Alternative Novel Cover
The above book jacket was created by Chloe Hemingway. Many of the images are hand-drawn (the boy and girl, the hand-lettered title, the moth outline on the back). The boy and girl white silhouettes represent the twins, Rahel and Estha. They are lying in fetal positions which alludes to the fact that they were once twins in the womb. They appear to be suspended in midair because in this novel, at some points, time seems as if has been suspended (especially the closing scene). Additionally, the two twins are separated by the title of the novel to represent them being separated from one another in the book. The QR code is visible in the bottom right corner (it was tested and it works). I looked at the book jacket for the original novel The God of Small Things for reference to the quotes and other small details (such as the publisher, awards the book has won, etc.). The work was done with Photoshop Elements.
Art Work
This is an illustration representing Pappachi's Moth. In the novel, it refers to the moth that Pappachi discovers one day and believes it to be an undiscovered species. This marks a major moment in his career...however, the moth is referred to as his life's greatest setback: "His life's greatest setback was not having had the moth that he had discovered named after him" (48). Later in his life, some lepidopterists conclude that that the insect is in fact a separate species, however instead of naming it after Pappachi they name it after one of his colleagues whom he dislikes. As a result of this tragic event, Pappachi is extremely grumpy, cranky, and bitter for the rest of his life. We learn that this moth "haunts" every house Pappachi has even lived in and that it torments his children and his children's children. The moth is a very important recurring symbol throughout the novel. Arundhati Roy shows us fear and bitterness and coldness when they moth is present in a scene. This moth is a significant part of the novel.
This vibrant illustrant found on owengentillustration.tumblr.com represents Ammu, Baby Kochamma, the twin's and Chacko's drive, in which they encounter a communist march on their way to the movies. The novel exerts a focus on class politics, particularly Marxism and communism. The sign on the car references "Paradise Pickles & Preserves" named after the factory that Mammachi owns. The red colors on the flags being waved about represent the symbol of communism. Velutha is spotted by Rahel who calls out to him. Velutha turns around in surprise and Ammu slaps at Rahel and tells her, frantically, to sit down. Everyone is surprised and curious about Velutha. The fact that Velutha is part of the Communist party has a negative connotation.
Rahel's watch is a recurring symbol in the novel. It is first introduced to us as being a toy wristwatch that is plastic. The time always reads ten to till. This represents the suspension of time, which is relevant to the non-chronological order of the novel. After Velutha has been tortured and beaten to the brink of death while the twins watch helplessly, the policement collect the items on the ground. However, Rahel's watch is left on the ground of the dusty old floor of the history house. I chose to represent the violence of Velutha's beatings with blood in the corner and the watch strewn on the ground carelessly to represent the loss of childhood innocence in a way.
This photo represents the calm and hopeful atmosphere in the scene before Sophie Mol's death. This photo represents the "before" of the boat trip--before the canoe capsizes and Sophie Mol drowns quietly and disappears without so much as a shriek. It occurs before Rahel and Estha swim to the History House. This picture was chosen because it is a key moment in time that leads up to the death of Sophie Mol, which is a central point of the plot.
The Orangedrink Lemondrink man brought a loss of innocence to Estha, as he was the character that molested Estha at a movie theatre lobby. This leaves Estha feeling vulnerable and scared, because he then lived with a fear knowing that the Orangedrink Lemondrink man knows where he lives and it makes Estha feel that he has no power over himself.
This illustration found on owengentillustration.tumblr.com represents the scene in which Velutha and Ammu have their first intimate secret meeting at the very end of the novel. None of the drama accompanying Sophie Mol's death has occured. Although readers are already aware of the downfall of Ammu and Velutha's relationship, the novel ends almost as if it has been suspended in time. In this scene readers experience their love before it has been "tained by blame or shame". It is solely about the present they are living in. Throughout the novel, readers have been lead up to this moment in the center of the whirlwind of chaos. In a way, this closing scene finishes the key to the myster/last piece to the jigsaw puzzle.