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This oil sketch by Edvard Munch depicts Sophie Mol's funeral in chapter 1. This event is significant because it depicts the role that family life will play in the novel. Rahel traces all the bad things that happen to Esta and herself to this point, and Sophie Mol's death represents the unraveling of the family in a chaotic society.
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This photo by Atit Shah depicts a traditional Indian bride in the clothing Ammu would have worn on her wedding day. However, where most weddings symbolize new beginnings, Ammu's wedding represents how appearances can be deceiving. This image is best represented in chapter 2, where the reader learns that Ammu was trapped in a loveless marriage with an alcoholic and two small children before divorcing the man and returning home in disgrace.
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This painting of a kathakali performer by Colin Allbrook is similar to the street performers that Rahel sees in chapter 12. It symbolizes the loss of Indian culture to Westernization, which still presents a cultural struggle in India today. Before, the Kathakali Man would have been well-respected in the community because of the religion he stood for. Today, the man represents a form of entertainment to the tourists and a joke to his children.
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This image of the Communist flag with the people of India behind it is symbolic of the people's will in the 1960's. This image is drawn from the Communist march Rahel and Esta would have witnessed in chapter 2. It represents the political turmoil the Socialist Unity Centre Party caused in the political arena of India after British occupation ended and the country was left to govern itself. This motif of political and social unrest becomes prevalent throughout the novel due the upper-caste's fear of losing their position in society and the unpopularity of the caste system among men like Velutha, who are discriminated against for being untouchables.
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This picture would appear in Chapter 16 as a representation of what the twins had in mind when they formulated their plan to run away. They wanted to run away to the house across the river and escape from the Orangedrink Lemondrink Man. They did not intend for Sophie Mol to follow, nor did they intend for anyone to be hurt by their actions.
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From the last chapter of the novel, showing Ammu and Velutha together:
This painting by Rene Magritte, which hides the lovers identities, would be a symbolic representation of their relationship. This illustrates forbidden love because "love laws" dictate who can be together and who cannot. Ammu and Velutha cannot promise each other forever, just the "small things." In the end, Ammu leaves Velutha promising "Naaley," which means tomorrow.
This painting by Rene Magritte, which hides the lovers identities, would be a symbolic representation of their relationship. This illustrates forbidden love because "love laws" dictate who can be together and who cannot. Ammu and Velutha cannot promise each other forever, just the "small things." In the end, Ammu leaves Velutha promising "Naaley," which means tomorrow.