The Ministry of Utmost Happiness | Flipped Learning Task

 The Ministry of Utmost Happiness 

This blog post is part of a flipped learning activity for the modern Indian novel The Ministry of Utmost Happiness by Arundhati Roy. As part of this activity, we are tasked with watching videos related to the text and providing a summary of the content for each video. Click Here

1 | Khwabgah

The video deals with the intro. of famous novel The Ministry of Utmost Happiness and provides an overview of the relationships between its characters. The novel is initially challenging to comprehend, even after a couple of readings, due to its intricate structure and elements of magical realism, which are apparent from the opening lines:

"She lived in the graveyard like a tree. At dawn she saw the crows off and welcomed the bats home. At dusk she did the opposite."

These lines create some confusion upon first reading, as it is unclear whether Roy is referring to a girl or a tree. The story unfolds across five main settings: Khwabgah, Jannat Guest House, Jantar Mantar, Kashmir, and Dandakaranya. It traces the life of Anjum, a hijra living in the Jannat Graveyard. In the second chapter, titled Khwabgah, Anjum meets a blind Imam named Ziauddin. The narrative then shifts to Anjum’s past.

Anjum was born to Mulaqat Ali and Jahanara Begum, who were stunned when the midwife, Ahlam Baiji, revealed that their child was intersex, having both male and female genitalia. Initially named Aftab, Anjum’s parents struggled to come to terms with their child’s identity as a hijra.

The story then shifts to Khwabgah, a space Aftab discovers while out shopping with his mother. Here, Aftab encounters others like him and meets characters such as Mary, Gudiya, Bulbul, Bismillah, Raziya, and Nimmu Gorakhpuri, with Begum Kulsoom Bi as the household's matriarch. Over time, Aftab’s parents slowly begin to accept their child’s identity as a third gender, even visiting Hazrat Sarmad’s Dargah for blessings, though this brings no change. The story also recounts the tale of Sarmad, who was in love with a man named Abhaychand and was executed at Jama Masjid for reciting an incomplete Kalima.

Aftab witnesses this execution and later finds an abandoned baby, Zainab, on the stairs of Jama Masjid. He brings her to Khwabgah, but when Zainab becomes ill, he blames Saeeda, another hijra whom he views as an enemy. Hoping for Zainab’s recovery, Aftab visits the Ajmer Sharif Dargah with Zakir Mian to pray. Afterward, Zakir suggests visiting Ahmedabad to address some family matters.

This trip introduces the Gujarat Riots of 2002, a pivotal moment in the novel. During the riots, Zakir is killed by a mob, but Aftab is spared due to the belief that killing a hijra brings misfortune. This event draws parallels to the Godhra riots of 2002 between Hindus and Muslims. The violence deeply impacts Aftab, who decides to change both his and Zainab’s appearance and way of life. Aftab fully embraces the identity of Anjum and begins living independently at the Jannat Guest House.

2 | Jantar Mantar

This video introduces a character named Saddam Hussain, who moves into the Jannat Guest House. Saddam is employed at a local hospital and previously worked as a security guard. His backstory reveals that his birth name is Dayachand, and he belongs to the Chamar caste in Haryana. The Chamar community, traditionally involved in leather tanning, cobbling, and artisanal work, is historically considered one of the lowest castes. 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. Driven by anger and a desire for 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 narrative then transitions to Jantar Mantar, a well-known protest site in New Delhi. Here, Anjum observes various groups of protesters, including the Tubby Old Gandhian (representing Anna Hazare), Mr. Aggarwal (symbolizing Kejriwal), Mothers of the Disappeared, Manipur nationalists, Delhi Kabadiwala, and Dr. Azad Bhartiya. Jantar Mantar acts as a space for voicing grievances against the government, and Dr. Azad Bhartiya emerges as a central figure connecting these diverse movements. During her time at Jantar Mantar, Anjum notices a baby but is startled when it vanishes just as quickly as it appeared.

3 | Kashmir & Dandakaranyak

As the lecture goes on, we learn more about the deeper themes and how the characters connect with each other. The way the story is told changes from third-person to first-person, with Piglet, a landlord, telling part of his own story. This section introduces important characters like Tilo, whose life is tied to others, and Musa, who gets involved in terrorism. The story talks about big issues like terrorism in Kashmir, the effects of violence, and the personal struggles of the characters. It shows how tragedies push people into cycles of revenge and violence.

At the end, a letter reveals how closely connected all the characters are. Each person represents something unique about the human experience, showing how personal stories and society are linked. For example, Musa turning to terrorism isn’t shown as just a bad choice, but as something caused by the violence and loss he has faced. This makes readers think differently about his actions.

