetary-scale crises intelligible.

• Reactivation of Legend: He argues that Ghosh "reactivates" Bengali folk legends not as mere metaphors but as active narrative frameworks to interpret freak weather and mass migrations.

• The Refugee/Wanderer Link: A primary focus is the connection between the mythological exile of the "wanderer" and the contemporary plight of the "refugee," portraying climate displacement as a deep historical pattern.

• Interspecies Kinship: Kumar highlights the "de-centering" of human protagonists, giving narrative weight to "more-than-human" actors like swarming spiders and dolphins.

3. Prof. Dilip Barad: Historification and Etymology

Prof. Barad’s perspective is pedagogical, focusing on the specific literary techniques Ghosh uses to blend reality and folklore.

• Historification of Myth: He defines this as setting actions in the past to draw parallels with contemporary events, enabling a "thinking response" from the reader.

• Etymological Mystery: Barad places heavy emphasis on Ghosh’s use of language, noting that words—like sailors—are travelers that point to the "intermeshing of cultures" over ages.

• Genre Study: He positions the work firmly within "Cli-fi" (Climate Fiction), a genre meant to "wake people up" through the power of urgent storytelling.

4. Kalaivani & Selvi: Myth as an Epistemological Tool

These scholars view myth as a "trans-historical archive" and a vital mode of knowledge for understanding ecological crises.

• Departure from Modernism: They distinguish Ghosh from modernists like T.S. Eliot or James Joyce; while modernists used myth to critique cultural decay, Ghosh uses it for "ethical urgency" and "planetary survival".

• Deconstructing Rationalism: Their perspective validates myth as a "lived, phenomenological reality" that captures what linear history cannot, such as diasporic trauma and nonhuman interrelations.

• A Survival Manual: Ultimately, they argue the Gun Merchant’s tale serves as a "survival manual" for marginalized communities facing "slow violence".

5. Ashwarya Samkaria: Post-Anthropocentric Relationality

Samkaria offers a "post-anthropocentric" reading, focusing on how the novel blurs the borders between the human and nonhuman worlds.

• Trans-corporeality: The primary perspective here is that human bodies are "ultimately inseparable from the environment," creating a state of "inescapable interconnectedness" with all matter.

• Nonhuman Agency: Samkaria studies how Ghosh recognizes the "agentic capacities" of the nonhuman, presenting animals and ecosystems not as background objects but as storied subjects with their own voices.

• Challenging Dualism: The source argues that the myth of Manasa Devi serves to dismantle the "nature-culture dualism" promoted by Western modernity.
  
  
  

Prompt 4: Identify ‘Research Gap’ for further research in this area.

Application of Indian Poetics (Rasa Theory)

While Prof. Dilip Barad’s blog provides a detailed overview of Rasa Theory—the Indian concept of aesthetic flavor involving sentiments like Bhayānakam (terror) and Adbhutam (wonder)—none of the academic research papers in this collection explicitly use this framework to analyze Gun Island.

• The Gap: Most scholars use Western theoretical lenses, such as Campbell’s "Hero’s Journey" or Lévi-Strauss’s structuralism.

• Further Research: A study could evaluate how the "Navarasa" (nine rasas) are evoked in climate fiction to create a "thinking response" in the reader, rather than just using the Western "Cli-fi" definitions.

Digital Literary Cartography

One of the sources recommends a presentation on studying Gun Island through the lens of Digital Literary Cartography, but the actual methodology and findings are not detailed in the substantial research papers.

• The Gap: The sources discuss "mythic geographies" and the "intermeshing of cultures," but they do so through traditional literary analysis.

• Further Research: There is a gap for research that uses GIS mapping or digital tools to track the Gun Merchant’s 17th-century route against modern climate-induced migration patterns, providing a visual data-driven companion to Ghosh’s narrative.

Comparative Modern Climate Fiction (Cli-Fi)

Scholars in these sources frequently compare Ghosh to 20th-century modernists like T.S. Eliot, James Joyce, and Toni Morrison to highlight his use of myth.

• The Gap: There is very little comparative analysis between Ghosh and his contemporaries writing within the "ecological weird" or speculative fiction genres.

• Further Research: Future research could compare Gun Island with other modern climate novels (e.g., works by Richard Powers or Kim Stanley Robinson) to see if the "reactivation of myth" is a unique postcolonial strategy or a broader trend in the global Anthropocene.

Feminist Ecocriticism and Goddess Agency

The sources frame the goddess Manasa Devi as a "mediator" or a "trope for trade" and "nature’s power".

