The apparent contradictions in what this culture finds acceptable and unacceptable are thoroughly examined on several levels. One prominent example is the double standard in the treatment of women. Mammachi approves of Chacko's sexual activities but condemns Ammu's sexuality. Furthermore, the difference between Ammu's marriage to an Indian man and Chacko's marriage to an Englishwoman, along with the preferential treatment Chacko receives, underscores the poor treatment of women within this family's culture.

This issue is further complicated by the fact that the inconsistent treatment often comes from the women in the family. They seem to value Chacko precisely because they lack the power to move beyond their restricted sphere of influence, a limitation resulting from their gender and their dependence on male family members for freedom and protection. When Chacko replaces Pappachi in influence, Mammachi's devotion shifts from Pappachi to Chacko. Baby Kochamma's condemnation of Ammu arises from Ammu's choice of independence over family. When Ammu leaves her marriage and returns to the family in Ayemenem, she is perceived as a failure in her role as a wife, which diminishes her value within the family.

Conversely, Chacko, despite being divorced, is seen as a protector, a role he continues to fulfill, thus being regarded as a success within the family. His embrace of Western influences, which the family values, further enhances his status within the family unit.

The novel highlights the loss of innocence that signifies the end of childhood. As the narrative of Sophie Mol's death develops, the twins slowly begin to drift apart, marking the conclusion of their childhood. Their deep connection and silent communication are interrupted during moments of tragedy, such as Estha's encounter with the Orangedrink Lemondrink Man, which foreshadows their eventual separation after Sophie Mol's death. This connection needs to be rebuilt, and their silent communication must be restored when Rahel reunites with Estha, completing the cycle that began with Velutha's death and the loss of their innocence.

As this transformation takes place, the novel brings back the scents associated with Velutha's death, revisiting the memory of their lost innocence as the twins navigate the consequences of that day. The changes they experience reflect the transformations their society must undergo as the country continues to reconstruct its identity after colonization. The communists in the story have found their own ways to resist the lingering effects of the English colonizers' influence on their country. Each character in the story does this in their own way, whether knowingly or unknowingly, as they develop their approaches to blending Indian traditions with the incursion of Western influences resulting from colonization.

Indian history and politics significantly influence the narrative and themes in The God of Small Things. Roy's observations are often direct, infused with humor and sharp insights into India's political scene. The novel also explores the historical roots of these issues, providing profound reflections on how deep-seated caste systems fuel human desperation and desire. Roy highlights the complex and enduring class struggles in Kerala, India, while critiquing the various competing forces present there.

For example, the novel critiques the harsh, ingrained, and systematic oppression in Kerala, embodied by authority figures like Inspector Thomas Mathew. It also denounces the hypocrisy and cruelty of the traditional moral code maintained by characters such as Pappachi and Mammachi. On a different political note, the Kerala Communist Party, especially the faction led by Comrade Pillai, is depicted as being more focused on personal ambition than on a true dedication to social justice.

In addition to her insights on Indian history and politics, Roy delves into the Indian post-colonial psyche, particularly examining the cultural perceptions...