The story also talks about the Kashmir conflict and shows both victims and those who commit violence in a human way. It explains how violence only leads to more violence and how people who want peace or justice can get stuck in cycles of revenge. This makes you think about how society influences people’s decisions. It also shows how violence affects everyone, whether they’re victims or in power, and leaves a lasting impact on their minds.

4 | Udaya Jebeen & Dung Beetle

The final chapter, titled Guih Kyom (which means "a dung beetle"), presents a pivotal moment in the story. It reveals that Tilo has started teaching children at the guest house, while the graves of other individuals are also featured, including that of Ahlam Bazi. There's a moment where Ahlam changes her sleeping position as the characters continue their conversation. The chapter introduces a thought-provoking line: "How to tell a shattered story, by slowly becoming everybody, no, by slowly becoming everything," reflecting the complexity of the narrative.

Tragedy strikes when it’s revealed that Musa has been killed in an encounter. Late one night, unable to sleep, Anjum takes Udaya Jebeen for a walk through the city. During their walk, Udaya stops to relieve herself, and Anjum stays by her side. As they return, they notice a dung beetle lying on its back, gazing up at the sky as if it could save the world. This image of the dung beetle symbolizes hope and resilience. The novel concludes with the belief that, with the arrival of Udaya Jebeen, things will get better, and time will bring change.

Video 5 | Thematic Study

The nature of the paradise:

The Jannat Guest House represents a unique idea of paradise, challenging traditional beliefs that heaven exists only in the afterlife. Instead, it suggests that we can create a version of paradise on earth through empathy, understanding, and peaceful coexistence among different communities.

The Importance of Ambiguity and Diversity:

The novel explores the vast cultural and social diversity in India, along with the struggles tied to these differences. This theme feels relatable, like when vegetarians might feel uncomfortable dining with non-vegetarians. Similarly, religions showcase varied traditions: Hindus share prashad as blessed food, Christians share wine, and Muslims share meat, all symbolizing distinct cultural values yet reflecting the coexistence of multiple identities.

The Cost of Modernization:

Development often comes with a heavy price. Projects like constructing roads or modernizing cities frequently displace marginalized groups such as farmers and slum dwellers. The novel critiques such one-sided progress, advocating for sustainable development that benefits everyone instead of worsening inequality.

Boundaries between life and death:

The lines between life and death appear fluid in the novel. Characters like Musa and Revathy, though no longer alive, continue to live in people’s hearts and memories. The idea of reburial, where graves are relocated, reflects this blending. The guest house named Jannat, traditionally associated with the afterlife, becomes a space for the living, challenging conventional notions of life and death.

How and Why stories are told:

The novel examines the complexity of storytelling through the line, “How to tell a shattered story? By slowly becoming everybody, no, by slowly becoming everything.” Multiple narratives, such as the struggles of transgender individuals, the conflict in Kashmir, and Maoist resistance, are interwoven into a single story. This fragmented style mirrors the fractured reality of India. For Roy, storytelling is a necessary and cathartic process, almost like giving birth—painful but essential to convey truth.

Social Status of Contemporary India:

The book provides a wide perspective on contemporary India, touching on themes like the life of Hijras, the transformation of cities, and the ongoing Kashmiri conflict. Although these topics may seem unrelated, they all connect through Roy’s criticism of capitalism and her focus on the experiences of marginalized communities.

Corruption, Political Violence and Capitalization

The novel explores the socio-political struggles in modern India, with a focus on the conflict in Kashmir. Roy critiques various groups, such as the Indian Army, Kashmiri militants, and leftist activists, for exploiting the situation for personal and financial gain. Despite claiming moral or religious motives, their actions lead to the suffering of innocent people.

Resilience and Hope:

While the novel highlights the challenges and injustices of modern India, it also emphasizes hope and resilience. The characters endure hardships but draw strength from their relationships and beliefs. In Kashmir, people risk their lives to bury their dead, demonstrating the perseverance of life even in dire circumstances. Udaya Jebeen, a child symbolizing fresh beginnings, represents hope for a better future, suggesting that with resilience, positive change is possible.

Gender Identity and Societal Divisions:

Anjum’s story as a transgender woman reveals the discrimination faced by Hijras in Indian society. Despite her struggles, Anjum’s resilience and unique identity challenge societal norms about gender and belonging. Her survival during a massacre, rooted in superstitions about harming Hijras, underscores her strength. Through Anjum, Roy questions rigid ideas about gender, while also drawing parallels to broader societal divides, like religion and nationality.