• The Gap: While the "nature-culture dualism" is discussed, there is a lack of deep feminist ecocritical analysis regarding why the agency of the environment is personified specifically as a female deity who uses "divine fury" to check male "profit motives".

• Further Research: A study could explore the gendered dimensions of Manasa Devi’s "wrath" and how it intersects with the subaltern status of characters like Moyna and Lubna.

Machine Translation and Global Semiotics

Prof. Barad raises a "Point to Ponder" regarding how Machine Translation (Google Translate) helps readers navigate the Italian and Bengali words that Ghosh leaves untranslated.

• The Gap: The research papers focus on "philological decoding" as a detective story but do not address the technological experience of the modern reader.

• Further Research: Research could examine how the "polyphony of language" in the Anthropocene is mediated by AI and digital translation tools, and whether this enhances or flattens the "etymological mystery" Ghosh intends to create.

Prompt 5: Draft literature review ending with hypotheses and research questions pertaining to this research gap.

This literature review examines the scholarly landscape surrounding Amitav Ghosh’s Gun Island, focusing on how the novel utilizes myth and migration to address the climate crisis, before proposing a new research direction through the lens of Indian Poetics (Rasa Theory).

Literature Review: Myth, Migration, and the Anthropocene

Current scholarship on Gun Island identifies it as a critical intervention in Anthropocene literature, designed to address the "Great Derangement"—the failure of modern realist fiction to capture the "wild, unthinkable" realities of climate change.

1. The Reactivation of Myth

The primary focus of recent research is Ghosh's "reactivation" of the Bengali legend of Manasa Devi and the Gun Merchant. Scholars argue that Ghosh uses myth not as a mere metaphor but as an active narrative framework to make planetary disruption intelligible.

• Historification: Researchers like Dilip Barad utilize Bertolt Brecht’s concept of "historification"—setting action in the past to draw parallels with contemporary events—to explain how Ghosh encourages a "thinking response" in the reader.
• Epistemological Tool: Myth is framed as a "survival manual" or a "trans-historical archive" that preserves ecological memories erased by official history.

2. Migrant Ecologies and (B)orders

A significant body of work explores the link between the mythological "wanderer" and the contemporary "climate refugee".

• Trans-corporeality: Ashwarya Samkaria emphasizes trans-corporeality, arguing that human bodies in the novel are inseparable from their environment, which blurs the man-made borders of the nation-state.
• Colonial Roots: Scholarship highlights that the current refugee crisis is presented as a direct consequence of European colonial exploitation of the planet’s natural resources.

3. Interspecies Kinship and the Uncanny

Scholars have noted that the novel "de-centers" the human protagonist, giving narrative agency to "more-than-human" actors like spiders, dolphins, and king cobras. This creates an experience of the uncanny, where the familiar environment becomes unsettlingly responsive to human action.

The Research Gap: Indian Poetics (Rasa Theory)

While current research extensively applies Western frameworks—such as Lévi-Strauss’s structuralism, Campbell’s hero’s journey, and ecocriticism—there is a notable absence of deep analysis using Indian Poetics, specifically Rasa Theory.

Prof. Dilip Barad defines Rasa as an "aesthetic flavor" or "sentiment" intended to transport an audience into a parallel reality where they reflect on spiritual and moral questions. Although the sources define the Navarasa (the nine sentiments), they do not apply them to analyze the reader's emotional and ethical journey through the climate catastrophes in Gun Island.

Hypotheses

• H1: The "ecological weird" and "uncanny" elements of the novel are specifically constructed to evoke Bhayānakam (terror/horror) and Adbhutam (wonder/amazement), leading to a "thinking response" that Western "Cli-Fi" definitions alone cannot fully explain.
• H2: The novel’s conclusion achieves a state of Śāntam (peace/tranquility), functioning as the "string of a jeweled necklace" that gives form to the preceding chaotic rasas, thereby facilitating the "deliverance" through the past that the protagonist seeks.

Research Questions

1. How does the interplay between Bhayānakam (terror) and Kāruṇyam (compassion) in the portrayal of climate refugees (e.g., Rafi and Tipu) shift the reader’s ethical orientation toward the Anthropocene?
2. In what ways does the Adbhutam (wonder) triggered by the "miracle" in the Venetian lagoon serve as a "moral technology of resilience" for the reader?
3. To what extent does Ghosh’s use of historification align with the traditional goals of Rasa Theory to transport the audience into a "parallel reality" for moral reflection?

Homebound (2025)

This blog post has been prepared as part of a film-screening assignment given by Prof. Dilip Barad on Neeraj Ghaywan’s Homebound.

For further insights, tap here.

