Psychoanalysis: A Study of Margaret Atwood, Arundhati Roy, and Kiran Desai

International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 143 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 Psychoanalysis: A Study of Margaret Atwood, Arundhati Roy, and Kiran Desai C. Anitha Assistant Professor, English, IEHE, Bhopal Abstract This research paper investigates the use of psychoanalysis with special references to selected fictional and artistic works of famous writers like Margaret Atwood, Arundhati Roy, and Kiran Desai. It emphasizes how trauma, authoritarianism, and unconscious wants shape and evolve both personal identities and societal experiences. The psychosomatic effects of patriarchal dominance and social compulsion or familial coercion are reflected in Atwood's writing (The Hand Maid’s Tale, Surfacing, The Blind Assassin), which frequently deals with female subjectivity, terror, and memory. Roy shows in The God of Small Things how cultural taboos, childhood trauma, and forbidden desires lead to broken identities and silenced voices in the family and community. Her other works deal with gender or transgender problems. Alienation becomes a major theme in the inner lives of the characters in Desai's The Inheritance of Loss, which depicts psychological displacement brought on by migration, colonial legacies, and generational disputes. This study investigates the symbolic aspects of memory, repression, and desire in their tales from the viewpoints of Freudian, Lacanian, and feminist psychoanalysis. The comparative study shows how these authors dramatize the interaction between individual psychology and more general historical, cultural, and political influences through writing. Keywords: psychoanalysis, female subjectivity, broken identities, repression, psychological displacement, colonial legacies, generational disputes International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 144 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 Introduction Psychoanalysis is a philosophy of temperament and a healing method, founded by Sigmund Freud, focusing on insentient processes, past experiences (especially childhood), and their effect on recent behavior and emotions, using talk therapy (like dream analysis, free association) to resolve internal conflicts and gain insight for lasting mental health improvements. It explores the dynamic interplay of the id (primitive urges), self-esteem and conscience helping individuals understand repressed feelings, defenses, and relationship patterns to live more freely. “a system of psychological theory and therapy that aims to treat mental conditions by investigating the interaction of conscious and unconscious elements in the mind and bringing repressed fears and conflicts into the conscious mind by techniques such as dream interpretation and free association”( https://dictionary.Oxford.org). “any of a number of the theories of the human personality that attempt to examine a person's unconscious mind to discover the hidden causes of their mental problems” (https://dictionary.cambridge.org). Objectives: To examine the depiction of the unconscious mind such as desires, fears, dreams, and latent emotions by using psychoanalytic theory, Scrutinize the representation of formation of individuality and the skirmishes between the self of individual and the collective (family, society, and nation) in the characters of selected novelists, Study the role of ordeal, nostalgia, and domination in shaping the psychological landscapes of the characters across the selected artistic works, Learn about the connections of gender (masculinity and femininity) and consciousness, especially how feminine subjectivity, sexuality, and agency are represented through psychoanalytic concepts in the selected fictional works. Methodology of Research This study implements a qualitative and explanatory research design with its basis in psychoanalytic literary theory. Texts are selected with reference to Atwood, Roy and Kiran Desai. Theories of Sigmund Freud, Jung Lecan, Franz Fanon and Homi. Bhabha will be adopted for International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 145 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 analysis and explanation. Methods like closing reading, deconstruction, analysis of characters and themes, and death of the author will be applied. Also narrative techniques like stream of consciousness, fragmentary narrative and interior monologue will be focused to analyse such works. Review of Literature and Discussion This paper deals with comparison between three authors especially with reference to psychoanalysis. Here researcher will analyze themes, characters and quotes to compare three authors. Kiran Desai's Hullabaloo in the Guava Orchard and Margaret Atwood's The Edible Woman examine identity crisis, social expectations forced upon individuals, and the pursuit of freedom which is essential for any person through their characters. Although the two novels are situated in different cultural contexts that is Canada and India, which are far away from each other respectively, they both deal with food, gender roles, and disobeying social expectations. These novels have feminism and gender as themes that makes them relevant at the present and ever. Authoritarianism and identity crises might be used as lenses to examine Marian's experience she had around her surroundings. With her boring profession, her relationship with her fiancé Peter, and the expectations of society to be a traditional wife, she feels stuck in a typical life. Her subconscious expresses this conflict through her unwillingness to eat as she grows more mindful of how these roles suppress her own self. “I always thought eating was a ridiculous activity anyway. I'd get out of it myself if I could, though you've got to do it to stay alive, they tell me” (The Edible Woman 206). This quote examines how women feel when their inner intentions and emotions are not getting any outlet. It can be linked with