Arundhati Roy must be tired of hearing the same question: What took you so long? But then, it has been two decades since her debut novel, The God of Small Things, was translated into forty-two languages, sold eight million copies, and won the prestigious Man Booker Prize, and she was catapulted to international fame and remarkable financial success. Now, with the June release of The Ministry of Utmost Happiness (Knopf), she is not apologizing for the wait. Busy traveling, writing, and establishing herself as an outspoken activist, Roy explains that about ten years ago, the “mad souls,” the constellation of characters in The Ministry of Utmost Happiness, grew insistent. “Anjum, Tilo, Saddam, Musa, and the gang moved in with me and colonized my imagination,” she says. “And for me, while fiction is necessary, I prefer it to be timeless rather than timely. So when I write fiction, I am prepared to wait for it to come to me. I am never in a hurry.” 

Yet for someone who prefers not to hurry when it comes to fiction, she is certainly capable of moving with a sense of urgency, if her prolific, and often polemic, nonfiction is any measure. Roy cites a “watershed moment” when, in 1998, the newly formed Hindu Nationalist government in India conducted a series of nuclear tests, “which were greeted by the media and establishment with a nationalist fervor and talk about the return of ‘Hindu pride’ that changed the nature of what could and could not be said politically.” Roy had her say in an essay titled “The End of Imagination,” a critique of these policies. “While India was being hailed as a great new economic power,” she says in retrospect, “within India millions of poor people were being further impoverished by the new economic policies; tens of thousands of small farmers, deep in debt, were committing suicide. Young Muslim men accused of being ‘terrorists’ on very flimsy and often fabricated grounds were being thrown in prison. Kashmir was on fire.” Her essays and speeches turned into a steady stream of books, including Power Politics (South End Press, 2001), The Algebra of Infinite Justice (Viking, 2001), War Talk (South End Press, 2003), Public Power in the Age of Empire (Seven Stories Press, 2004), Field Notes on Democracy: Listening to Grasshoppers (Haymarket Books, 2009), Broken Republic (Penguin, 2011), and Capitalism: A Ghost Story (Haymarket Books, 2014). Fiction had to wait because, she says, she had no choice: “I could not watch all this happen as I continued my glittering career as a prize-winning novelist. I began to travel and write about these things because it was urgent and necessary to do so.” Her efforts did not go unnoticed. Roy was awarded the Lannan Cultural Freedom Award in 2002, the Sydney Peace Prize in 2004, and the Sahitya Akademi Award in 2006. (She rejected the most recent award, from the Indian Academy of Letters, because she opposes the government’s policies.) And she’s been giving back, contributing prize money and royalties to fund various causes and small organizations, mainly in India.

Even though the characters from The Ministry of Utmost Happiness took up residence in her imagination, she wasn’t ready to share them until about seven years ago, after a visit with her friend John Berger at his home in France. A mentor and also a Booker Prize winner, in 1972, for his novel G—in other words, someone whom she listened to before his death early this year—Berger told her to go to her computer and read to him whatever fiction she was writing, which she did. Impressed, he said she should go right home and finish the book, which she intended to do. But a few weeks later, in Delhi, she found an anonymous note pushed under her apartment door asking her to visit the Maoists in the jungles of central India—an offer she couldn’t refuse. This was followed by a period of still more waiting, though eventually, she asserts, those characters themselves brought the novel to closure: “They compelled me! Stubborn people. I had no choice.” 

“She lives in the graveyard like a tree,” reads the first sentence of The Ministry of Utmost Happiness—an opening that is enigmatic, tantalizing, and predictive. The “she” is the aging Anjum, a central character whose mother, thrilled to have given birth to a boy, discovers “nestling underneath his boy-parts, a small, unformed, but undoubtedly girl-part.” So Anjum, originally known as Aftab, begins her journey, as readers begin theirs, into the world of the Hijra. A somewhat ambiguous term, Hijra refers to a person whose gender is neither male nor female, including those born intersex, though it most frequently refers to individuals who were born male but identify as women. (In 2014, the Supreme Court of India recognized Hijra as “a third gender,” thus conveying legal status.) Roy is careful to point out, however, that she has not “used” Anjum, whom she refers to as “a Beloved,” to typify a category of people: “She is herself and distinct. Yes, she has a schism running through her, like many others in the book. Many of them have borders of caste and out-casteness, of religious conversion, of nation and geography.” 