Social Hierarchy and Inclusivity:

India’s strict caste and religious hierarchies create isolation and violence, as shown through Biplab, an intelligence officer who feels disconnected despite his privilege. In contrast, Anjum’s inclusive approach at the Jannat Guest House fosters a sense of belonging and hope for those on the margins. Her actions demonstrate that kindness and inclusivity can overcome societal divisions and bring peace.

Religion and Power :

The novel critiques the dangerous mix of religion and politics in India. It shows how Hindu-Muslim conflicts, fueled by extremist leaders like “Gujarat ka Lalla,” create division and violence. Similarly, Islamic extremism in Kashmir leads to internal conflict and narrow visions of freedom. Roy warns that intertwining religion and politics threatens individual freedoms, unity, and peace, urging readers to consider the harm caused by such extremism.

Video 6 | Symbols and Motifs

Hazrat Sarmad Shaheed

Hazrat Sarmad Shaheed, originally from Armenia, was a deeply spiritual figure who journeyed to India, converted to Islam, and formed a bond with a Hindu man named Abhaychand. His execution was due to his doubts about religion, yet his story remains a powerful symbol of love that goes beyond religion and identity. His shrine reflects this idea, welcoming people from all walks of life. Sarmad’s life emphasizes how love and spirituality can surpass rigid societal norms.

The Old Man-Baby

This elderly figure became well-known for his hunger strike protests against corruption in India. He stood as a symbol of hope for marginalized communities, especially those displaced from their homes. However, as time passed, his movement was overtaken by wealthier groups and political interests, shifting its focus away from real change. Despite his frailty, his actions represented the possibility of a brighter future for those who had been ignored.

The Shiraz Cinema

The Shiraz Cinema serves as a representation of India’s efforts to share its culture, especially in Kashmir. However, it was shut down by Muslim separatists who believed it was a tool for cultural dominance. Later, the Indian Army used it as a detention center where people were tortured, worsening the situation. This transformation shows how unresolved tensions can escalate into larger conflicts.

Jannat Guest House and Funeral Parlor

The Jannat Guest House is portrayed as a safe haven for individuals marginalized by society, including those rejected for their religion, class, or identity. It embodies the idea of inclusivity and suggests what India could achieve by accepting all people. Situated near death, the guest house symbolizes both fragility and hope, bridging the real world and the concept of paradise.

Duniya and Jannat

“Duniya” (world) and “Jannat” (paradise) are contrasting symbols in the story. The world reflects struggle and harshness, while paradise represents peace and harmony. However, the novel challenges these ideas, showing that what appears to be paradise can also conceal danger or violence.

Motherhood

Motherhood is a recurring theme in the novel, explored through characters like Anjum, who dreams of becoming a mother but faces numerous societal challenges. The idea of motherhood is also tied to the concept of “Mother India,” but characters from other religions struggle to relate to this vision. The novel redefines motherhood as an act of empathy and inclusiveness that transcends boundaries of religion and culture.

Bodies, Waste, and Inner Struggles

The novel uses the imagery of bodies and waste to highlight social and systemic inequalities. Dalits, responsible for cleaning waste and handling dead bodies, symbolize how marginalized communities are burdened with societal injustice. The body also serves as a metaphor for resistance against oppression, while simultaneously reflecting the inner conflicts and trauma faced by the characters.

Guih Kyom, the Dung Beetle

The dung beetle, featured in the novel’s final chapter, symbolizes resilience and hope. Despite its small size, the beetle plays a critical role in maintaining environmental balance. It represents the idea that even small, seemingly insignificant actions can make a meaningful difference. The dung beetle is a reminder that hope can come from the most unexpected sources, offering optimism for a better future.

Gujarat ka Lalla

“Gujarat ka Lalla” refers to a political leader inspired by Narendra Modi, who symbolizes the rise of Hindu nationalism in India. His association with the 2002 Gujarat riots highlights the dangers of extremist ideologies, which deepen divisions and marginalize vulnerable communities.

The Color Saffron

In the story, saffron is a symbol of Hindu extremism. It is associated with followers of nationalist ideologies and represents the violence experienced by minorities. Anjum’s survival of a massacre reflects the lasting trauma caused by such violence, with saffron symbolizing the oppressive nature of extremism.

The Vulture :

Vultures in the novel symbolize the consequences of modernization on both the environment and society. Their decline is linked to the harmful use of chemicals in farming. Beyond their environmental role, vultures represent those who challenge dominant systems but are silenced. Their disappearance signifies the loss of voices that question societal harm.