feminism. Orientalist (Other) can also be found in the character. Atwood tries to explore the inner self of the character especially woman in her alien environment. The quote above is just a reaction of a suppressed emotions of a women. Whatever Showalter, Irigary or other feminists have said can be perceived here very clearly. “We get along by a symbiotic adjustment of habits and with a minimum of that pale-mauve hostility you often find among women” (The Edible Woman 6). A deeper rejection of being consumed or defined by others especially by Peter, who stands for social norms is symbolized by Marian's refusal to eat. Thus, her eating issue turns into an unspoken protest against the roles that International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 146 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 are forced upon her. She is able to preserve a sense of self that is separate from the identity that is being imposed upon her. Patriarchal notion and feminist rejection are put side by side here. Writer as a feminist tries to express her feelings which had been suppressed for a long time. Freud’s psychology of suppression can easily be found at play in the mind of a character. “He looked at the tree that was such a good home. Its smooth, spacious branches of silvery tan that stretched wide and far-reaching in knotted, twisted curves and delicate bunches of spreading leaves. How important this had become to him. Here, sitting not too high and not too low, he had seen the world in absolute clarity for the first time, the days emerging as if purified from nights of a clean and brilliant blackness.” (Hullabaloo in the Guava Orchard) He gazed at the tree that served as such an appropriate abode. Its silvery-tan branches were farreaching and smooth, remote and far-off in exquisite bunches of spreading leaves and twisted, knotted curves. How crucial this was to him now. He had seen the world for the first time in perfect clarity here, sitting neither too high nor too low, the days seeming as though cleansed from the nights of a bright and pure blackness.it seems that Sampath had lived for the first time. Nature provides him relief which he was missing in society and family. His sense of estrangement and disillusionment (can be seen as Epic Theatre in Bertolt Brecht’s isolation viewpoint) with the demands made on him by his family and community serve as the driving forces behind Sampath's psychological journey. His decision to live in a guava tree and retreat from society is an attempt to avoid the pressures of social acceptance. Sampath's suppression is externalized through his physical retreat into nature, in contrast to Marian's interior repression. Both try to live beyond the restrictions of society and family. Democracy had brought consciousness which allows man to live happily and both these characters have democratic vein in them so they want peace and self-satisfaction. “The identity of a person denotes that person, reflecting their uniqueness, and provides a means of differentiating them from others. It also provides a means of establishing similarity with others in various roles (eg. customer, employee) and social groups (eg. elderly citizens, family)” (Carroll and Murphy 2004). His actions divulge a strong desire in him to escape the intricacies of International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 147 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 social life and revert to a condition of purity and simplicity which is there in the nature. This could be seen in a Freudian way as a desire for a regressive state an escape to a period before the pressures of society and adult responsibilities become too much to bear. The tree transforms into a metaphorical womb, offering safety and separation from outside influences. Marian and Sampath both show signs of an identity crisis, but they handle it in different ways. Marian expresses her psychological turmoil physically by avoiding food, while Sampath literally withdraws into nature. Sampath's fight is external and spatial, but Marian's is more psychological and bodily. From a psychoanalytic standpoint, food in this work represents control, power, and consumption. Marian's feeling that she is being swallowed by social roles and expectations is reflected in her inability to eat some meals because she feels objectified. Her feeling of autonomy and self-worth are entwined with the act of eating. As her relationship with Peter changes, so does her relationship with food. Her subconscious need to avoid being consumed herself is reflected in her decreased appetite as she grows more mindful of Peter's domineering behavior. When Marian bakes and presents Peter with a cake shaped like a lady at the book's conclusion, it is an act of regaining control and symbolically rejecting the role. For her and every person in the world freedom is important and democracy is the need. Food also has a big mental impression in Desai's book, especially through Sampath's mother Kulfi, whose fixation with acquiring materials and preparing meals is a reflection of her own suppressed creativity and passions. It is possible to interpret this obsession with food as an expression of unfulfilled emotional and physical needs as well as a need to construct a more fulfilling and wealthy world than her own. Modern man needs freedom, sign of which can be seen in the reaction these characters show. “The social identity of the individuals, that is, the sense of who they are in society, their knowledge and beliefs about themselves in general and in particular situations, is shaped by their social interactions” (Gilovich et al., 2016). One could interpret Sampath's withdrawal to the guava tree and his subsequent association with the orchard as a rejection of the consumerdriven and materialistic facets of life. Sampath's life among the guavas represents a return to a more basic, primitive condition of being, where food is directly related to one's needs, in contrast to Marian's battle with food as a