‘They all broke the rules. They all crossed into forbidden territory. They all tampered with the laws that lay down who should be loved, and how. And how much.’

This is the story of Rahel and Estha, twins growing up among the banana jam vats and peppercorns of their blind grandmother’s factory, and amid scenes of political turbulence in Kerala. Armed only with the innocence of youth, they fashion a childhood in the shade of the wreck that is their family: their lonely, lovely mother, their beloved Uncle Chacko (pickle baron, radical Marxist, bottom-pincher) and their sworn enemy, Baby Kochamma (ex-nun, incumbent grand-aunt).

Arundhati Roy’s Booker Prize-winning novel was the literary sensation of the 1990s: a story anchored to anguish but fuelled by wit and magic.

FROM THE BOOKER PRIZE WINNING AUTHOR OF THE GOD OF SMALL THINGS

LONGLISTED FOR THE WOMEN'S PRIZE FOR FICTION 2018

LONGLISTED FOR THE MAN BOOKER PRIZE 2017

NOMINATED FOR THE NATIONAL BOOK CRITICS CIRCLE AWARD FOR FICTION

LONGLISTED FOR THE CARNEGIE 2018

THE SUNDAY TIMES NUMBER ONE and THE NEW YORK TIMES BESTSELLER

'At magic hour; when the sun has gone but the light has not, armies of flying foxes unhinge themselves from the Banyan trees in the old graveyard and drift across the city like smoke...'

So begins The Ministry of Utmost Happiness, Arundhati Roy's incredible follow-up to The God of Small Things. We meet Anjum, who used to be Aftab, who runs a guest-house in an Old Delhi graveyard and gathers around her the lost, the broken and the cast out. We meet Tilo, an architect, who although she is loved by three men, lives in a 'country of her own skin' . When Tilo claims an abandoned baby as her own, her destiny and that of Anjum become entangled as a tale that sweeps across the years and a teeming continent takes flight...

'A sprawling kaleidoscopic fable' Guardian, Books of the Year

'Roy's second novel proves as remarkable as her first' Financial Times

'A great tempest of a novel... which will leave you awed by the heat of its anger and the depth of its compassion' Washington Post

VENT’ANNI DOPO IL DIO DELLE PICCOLE COSE
IL NUOVO ROMANZO DI ARUNDHATI ROY

Il ministero della suprema felicità ci accompagna in un lungo viaggio nel vasto mondo dell’India: dagli angusti quartieri della vecchia Delhi agli scintillanti centri commerciali della nuova metropoli, fino alle valli e alle cime innevate del Kashmir dove la guerra è pace, la pace è guerra e occasionalmente viene dichiarato lo «stato di normalità».
Anjum, nuova incarnazione di Aftab, srotola un consunto tappeto persiano nel cimitero cittadino che ha eletto a propria dimora. Una bambina appare all’improvviso su un marciapiede, poco dopo mezzanotte, in una culla di rifiuti. L’enigmatica S. Tilottama è una presenza forte ma è anche un’assenza amara nelle vite dei tre uomini che l’hanno amata: tra loro Musa, il cui destino è indissolubilmente intrecciato al suo.
Dolente storia di sentimenti e insieme vibrante protesta, Il ministero della suprema felicità si snoda tra sussurri e grida, tra lacrime e sorrisi. I suoi eroi, spezzati dalla realtà in cui vivono, si salvano grazie a una cura fatta di gesti d’amore e di speranza. Ed è per questa ragione che, malgrado la loro fragilità, non si arrendono. Questa storia profondamente umana reinventa ciò che un romanzo può fare e può essere, e riafferma ad ogni pagina le doti narrative di Arundhati Roy.

Arundhati Roy è l’autrice del romanzo Il dio delle piccole cose, che ha vinto nel 1997 il Booker Prize ed è stato tradotto in 40 lingue. Da allora ha scritto libri di non fiction: La fine delle illusioni, Guerra è pace, Guida all’impero per la gente comune, L’impero e il vuoto, La strana storia dell’assalto al parlamento indiano, Quando arrivano le cavallette, In marcia con i ribelli, I fantasmi del capitale e Cose che si possono e non si possono dire (con John Cusack). Vive a New Delhi. Tutti i suoi libri sono pubblicati in Italia da Guanda.

FROM THE BEST-SELLING AUTHOR OF MY SEDITIOUS HEART AND THE MINISTRY OF UTMOST HAPPINESS, A NEW AND PRESSING DISPATCH FROM THE HEART OF THE CROWD AND THE SOLITUDE OF A WRITER'S DESK

The chant of 'Azadi!' - Urdu for 'Freedom!' - is the slogan of the freedom struggle in Kashmir against what Kashmiris see as the Indian Occupation. Ironically, it also became the chant of millions on the streets of India against the project of Hindu Nationalism.

Even as Arundhati Roy began to ask what lay between these two calls for Freedom - a chasm or a bridge? - the streets fell silent. Not only in India, but all over the world. The Coronavirus brought with it another, more terrible understanding of Azadi, making a nonsense of international borders, incarcerating whole populations, and bringing the modern world to a halt like nothing else ever could.

In this series of electrifying essays, Arundhati Roy challenges us to reflect on the meaning of freedom in a world of growing authoritarianism.

The essays include meditations on language, public as well as private, and on the role of fiction and alternative imaginations in these disturbing times. The pandemic, she says, is a portal between one world and another. For all the illness and devastation it has left in its wake, it is an invitation to the human race, an opportunity, to imagine another world.

An impassioned manifesto from the author of Booker-winner God of Small Things, one of the most vocal campaigners in the world.

India is a nation of 1.2 billion, but the country’s 100 richest people own assets equivalent to one-fourth of India’s gross domestic product. The rest of the population are ghosts within a system beyond their control. This includes the millions that live on less than $2 a day; or the hundreds of thousands of farmers who commit suicide, unable to escape ruinous debts; where dalits are driven from their villages because the owners want to turn the land to agribusiness. These are examples of a ‘gush up’ economy that has corrupted contemporary India. Capitalism: A Ghost Story examines the dark side of democracy, and shows how the demands of globalized capitalism has subjugated billions of people to racism and exploitation. It is a ferocious attack on the mega corporations that treat India’s natural resources like robber barons, and how they have been able to influence every part of the nation from the government to the army in the rush for profit. But, as Arundhati Roy passionately argues, capitalism is in crisis. The cracks are starting to show in its façade.