Victim to “the Play” to which all of their lives act as a stage. This novel is, above all

things, a statement to the power of social construction. Nevertheless, by negotiating their

own narratives – as Benhabib suggests they must – individuals are able to engage in selfdetermination.

Roy reveals both the extremely confining nature of the social norms in

place and the results of practicing self-determination within them. Though Ammu’s

social trespassing destroys her and those she loves, she is briefly released from pervasive

social norms. Roy communicates that there is hope in the midst of constructions. It will

be hard and perhaps even violent at first, but through Roy’s strategic ending of the novel,

she indicates that tomorrow holds the promise of change. The last words of the novel are

effective: She kissed his closed eyes and stood up. Velutha with his back against the

mangosteen tree watched her walk away.

She had a dry rose in her hair.

She turned to say it once again: “Naaley.”

Tomorrow. (320)

The image of the lovers and their hope leaves the reader contemplating the beauty of

what Ammu and Velutha have shared and the tragedy that has already followed, not the

misfortune of what they have chosen. These narratives speak of declarations, of forms, of

contact, words, betrayals, and self without providing a linear path for the reader to follow. How do people go from one step to the next? One foot in front of the other. One plus one

plus one equals the future. We, as characters in our own narratives and readers in others’,

are roused to consider our roles, subject positions, and most importantly, our connections

to others as a means of agency.

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