Worksheet : 

Activity A: The “Shattered Story” Structure

Textual Analysis of The Ministry of Utmost Happiness

Arundhati Roy’s The Ministry of Utmost Happiness employs a fragmented and non-chronological narrative structure to reflect the shattered lives of its characters and the fractured socio-political reality of contemporary India. As Prof. Dilip Barad explains in his video lectures, Roy does not tell a story in a smooth, linear progression because trauma itself does not unfold logically or sequentially. Instead, the novel follows the principle expressed in the line, “How to tell a shattered story? By slowly becoming everything.” This idea becomes the governing narrative strategy of the novel.

The non-linear structure mirrors the psychological condition of characters whose identities have been broken by gender marginalization, communal violence, caste oppression, and state brutality. Anjum’s life, for instance, does not move forward in a conventional developmental arc. Born as Aftab, her early life in Khwabgah (Old Delhi) is initially presented as a space of fragile belonging for hijras. However, her traumatic experience during the Gujarat riots fractures her sense of self and time. After this rupture, the narrative shifts abruptly, reflecting her inner disintegration, and leads her to the graveyard, where she establishes Jannat Guest House. This transition—from Khwabgah to the graveyard—is not merely spatial but symbolic: it marks Anjum’s withdrawal from the world of the living into a liminal space where the socially dead can survive.

Similarly, Tilo’s story in Kashmir appears disconnected at first, unfolding through letters, memories, and political violence rather than a continuous plot. Prof. Barad emphasizes that Roy places Kashmir at the centre of the novel’s moral imagination, yet narrates it obliquely to convey the silence, censorship, and fragmentation imposed by the state. Tilo’s relationship with Musa and her exposure to enforced disappearances and military oppression are narrated in broken episodes, mirroring the dismembered reality of Kashmir itself.

The connection between Anjum and Tilo becomes clear through the found baby (Miss Jebeen the Second), which functions as a narrative bridge between two seemingly separate worlds. The baby links the gendered trauma of Anjum with the political trauma of Kashmir, showing how personal and national histories intersect. Through this connection, Roy “slowly becomes everything”—hijra lives, protest spaces, graveyards, insurgent zones—allowing the novel to speak for those erased from official narratives.

Thus, the shattered structure of The Ministry of Utmost Happiness is not a stylistic experiment but an ethical choice. By refusing linearity, Roy resists simplifying suffering or offering false coherence. The fragmented timeline forces readers to experience dislocation, echoing the characters’ own fractured existences. In this way, the narrative form itself becomes a powerful representation of trauma, survival, and the possibility of rebuilding meaning from broken lives.

Activity B: Mapping the Conflict

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

Comet)

Chronological Mapping of Major Characters

Arundhati Roy’s The Ministry of Utmost Happiness presents fragmented lives shaped by real historical violence. When arranged chronologically, the characters’ arcs reveal how personal identities are forged through political trauma rather than individual choice. The following timeline traces the journeys of Anjum and Saddam Hussain, as emphasized in Prof. Dilip Barad’s lectures.

I. Timeline of Anjum (Aftab)

1. Birth as Aftab (Old Delhi)

Anjum is born as Aftab to a Muslim family in Old Delhi. From childhood, Aftab experiences gender dysphoria, feeling alienated from the binary gender system imposed by society.

2. Life in Khwabgah (Hijra Community)

Aftab eventually leaves home and finds refuge in Khwabgah, a communal living space for hijras. As Prof. Barad explains, Khwabgah represents a fragile but supportive micro-world where marginalized gender identities can exist with dignity. Here, Aftab becomes Anjum, embracing her hijra identity.

3. Pilgrimage and Trauma during the 2002 Gujarat Riots

Anjum travels to Gujarat, where she becomes a survivor of the 2002 communal violence. This event marks a decisive rupture in her life. She witnesses extreme brutality and narrowly escapes death, leaving her deeply traumatized. Prof. Barad highlights this moment as the point where Anjum’s inner world collapses.

4. Psychological Withdrawal and Displacement

After returning from Gujarat, Anjum becomes increasingly withdrawn and unable to reintegrate into life at Khwabgah. The narrative reflects this trauma through silence, repetition, and fragmentation.

5. Movement to the Graveyard

Anjum leaves Khwabgah and settles in a graveyard, choosing a space associated with death over a hostile living world. This move symbolizes her rejection by society and her refusal to participate in its violence.

6. Creation of Jannat Guest House

Gradually, Anjum transforms the graveyard into Jannat Guest House, a shelter for society’s outcasts—orphans, hijras, Dalits, political refugees, and the abandoned. As Prof. Barad notes, this marks Anjum’s transformation from victim to caregiver, redefining motherhood and community.