The novel crosses other borders of both perspective and place. Set primarily in present-day New Delhi, with a political backdrop of Kashmir’s struggle for independence, The Ministry of Utmost Happiness spans more than thirty years, often through Anjum’s eyes as she establishes herself in that space where her relatives are buried. “Over time, Anjum began to enclose the graves of her relatives and build rooms around them,” Roy writes. “Each room had a grave (or two) and a bed. Or two. She built a separate bathhouse…[she] called her Guest house Jannat. Paradise.” Beginning by taking in down-and-out travelers, Jannat Guest House becomes a community center of sorts, where nearly all the characters in this intricately plotted novel find themselves—some, as Roy playfully writes, “for The Rest of Their Lives,” some to bond as family, some only for a moment of comforting connection.

It is in Jannat Guest House, a place of physical as well as spiritual union, that Anjum and others recognize as well as honor a continuum of life and death—a place where “the battered angels in the graveyard that kept watch over their battered charges held open the doors between worlds (illegally, just a crack), so that the souls of the present and the departed could mingle, like guests at the same party.” This became a guiding image for Roy, who worked with designer David Eldridge and photojournalist Mayank Austen Soofi to create the cover art for the novel: a vertical picture of a decaying white marble grave with a withered rose placed right below the title. The haunting image melds beauty and decay and suggests the compatibility of change and permanence. 

In The Ministry of Utmost Happiness Roy shifts places, time periods, and viewpoints with the grace of a master choreographer as characters take circuitous paths that are at times parallel, then intersecting or conflicting, ultimately seeming a matter of both coincidence and fate. She works at that unstructured structure. “To me, the way a story is told is almost more important than the story itself. I think I might be incapable of telling a story in chronological order,” she says. “For me, a story is like the map of a great city or, at the very least, a large building. You can’t explore it by driving down the main street or entering from the front door and exiting through the back. You have to live in it, wander through the by-lanes, take blind alleys and have a smoke with the people who live there, look into the rooms from the outside in. That’s the fun of it!” 

The novel is teeming with indelible characters: politicians—some murderously demented—accountants, teachers, militants, and mothers in a multigenerational story. There’s the irrepressible Ustad Kulsoom Bi, guru and head of the Hijra household that Anjem joins initially; the incorrigible Saddam Hussain, a name he chose for himself; the two Miss Jebeens, one killed by a bullet that passed through her skull into her mother’s heart, the other abandoned on a Delhi street and claimed by Anjum; the shape-shifting Amrik Singh, “a cheery cold-blooded killer.” A central quartet of characters—Musa, Naga, Garson Hobart (a code name for Biplab Dasgupta), and Tilo, the one the other three love—meet as students, go their separate ways, then weave in and out of one another’s lives in a plot that moves between the poverty-stricken neighborhoods of Old Delhi, the glittering new wealth of malls and hotels, and the mountains and valleys of Kashmir.

Although it’s tempting to see some of these characters as representations of different viewpoints in Indian politics, Roy objects: “Even Dasgupta is partly the voice of the establishment and partly a lost, lovelorn wreck. Hazrat Sarmad, Hazrat of the Indeterminate, is the deity of this book.” Thus, Roy’s characters are, first and foremost, complicated human beings who remind us that “we do a great injustice to people when we ‘unsee’ their identities and the discrimination they suffer because of that identity,” she says. “Equally, we do great injustice when we see nothing of a person except to brand them with one single identity. Sometimes people do this even to themselves.”  

