Language In The God Of Small Things By Arundhati Roy

Introduction
The paper throws light on the major features of language that Arundhati Roy has deployed in her novel The God of Small Thing, the novel that won her The Man Booker Prize. Roy, through her creativity of language, makes an attempt to capture and represent the reality. The novelist comes up with certain strategies. She brings about certain linguistic innovations, by shaping and molding the language as it is not readily available, to capture Indian sensibility and present it in all its cultural dimensions.
The novelist makes the use of the language very creatively to develop the characters and plot through the interference of the local language, the use of capitalization, and child-speak. The local language is used to develop certain

In The God of Small Things, Roy reaches to the extreme where she places words together and uses them as adjectives. She makes up new words by adding prefix and suffix to nouns and verbs that are grammatically restricted. This is one of the most prominent stylistic features of Roy, who basically disregards conventional grammar on lexical formation. Some major figures that I find as tropes are metaphor, irony and personification, the most exaggerate trope device in The God of Small Things. The figure is sometimes named “coinage”, which refers to the same device of making newly-invented words into a text. The most common seen formula that Roy applies is forming new words by direct merging of two lexical items graphologically as if they are legitimately one word-form, such as “babylegs” and“bluegreyblue”. She also joins inventive adjective by hyphenating two items and sometimes with an adjectival suffix, such as “angrycoloured”,
“fan-whirring” and “easy-to-understand”. Roy incorporates prefixes and suffixes which are mismatched according to pedagogical grammar, such as, “hatted”, “melty” and “uncrumpled”.
Adjectival use of nouns and phrases can also be counted into neologism, such