II. Timeline of Saddam Hussain (Dayachand)

1. Birth as Dayachand (Dalit Background)

Saddam Hussain is born as Dayachand into a Dalit family, growing up within a system structured by caste discrimination and economic vulnerability.

2. Lynching of His Father (Cow Protection Violence)

Dayachand’s father is brutally lynched by a mob on suspicion of cow slaughter. This incident reflects contemporary cow vigilantism and exposes the intersection of caste, religion, and state failure. Prof. Barad emphasizes this event as a defining trauma.

3. Name Change to “Saddam Hussain”

In response to this violence, Dayachand renames himself Saddam Hussain. This act is not admiration but political irony and resistance. As explained in the lectures, the name challenges both global imperial narratives and local majoritarian oppression.

4. Employment in the Mortuary

Saddam works in a mortuary, living in constant proximity to death. This reinforces his identity as one of the “living dead” produced by modern India’s social and political systems.

5. Encounter with Anjum

Saddam eventually meets Anjum at Jannat Guest House. Their meeting brings together two lives shaped by different but interconnected forms of violence—communal hatred and caste oppression.

6. Integration into Jannat Community

Saddam becomes part of Anjum’s inclusive world, where shared suffering forms the basis of belonging rather than religion, caste, or gender.

Concluding Insight

When arranged chronologically, the lives of Anjum and Saddam Hussain reveal how Roy maps individual trauma onto national history. As Prof. Dilip Barad stresses, these timelines show that The Ministry of Utmost Happiness is not merely a novel about individuals, but a political archive of lives broken—and partially rebuilt—by modern India.

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

  Lab Activity: Gun Island

This blog is written as part of a Lab Activity on Gun Island, assigned by Dr. Dilip Barad. The task aims to explore the themes, narrative techniques, and cultural significance of Amitav Ghosh’s novel through critical reflection and analysis. Click Here.

Research Activity

Postcolonial Critique of Eurocentric Humanism:

Amitav Ghosh’s Gun Island links ancient myth with the contemporary climate crisis, showing how environmental damage in the Anthropocene forces the migration of humans and animals alike. Through Deen Datta’s journey and the revived legend of the Gun Merchant and Manasa Devi, the novel presents natural disasters as consequences of human disruption of ecological balance. By connecting places such as the Sundarbans and Venice, the text highlights global interdependence, human trafficking, and the unsettling presence of environmental change, ultimately offering eco-spiritual hope rather than apocalyptic despair.

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	Author Credentials	Source Type
Critical Ecofeminism in Amitav Ghosh’s Fiction: From The Hungry Tide to Gun Island	March 2023	Associate Professor, PhD, University of Bucharest	Secondary Analysis,
Decolonial Myths and Demi-gods of the Tropics: The More-than-Human Worlds of Manasa and Olokun	2023,	Professor (PhD in Comparative Literature) and PhD Candidate in Humanities,,	Secondary Analysis,
Eco-Imperialism and Climate Migration in Amitav Ghosh’s Gun Island: A Literary Lens on Environmental Justice	2025 (est. based on bibliography)	Associate Professor (Head of Dept.) and Postgraduate Student	Secondary Analysis,
Eco-Spiritual Threads: Karma, Dharma, and Ecosystem in Amitav Ghosh’s Gun Island	18 July 2025	PhD Candidate in English Literature	Secondary Analysis
Environmental Crisis, Climate Change and Nature-Culture Dichotomy in Amitav Ghosh’s Gun Island and The Nutmeg’s Curse	2025 (est. based on bibliography)	Research Scholar, Department of English	Secondary Analysis
Epistemic Collapses and Mythic Emergences: A Postcolonial Critique of Eurocentric Humanism in Amitav Ghosh’s Gun Island	Undated	Not Specified	Secondary Analysis
Gun Island by Amitav Ghosh (Review in The Goose)	15 October 2020	PhD Student (MA/BA Hons. in English)	Secondary Analysis
HAUNTED ECOLOGIES: Limits of Narratability and the Anthropocene Gothic in South Asian Literature	May 2025,	PhD in English	Secondary Analysis
Humans and Nonhumans in Amitav Ghosh’s Gun Island: An Ecocritical Analysis	5 January 2024	Bachelor’s Programme Student	Secondary Analysis
Nonhuman and the Anthropocene: An Analysis of Amitav Ghosh’s Recent Select Works	31 March 2024	Research Scholar,	Secondary Analysis
Migration Studies in the Age of Climate Change, the Blue Humanities, and Amitav Ghosh’s Gun Island	Undated (approx. 2021)	Professor of English and American Studies	Secondary Analysis,
Myth as Epistemology and Historical Memory in Amitav Ghosh’s Gun Island: A Comparative Literary Analysis	8 May 2025	Assistant Professor/PhD	Secondary Analysis
Myth, Multilingualism, and Nonhuman Agency in Amitav Ghosh's Climate Fiction: Gun Island and The Living Mountain	30 September 2025,	Doctor/University Faculty	Secondary Analysis
Myth, and Mainstreaming the Discourse on Climate Change: A Case of Amitav Ghosh's Gun Island	30 December 2022	Assistant Professor (PhD in Indian English Poetry),	Secondary Analysis
Nonhuman Agency in the Anthropocene: A Comparative Ecocritical Analysis of Amitav Ghosh’s Gun Island and Emilio Salgari’s I misteri della jungla nera	2020/2021 Academic Year	Master’s Degree Candidate	Secondary Analysis
Out of This World: Embodying Uncanny Precarity in Amitav Ghosh’s Speculative Intertext on Global Warming	6 October 2025	University Faculty/Researcher	Secondary Analysis
The Synergy of History and Ecology in Amitav Ghosh's Gun Island	October 2025,	Assistant Professor	Secondary Analysis
The Earth System Reanimated: The “Environmental Uncanny” in Amitav Ghosh’s Novel “Gun Island” (Blog Post)	19 August 2024	Academic/Blogger,	Secondary Analysis / Opinion Piece,

