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