The dazzling array of characters, while hardly autobiographical, does suggest Roy’s own wide spectrum of experiences, lived passionately and thoughtfully. She was born Suzanna Arundhati Roy in 1961 in northeast India to Mary, a Syrian Christian, and Rajib, a Bengali Hindu from Calcutta. Her parents divorced when she was two and her brother, Lalith, three and a half. In interviews, Roy emphasizes that she did not come from a privileged background. Quite the contrary: When her mother left her alcoholic husband, she struggled to make a living, finally starting an independent school in Kerala. Roy went to boarding school and began secretarial college. At sixteen, she quit and moved to Delhi to study at the School of Planning and Architecture. For a while, she lived what has often been described as a bohemian lifestyle with architect Gerard da Cunha. After they broke up, Roy returned to Delhi to work at the National Institute of Urban Affairs, where she met and married Pradeep Kishen, a former history professor and Oxford graduate who had become an independent filmmaker. Roy wrote screenplays and acted in several films they collaborated on, but she became disillusioned with what she saw as the elitism of the film world. After they divorced, she made her living in various jobs, including leading aerobics and yoga classes, until she turned her attention to writing.

It’s no surprise then that Roy dismisses those questions about what took her so long by pointing out that we are the sum of our experiences. A couple of decades between novels was hardly time wasted. “I absolutely could not have written this book without having lived the last twenty years in the way that I have. All that I saw and understood and experienced has been infused in me and then sweated out as fiction.” 

With only two novels to her name, what accounts for Roy’s enormous international popularity as both novelist and dissident? Some argue that she reinforces the views of the Western liberal media and literary elite and affirms a tourist’s romanticized view of India’s ancient but flawed and crumbling beauty. That’s way too simplistic a perspective for many, however, including scholars such as Pranav Jani, an English professor at Ohio State University and the author of Decentering Rushdie: Cosmopolitanism and the Indian Novel in English (Ohio State University Press, 2010). He acknowledges that the West often views Indian authors through “a veneer of exoticism” because they are “deliciously Other.” Roy to some extent fulfills that expectation with her descriptions of the lush environment and her “unequivocal condemnation of caste and gender oppression,” Jani says, but she offers more. “While her sustained focus has always been on India, she has consistently contextualized Indian issues within global ones: The same systems of capitalism and militarism that produce inequality in India are the ones that create inequality here.”

Controversial as well as charismatic, Roy recently took on the icon of icons not only to India but the Western world: Mahatma Gandhi. What began initially as a brief introduction for a new edition of The Annihilation of Caste by B. R. Ambedkar turned into a book-length essay titled The Doctor and the Saint, in which Roy analyzes the political debate between Ambedkar and Gandhi, arguing that the latter’s more moderate call for the dissolution of only the “untouchable” caste sidelined the former’s fight for justice. She characterizes Ambedkar, himself born an “untouchable,” as the true champion of the poor—with predictably heated results. Writing the introduction to the 2017 edition, published by Haymarket Books, Roy defended herself: “Given the exalted, almost divine status that Gandhi occupies in the imagination of the modern world, in particular the Western world, I felt that unless his hugely influential and, to my mind, inexcusable position on caste and race was looked at carefully, Ambedkar’s rage would not be fully understood.” 

In The Ministry of Utmost Happiness, Roy strides onto similarly dangerous ground with the Maoists, or Naxalites, a revolutionary guerrilla force in central India. Believing that “there is an unreported war taking place against these populations,” she interrupted her writing to follow instructions that began with the note under her door and spent time living with Maoist insurgents and tribal villagers. Her initial article, published as a cover story for the Indian newsweekly Outlook, became the book Walking With the Comrades (Penguin, 2012). She argues that the official military campaign against the Maoists is actually a war against the poor, specifically the indigenous tribes who live on land with great mineral reserves. “Here in the forests of Dantewada,” she writes, “a battle rages for the soul of India.” Not surprisingly, response ranged from adulation to outrage.