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 cited or referenced secondary analysis pieces are those by Ashwarya Samkaria, Tathagata Som, and Kalaivani D G.

While all secondary sources in the notebook extensively reference Amitav Ghosh’s own primary works (particularly The Great Derangement and Gun Island), the following secondary sources are most often used by other authors within the notebook to build their arguments:

1. Ashwarya Samkaria (2022)

Samkaria's work, "Postcolonial Nonhuman Blurring (B)orders in Migrant Ecologies," is a central reference point for several other academic analyses in the notebook.

• Referenced by: It is explicitly cited in the bibliography of the comprehensive report "Epistemic Collapses and Mythic Emergences".

• Referenced by: It is used as a foundational text in the "Synergy of History and Ecology" source to support the shift toward post-anthropocentric theory.

• Referenced by: It appears in the bibliography of the "Myth, Multilingualism, and Nonhuman Agency" source.

2. Tathagata Som (2020/2021)

Som’s review and subsequent article, "The Place of the Planet: Climate Change and Migration in Amitav Ghosh’s Gun Island," is frequently referenced for its insights into migration and syncretism.

• Referenced by: It is cited by Ashwarya Samkaria to highlight how the novel reframes species history through human and nonhuman migrations.

• Referenced by: It is listed as a key source for "rethinking reality" in the "Epistemic Collapses" report.

• Referenced by: It is included in the references for the "Myth, Multilingualism, and Nonhuman Agency" analysis.

3. Kalaivani D G (2025)

Kalaivani's contributions, specifically "Myth as Epistemology and Historical Memory" and "The Synergy of History and Ecology," are cited for their comparative analysis.

• Referenced by: The "Myth, Multilingualism, and Nonhuman Agency" source cites Kalaivani's 2025 study on myth and historical memory.

• Referenced by: The report on "Epistemic Collapses" references Kalaivani's work to explain the synergy between history and ecology.

4. Maria-Sabina Draga Alexandru

Draga Alexandru is a recurring author in the notebook with multiple entries, and her work is often cited by others for its ecofeminist perspective.

• Referenced by: Her work on critical ecofeminism is cited in the "Epistemic Collapses" report.

• Referenced by: She is cited in the "Myth, Multilingualism, and Nonhuman Agency" bibliography regarding translingual climate fiction.

The "Meta-Source"

The source titled "Epistemic Collapses and Mythic Emergences: A Postcolonial Critique of Eurocentric Humanism" serves as the most comprehensive aggregator in the notebook. It functions as a meta-analysis, citing nearly every other source provided in its internal bibliography, including the works of Berlingieri, Vistalli, Tasnim, Rehman, and Fayez.

Analogy: If this notebook were a scientific map, Amitav Ghosh would be the continent everyone is exploring. Secondary sources like Samkaria and Som would be the base camps established by early explorers, which nearly every subsequent traveler (the other authors) stops at to gather information before heading deeper into the terrain.

