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the relationship between Ammu and Velutha, Roy has defined sexuality as 'that transcendence which takes individuals beyond history and society, straight into the real truth of their beings', overcoming barriers of class and caste by creating a 'phallocentric utopia'. This he argues, is consistent with the preoccupations of 'Euro-American fiction' from the 1920s onwards. To quote Ahmed, 'what is most striking about that final phallic encounter between Ammu and Velutha is how little it has to do with decision and how much it takes the shape of...'fatal attraction'. Now, the difference between decision and fatal attraction is that whereas decision, even the decision to accept suffering and/or death, is anchored in praxis, in social relationships chosen and lived in a complex interplay of necessities and freedoms, fatal attractions can never cope with such complexities and must be acted out simply in terms of a libidinal drive.' .
A number of points arise here. The relationship between Ammu and Velutha is from the outset permeated with an inescapable awareness of history and the social relations within which they have interacted with eachother since childhood. Even Velutha's first word 'Ammukutty' ('Little Ammu'), when they finally meet on the riverbank, takes us back to the time when Velutha, though several years younger than Ammu, used this pet-name while offering his hand-made gifts on his outstretched palm, as he had been taught, so Ammu would not have to touch him. Ammu is shown throughout the novel as conscious not only of her own sexuality, but of her emotional needs and capable of acting on this basis. But the couple's 'helplessness', their inability to take further 'decisions' is not, as Ahmed suggests, due simply to the overwhelming nature of sexual attraction, but a result of the powerlessness of both in real terms -it is this which prevents them from making plans beyond the promise to meet again 'Naaley' (tomorrow). It is precisely because he fails to recognise the extent of women's powerlessness (even upper caste, upper class women) in the face of the sanction of the feudal-patriarchal establishment, that Ahmed can find the murder of Velutha 'entirely credible' but the psychological and ultimately physical destruction of the courageous Ammu 'utterly contrived'. .
Finally, Ahmed appears to have rather tellingly used 'phallic' as a synonym for 'erotic' in his critique -in reality not only the approach to sexuality of the book as a whole, but the actual sexual encounter between the lovers described at the end of the book is markedly non-phallocentric, rendering Ahmed's parallel between Roy and D.H. Lawrence somewhat absurd. The role of the (much less explicitly conveyed) incestuous encounter between the twins within the novel as a whole is certainly open to question. But both this and the scene in which Ammu and Velutha make love are portrayed with a sensitivity and integrity which only serves to expose the debased sensibilities of those who have dubbed the book 'pornographic'. .
In terms of Roy's approach to the left, the fact that the novel focusses in on individual acts of resistance does not automatically imply, as Ahmed suggests, that the author is espousing a fully-fledged 'subaltern' theory in which wider organised forms of resistance are rejected. On the contrary,organised resistance, class struggle and the possibility of it is an ever-present backdrop to the events of the novel. For the twins and even their mother, misfits in an upper class family, its significance is half-understood -yet it is an intangible but potent source of inspiration, representing for them the potential for subversion and redressal of daily injustices which is epitomised by the somewhat symbolically drawn figure of Velutha, the young dalit carpenter, adored friend and mentor of the twins, and suspected 'Naxalite'. In one of the novel's most memorable passages, the twins, travelling with their mother, uncle and grand-aunt in their 'skyblue Plymouth' car are trapped at a railway crossing in the midst of a workers' demonstration: 'The marchers that day were party workers, students, and the labourers themselves. Touchables and Untouchables. On their shoulders they carried a keg of ancient anger, lit with a recent fuse. There was an edge to this anger that was Naxalite, and new. .
Through the Plymouth window, Rahel could see that the loudest word they said was Zindabad. And that the veins stood out in their necks when they said it.And that the arms that held the flags and banners were knotted and hard. Inside the Plymouth it was still and hot. Baby Kochamma's fear lay rolled up on the car floor like a damp, clammy cheroot. This was just the beginning of it. The fear that over the years would grow to consume her. That would make her lock her doors and windows.That would give her two hairlines and both her mouths. Hers, too, was an ancient, age-old fear. The fear of being dispossessed'. .
Roy has described this encounter from the perspective she knows -from within the bourgeois family. But her originality lies in the way she manages to show us the interconnections between the deep contradictions .
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