The Ministry of Utmost Happiness takes some of the same risks. Toward the end of the novel, Roy presents a ten-page letter from Miss Jebeen the Second’s mother, Revathy, a member of the Maoist Communist Party of India. The letter explains the plight of those like her who have few choices, experience rape and torture, “live and die by [the] gun,” yet who recognize that the party “does many wrong things,” that “women join because they are revolutionaries but also because they cannot bear their sufferings at home.” Likely some will interpret this letter as an eloquent exposé of an unreported war; others are likely to interpret it as a lengthy intrusion of political polemic. 

Roy, however, does not see a conflict or controversy in this example or in other overtly political dimensions of the novel. “I am very much against the idea of a novel as a disguised vehicle to write about ‘issues.’ To me a novel is a prayer, a world, a way of seeing. But in the telling of a story, these issues are the very air we breathe. To avoid them would make me a dishonest storyteller. It has always amazed me how people manage to tell stories about India without mentioning caste. It’s like writing about South Africa in the 1960s without mentioning apartheid. Apartheid was not an ‘issue.’ It was the DNA of that society at the time. So too with the practice of caste and what is happening in Kashmir. So too with the brutal violence, both state and societal, against the poor, and so too with the people who resist it.” 

In the twenty years since the publication of The God of Small Things, speculation has run high about what Roy’s next novel might be. Satire was one guess. It’s true that irony, even cynicism, makes its way into the novel: There are soldiers who “fired their light machine guns,” the concept of “post-massacre protocol,” and sadistic officers who take a “torture break.” There is sly sarcasm in Roy’s description of India as the new superpower: “Namaste, they said in exotic accents, and smiled like the turbaned doormen with maharaja mustaches who greeted foreign guests in five-star hotels.” And there’s the Shiraz Cinema, converted to an “enclave of barracks and officers’ quarters.” She writes, “What had once been the cinema snack bar now functioned as a reception-cum-registration counter for torturers and torturees.”

But despite such dark humor and sardonic observations, Roy’s generously expansive novel lacks the brittle spirit of satire. The Ministry of Utmost Happiness is filled with utopian communities—unconventional, misguided, and temporary as they may be—the Khwagagah or Dream Palace of the Hijra, the Jannat Guest House, even the fighters in Kashmir calling for Azadi, or freedom. It’s a novel filled with the search to belong, to find “my people,” to seize love in some form, whether as romance, motherhood, or camaraderie. Roy even tucks in Anna Akhmatova’s brave optimism: “I am not yet cured of happiness.” In fact, when asked to respond to Appalachian novelist Ann Pancake’s charge that “the greatest challenge for many twenty-first century artists is to create literature that imagines a way forward,” Roy sounds downright idealistic: “The ‘way forward’ will only come about when we change our way of seeing, when we redefine what we mean by words like ‘progress,’ ‘civilization,’ and ‘happiness.’ To do that we have to take a good look at ourselves. I think good novels help us to do that. And perhaps some are, in themselves, another way of seeing the world. In a non-didactic way, I hope The Ministry is that and does that.”

She’s right. Ultimately, it’s not politics that stay with us; it’s a beautifully written, powerful story. One of the most touching scenes in The Ministry of Utmost Happiness is Musa recalling his young daughter, Miss Jebeen, demanding he tell her a story at night.

And then she would begin the story herself, shouting it out into the somber curfewed night, her raucous delight dancing out of the windows and rousing the neighborhood. Yeth manz ne kahn balai aasi! Noa aes sa kunni junglas manz roazaan! There wasn’t a witch, and she didn’t live in the jungle. Tell me a story, and can we cut the crap about the witch and the jungle? Can you tell me a real story? 

Perhaps that’s what Arundhati Roy has done with this ambitious novel that spans a continent and several decades of war and peace and people who live in palaces and on the streets as well as undercover and underground—a novel that’s worth the wait. Once again, she has told a real story. 

Renée H. Shea has profiled numerous authors for Poets & Writers Magazine, including Tracy K. Smith, Julie Otsuka, Chimamanda Ngozi Adichie, Edwidge Danticat, and Maxine Hong Kingston. She is currently working on a series of textbooks for Bedford, Freeman & Worth, including Advanced Language and Literature (2017) and Foundations of Language and Literature, forthcoming in 2018.