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

1. Maria-Sabina Draga Alexandru: Critical Ecofeminism

This source argues that Ghosh’s fiction, particularly The Hungry Tide and Gun Island, uses female protagonists as centres of knowledge to address the environmental crisis. These women, such as Piya and Nilima, represent a sustainable plan for coexistence with nature that avoids the aggressive exploitation of Western patriarchal mentalities. Drawing on theorists like Vandana Shiva, the author posits that the “rape of the Earth” and the oppression of women are intimately linked, and that the liberation of one is impossible without the liberation of the other. Ultimately, this perspective frames environmental protection as an act of female agency that celebrates equality across all species boundaries.

2. Sunu Rose Joseph & Shashikantha Koudur: Decolonial Myths

These authors examine how Indigenous myths and demi-gods (like Manasa and Olokun) serve as powerful tools for decolonising Westerncentric narration. They argue that Enlightenment-era thinking "disenchanted" the world by separating the Divine from Nature, leading to a patriarchal culture of human mastery. By re-evaluating tropical myths, Ghosh creates multispecies entanglements that dismantle colonial binaries separating humans from their environment. This perspective suggests that the climate crisis can only be resolved through decolonial ideologies that embrace the "relationality of all life" and the agency of the more-than-human world.

3. Muhammad Hafeez ur Rehman: Eco-Spiritual Metaphysics

This source provides a tripartite Hindu eco-spiritual framework—Karma, Dharma, and Ecosystem—to interpret contemporary climate collapse. Karma is used to depict natural disasters and refugee crises as the inevitable "moral consequence" of centuries of human exploitation. Dharma is proposed as an ethical antidote, shifting the human role from "conqueror" to "custodian" through a sense of righteous duty and ecological care. Finally, the Ecosystem is presented not just as a scientific data set, but as a sacred web of life where the destinies of humans and non-humans are spiritually entwined.

4. Komal Nazir: The Anthropocene Gothic

Focusing on the limits of narratability, this author argues that the Anthropocene is a "Gothic geohistorical event" characterized by haunting and epistemic failure. The primary perspective is that traditional Western realism is inadequate for capturing the unpredictability of climate change. Instead, South Asian literature utilizes the "Anthropocene Gothic" to register the return of repressed ecological violence through uncanny repetitions, spectral intrusions, and affective disorientation. This framework suggests that stories of planetary crisis must embrace epistemic uncertainty rather than totalising narrative mastery.

5. "Epistemic Collapses and Mythic Emergences": Postcolonial Planetary Environmentalism

This meta-analysis argues that Gun Island dismantles Eurocentric humanism and Cartesian dualism, which historically viewed nature as a passive, mechanical resource. It proposes a shift toward "planetary environmentalism," which demands justice for both humans and non-humans across borders. The source highlights how non-human entities (like spiders and shipworms) are portrayed as active historical agents capable of "fighting back" against human enterprises. This perspective integrates subjugated knowledges from the periphery to challenge the linear, progressive histories favored by the Global North.

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

1. Expansion of Non-Western Eco-Cosmologies

While the sources provide deep insights into Hindu (Manasa) and Yoruba (Olokun) mythologies, there is a significant opportunity to explore how other non-Western cosmologies conceptualise ecological belonging,. Future research could investigate:

• How Islamic, Buddhist, or other Indigenous belief systems encode environmental ethics and "karmic causality" in ways that differ from the frameworks already established,.

• The field of "eco-mythology," specifically how ancient stories can be read as adaptive cultural technologies for imagining alternative futures during the current planetary crisis,.

2. Intersectional Queer Ecocriticism

One source explicitly identifies a lack of systematic exploration into the intersections between ecofeminist and queer theories.

• While the sources discuss female agency and "female protagonists as centres of knowledge",, there is a gap in understanding how queer theory might further dismantle the "natural/unnatural" binary used to justify both social oppression and environmental destruction,.

• Research could examine how queer and trans-corporeal identities interact with "migrant ecologies" and the crossing of both biological and national borders,.

3. Socio-Economic and Neoliberal Specificity

Multiple sources suggest that literary analysis can sometimes aestheticise or mythologise migration, potentially glossing over the material realities of neoliberal capitalism,.

• There is a need for more research connecting contemporary Mediterranean migration to the specific "drastic neoliberal reforms" and food insecurities in regions like Syria, Afghanistan, and Iraq,.

• Scholars suggest looking deeper at how militarised sea borders and the "people-moving industry" are not just human rights issues, but are fundamentally linked to the "oceanic ecosystems" and the "Blue Humanities",,.

4. Limits of Narratability and Genre Hybridity

The sources introduce the "Anthropocene Gothic" as a mode of registers haunting and epistemic failure, but this remains a nascent framework,.

• Future research could apply this "Gothic geohistorical" lens to South Asian authors beyond Amitav Ghosh, testing if these narrative ruptures and "spectral ecologies" are a broader feature of Global South literature,.