Neeraj Ghaywan’s Homebound presents a sharp critique of India’s migrant crisis during the COVID-19 lockdown. The film shows the journey of migrants as a source of deep suffering, intensified by the state’s absence and apathy. Through this disturbing portrayal, it forces audiences to face a harsh truth that can no longer be overlooked.

PART I: PRE-SCREENING CONTEXT & ADAPTATION

1. Source Material Analysis

The adaptation of Basharat Peer’s journalistic essay into Homebound is not merely a shift from factual writing to fictional cinema; it signals a conscious change in the narrative’s political focus. In Peer’s account, Amrit Kumar and Mohammad Saiyub are migrant textile workers who symbolize the millions employed in India’s informal sector, and their suffering is framed within broader conditions of economic precarity and persistent state neglect.

By transforming these characters into police aspirants, the film relocates the narrative from struggles of basic survival to the sphere of civic ambition. This change heightens both the emotional and political resonance of the story. Chandan and Shoaib are no longer depicted as outsiders abandoned by state structures; instead, they are individuals who believe in those very institutions. The police uniform becomes a marker of dignity, power, and hope—an emblem of the belief that institutional membership can overcome caste and religious barriers. In this way, the film widens its critique, revealing how even the dream of upward mobility is inseparable from exploitative systems.

2. Production Context: Scorsese’s Mentorship 

Martin Scorsese’s mentorship is visible less in stylistic mimicry and more in ethical realism. The film avoids spectacle, sentimentality, and narrative catharsis—hallmarks of mainstream Indian cinema. Instead, it adopts a restrained observational gaze, reminiscent of neo-realist traditions.

This realism enables Homebound to travel well internationally because it refuses cultural translation for Western comfort. The film neither explains caste nor simplifies religious marginalization. Ironically, this very authenticity alienates sections of the domestic audience accustomed to narrative closure. Thus, Scorsese’s influence positions Homebound within a global realist cinema tradition, while exposing the fracture between global critical acclaim and local commercial reception.

PART II: NARRATIVE STRUCTURE & THEMATIC STUDY

3. The Politics of the Uniform 

The police uniform functions as a deceptive symbol of neutrality. For Chandan and Shoaib, it represents the hope of an identity free from caste or religious associations. Yet the film gradually dismantles this belief. The staggering figure of 2.5 million candidates vying for only 3,500 posts exposes the notion of meritocracy as almost entirely unreal.

More importantly, Homebound suggests that even securing the uniform would not guarantee true dignity or respect. It may grant a certain presence within the system, but not actual equality. Thus, the film presents the uniform as a form of aspirational violence—enticing marginalized people to invest in a system that is inherently structured to keep them excluded.

4. Intersectionality: Caste and Religion 

Case A: Chandan and Caste Shame

Chandan’s decision to apply through the ‘General’ category demonstrates what sociologists describe as internalized caste oppression. His concern is not about losing legal benefits but about being socially identified. In this mindset, reservation is framed as a sign of personal inadequacy, showing how neoliberal ideology turns systemic inequality into an individual’s supposed shortcoming.

Case B: Shoaib and Quiet Cruelty

The water bottle moment is heartbreaking exactly because it involves no open conflict. It reflects routine communal bias, made to appear polite. The denial is justified through excuses of cleanliness or unease, hiding discrimination under courteous behavior. In this way, the film shows that contemporary prejudice often works not through overt aggression, but through subtle, ritualized forms of exclusion.

5. Pandemic as Narrative Device

The lockdown doesn’t disrupt the film’s narrative structure; rather, it exposes it more directly. What appears to be a genre shift is actually the same underlying system continuing. The pandemic doesn’t create new hardships but amplifies the ones that were already present.

By using the pace and tension of a survival thriller, the film highlights a harsh truth: for marginalized groups, life is already experienced as a constant state of crisis. COVID-19 simply removes the thin layer of normality that concealed this. Thus, Homebound reframes the pandemic not as an isolated catastrophe, but as a force that speeds up the slow, everyday violence embedded within routine existence.

PART III: CHARACTER & PERFORMANCE ANALYSIS

6. Vishal Jethwa’s Somatic Performance

Vishal Jethwa’s acting is marked by a slow tightening of the body, turning his performance into a study of how social oppression is physically absorbed. His posture suggests that he anticipates humiliation even before it happens, reflecting a learned obedience rooted in generations of caste-based trauma. This burden is expressed not through words but through the subtlety of his movements and restraint.

The brief hesitation before he states his full name perfectly captures this reality: even self-identification becomes dangerous. What society refuses to acknowledge, the body continues to remember. Through this finely tuned physicality, his performance becomes a living repository of history—memory embedded directly in the body.