• There is room to explore the "credibility dilemma" in fiction: how writers can maintain emotional resonance while avoiding the "credibility trap" of over-relying on scientific data.

5. Digital and Technological Dimensions of Ecology

While the novel Gun Island mentions the internet as a "migrant's magic carpet" and the use of GPS for tracking both humans and animals,, there is a gap in research regarding:

• How social media and digital technologies reshape our "imaginary access" to the environment and the nonhuman world,.

• The role of digital humanities in mapping "translocal connections" between distant, ecologically vulnerable sites like the Sundarbans and Venice,.

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

Literature Review: Mythic Ecologies, Non-Human Agency, and the Anthropocene Gothic

The emergence of the Anthropocene as a distinct geological and historical epoch has necessitated a fundamental re-evaluation of the intellectual foundations of Western thought. Contemporary scholarship identifies that the climate crisis is equally a crisis of culture and imagination, requiring a departure from the "Great Derangement" of Eurocentric humanism. Amitav Ghosh’s recent works, particularly Gun Island and The Nutmeg’s Curse, serve as critical literary apparatuses to dismantle Cartesian dualism, which has historically severed the human subject from the natural world.

Myth as Epistemology and Decolonial Resistance

A central theme in recent analyses is the reclamation of myth as an epistemological tool and historical archive. Rather than being dismissed as "superstition" or "mumbo-jumbo," indigenous myths like those of Manasa Devi and Bon Bibi are framed as "subjugated knowledges" that provide authentic insights into ecological belonging. These myths function as "voice-carriers" or translators between species that have no common language, offering a decolonial counter-narrative to Enlightenment rationalism. By linking the 17th-century Little Ice Age to contemporary climate perturbations, Ghosh demonstrates that the Anthropocene is a historical condition emerging from centuries of colonial extraction and "planetary remaking".

Multispecies Justice and Non-Human Agency

The sources emphasize that the ecological world is an active historical agent rather than a passive backdrop for human drama. This post-anthropocentric shift is illustrated through the agentic capacities of species such as shipworms, spiders, and Irrawaddy dolphins, which act with intention and impact human futures. The concept of trans-corporeality further highlights the inescapable interconnectedness between humans and all living and non-living matter, challenging the "sovereign self". The "miraculous" convergences of species at the end of Gun Island are read as symbols of multispecies justice, where the survival of humans is seen as contingent on the recognition of interspecies interdependence.

Migrant Ecologies and the Environmental Uncanny

Migration is redefined in the sources as a "planetary condition" in which all life is on the move, dislodged by the "sheer randomness" of the Anthropocene. The sources connect the European refugee crisis to long histories of chattel slavery and indentured labour, framing modern Mediterranean crossings as an "upending" of the colonial project. This sense of displacement is often registered through the "environmental uncanny," where the eruption of the extraordinary within the ordinary fabric of life produces a sense of dread and disorientation. The Anthropocene Gothic arises at these moments of narrative rupture, where conventional realism fails to account for the "improbable" and "unheard-of" forces of the Earth system.

Research Gap: Intersectional Queer Ecocriticism and Digital Ecologies

While the sources extensively discuss female agency and "female protagonists as centres of knowledge," there is a notable gap regarding the systematic intersection of queer theory and ecocriticism in South Asian climate fiction. Furthermore, although the internet is described as a "migrant’s magic carpet," the role of digital technologies and "virtual realities" in reshaping ecological belonging and translocal identities remains under-theorised.

Hypotheses and Research Questions

Hypothesis 1: If digital technologies (such as GPS and social media) are analysed as non-human "tentacular" agents, they will be found to function as modern shamanic tools that bridge the gap between scientific rationalism and mythic intuition in migrant ecologies.

Hypothesis 2: A queer ecofeminist reading of South Asian narratives will reveal that the "natural/unnatural" binary used to justify both social oppression and environmental destruction is fundamentally dismantled by the "ontological amphibianism" found in multispecies entanglements.

Research Question 1: To what extent do digital networks and "virtualities" act as a conduit for "ecological memory", allowing translocal migrants to maintain a sense of "bioregional attachment" across national borders?

Research Question 2: How does the "Anthropocene Gothic" mode specifically employ queer kinships and "venomous attachments" to challenge the heteronormative "politics of reproductive futurism" in the face of planetary extinction?

Research Question 3: In what ways can non-Western eco-cosmologies beyond Hinduism (such as Islamic or Indigenous folk traditions) expand the current understanding of "karmic causality" as a framework for environmental justice?