7. Ishaan Khatter and the “Othered” Citizen

Shoaib’s storyline exposes the core tension surrounding Muslim citizenship in India. His choice not to move to Dubai is a refusal of forced economic migration, yet staying in India brings him not acceptance but suspicion and constant questioning.

His anger remains tightly controlled rather than explosive, underscoring the film’s understanding that minority expressions of frustration are continually watched, restrained, and punished. Shoaib’s pain arises from his deep loyalty to a nation that offers no equal loyalty in return. Here, “home” is not a guaranteed entitlement but a fragile status—one that must be repeatedly justified, protected, and re-earned.

Gendered Perspectives: Sudha Bharti (Janhvi Kapoor)

Sudha Bharti’s character brings a quiet imbalance to the film’s narrative structure. Though Janhvi Kapoor delivers a subtle and controlled performance, Sudha functions less as a fully developed character and more as a narrative instrument. She mainly serves as an observer and moral center, representing the educational opportunities and social privilege that Chandan and Shoaib do not possess.

Her inability to meaningfully alter events highlights one of the film’s key ironies: even education and cultural privilege become ineffective in the face of systemic collapse and widespread humanitarian neglect. Through Sudha, the film suggests that personal advantages provide neither real protection nor meaningful agency within a context shaped by institutional dysfunction.

PART IV: CINEMATIC LANGUAGE

9. Visual Aesthetics: The Aesthetic of Exhaustion

Through its persistent attention to feet, dust, and sweat, the film rejects any impulse toward heroic or monumental imagery. Migration is stripped of spectacle and rendered instead as physical attrition. The emphasis on ground-level framing erases aesthetic distance, compelling the viewer to encounter exhaustion as an immediate, embodied experience rather than a visual trope.

This visual strategy actively resists voyeurism. Instead of offering cinematic pleasure, it produces ethical unease, positioning the spectator not as a detached observer but as a witness implicated in the suffering onscreen.

10. Soundscape: Resisting Melodramatic Excess

The background score by Naren Chandavarkar and Benedict Taylor consciously resists overt emotional cueing. Rather than employing sentimental melodies or dramatic crescendos, the film relies on a restrained, ambient, and often industrial soundscape. This deliberate minimalism refuses to mediate the viewer’s emotions, forcing the audience to face the bleakness of the situation without the relief of musical consolation.

Silence, in this context, becomes an expressive force. It deepens the sense of tragedy, as the sparse auditory environment echoes the apathy of both the endless highway and the absent state. Within this near-vacuum, the sounds of breathing, footsteps, and physical strain gain heightened significance, amplifying the film’s atmosphere of isolation and abandonment.

PART V: CRITICAL DISCOURSE & ETHICS

11. Censorship and State Anxiety 

Silencing harmless words shows that censorship operates as a form of symbolic domination, not simply as the regulation of content. Ordinary elements like food and language turn political because they represent daily forms of shared living.

What unsettles the state is not open criticism, but the act of giving routine visibility to marginalized voices. Social realism becomes threatening because it makes systemic injustice look ordinary and widespread.

12. Ethics of Adaptation

This aspect of the film introduces its most complex ethical concerns. The plagiarism accusations made by Puja Changoiwala, along with claims that Amrit Kumar’s family received little or no compensation, deeply undermine the film’s moral credibility. These issues force us to confront a crucial question: can a film that condemns capitalist exploitation do so honestly if its own creative process relies on similarly extractive practices?

Appeals to “creating awareness” often serve to protect artistic motives. But when the real individuals whose suffering forms the basis of the story gain nothing materially—while the film collects awards, recognition, and profit—the compassion it evokes risks becoming purely symbolic. In such circumstances, representation itself may end up reproducing the same exploitative systems that the film seeks to criticize.

13. Commercial Viability vs Art 

Homebound’s lack of success highlights a post-pandemic collapse in audience attention. Meaningful, issue-driven cinema now struggles against algorithm-driven content and pure escapism.

Its reception reveals an industry that prioritizes distraction rather than challenging narratives, prompting critical concerns about the survival of socially conscious filmmaking.

Conclusion

Homebound suggests that in today’s India, dignity is worn down not by direct violence but by continuous neglect. The journey home offers no promise of return or safety; instead, it reveals that “home” is structurally inhospitable to those who live at the margins.

The film denies viewers any sense of redemption—not because it is pessimistic, but because such closure is rarely available to the oppressed in real life. By refusing emotional resolution, Homebound reshapes the purpose of cinema: it becomes an act of witnessing rather than comforting. In withholding consolation, the film emphasizes that to watch, to remember, and to remain uneasy are ethical duties placed upon the audience.