metaphor for control. Food serves as a medium for examining more profound psychological processes in both books. For Sampath, it is associated with a need to revert to a more innocent state, free from the intricacies of society, yet for Marian, it symbolizes International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 148 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 internal conflict, repression, and control. Sampath's love of nature represents a rejection of the artificiality of societal roles, while Marian's battle with consumption represents an inward resistance to being defined by others. “Freedom to live as you choose without too many limits from government or authority, the fight for justice and liberty. The concept of individual liberty is enshrined in the constitution” (https://www.oxfordlearnersdictionaries.com/). Marian's need for independence is at the heart of her psychological conflict. From a Lacanian perspective, Marian's actions can be interpreted as a struggle between the ‘self’ and the ‘Other’. As she increasingly sees herself through other people's eyes, especially Peter's, she loses her individuality. Her battle with food is a reaction to this internal conflict as she tries to recover her identity from the socially prescribed roles.Marian's struggle to bring the disparate aspects of her character together may be seen in the novel's conclusion, where she bakes the woman-shaped cake to reclaim control. She symbolically opposes the urge to adhere to conventional norms by externalizing her feeling of consumption. “He felt weightless here, rocked by this lambent light, lapped by the swell of flower and grass, of leaves as rich as fruit, being warmed to their different scents. All about him the hills rose darkly up into a sky that stretched like a sea, white-stippled and warm, to the very rim of his eye” (Hullabaloo in the Guava Orchard 65). A philosophical impression of peace and sensual involvement in nature is described in this paragraph. The ‘lambent light’ (soft, glowing light) and the abundance of the surroundings—flowers, grass, and leaves with unique scents—make the character feel light, free, and released. A peaceful moment and a sense of connectivity to the world around him are suggested by the imagery. The phrases ‘sky stretching like a sea’ and ‘hills rising darkly’ summon up an image of a large, open world that is both reassuring and limitless. The character is surrounded by the splendor of nature, implying a peaceful time and possibly introspection or transcendence. This might represent a withdrawal from life's stresses in search of comfort and a return to a more straightforward, peaceful and Free State. Sampath's latent wish to get away from social pressures and find a place where he may live without criticism is expressed in his retreat into the guava orchard. His actions are consistent with a desire to find a freer, spiritual way of being and to rise above the cravings of the ego. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 149 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 According to Jungian theory, the guava tree symbolizes Sampath's path to self-realization and wholeness, which is a type of individuation. Despite the expectations that come with his new job as a ‘holy man,’ he tries to reconcile his inner aspirations with the world he finds himself in by opting to live outside of society. The roles that society has placed on them and their aspirations for independence collide for both characters. Sampath's journey entails a more overt rejection of society and a physical retreat into wilderness, whereas Marian's involves internal conflict and regaining control over her own body and decisions. Both books examine the conflict between social pressure and individual autonomy, but they do it in different ways. When The Edible Woman and Hullabaloo in the Guava Orchard are compared psychoanalytically, it becomes clear that Marian and Sampath both deal with complicated interior worlds that are influenced by the problems of identity, subjugation, and the need for freedom. Desai's story inspects an externalized retreat into nature, whereas Atwood's book concentrates more on interior strife and the symbolic function of food in Marian's fight for autonomy. Desai's story examines Sampath's externalized retreat into nature as a means of defying social conventions, whereas Atwood's book concentrates more on internal strife and the symbolic function of food in Marian's fight for autonomy. Both individuals' journeys are psychologically significant because, in spite of their cultural and contextual variations, they represent a universal struggle with identity and self-acceptance. A psychoanalytical analysis of Kiran Desai's The Inheritance of Loss, Margaret Atwood's Surfacing, and Arundhati Roy's The God of Small Things reveals the protagonists' internal conflicts, shock, and identity problems, which are influenced by their cultural, historical, and personal or familial backgrounds. Themes of nostalgia, subjugation, and the effects of colonial and post-colonial experiences are explored in all three works, providing ample material for a psychological study. Repression, Trauma, and Memory “Because Anything can Happen to Anyone,’ Estha Said. ‘it’s Best to be Prepared” (Roy 198). The story of Arundhati Roy's book The God of Small Things is complicatedly linked to the trauma that Rahel and Estha, the main characters, bore and how that shock affected their lives later on. The non-linear style of the book reflects how disturbs a cohesive sense of self and how memories are fractured. “And the air was full of Thoughts and Things to Say. But at times like these, only the International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 150 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 Small Things are ever said. Big Things lurk unsaid inside” (The God of Small Things, Chapter 10). This passage is taken from Arundhati Roy's book The God of Small Things. The line highlights the intricacy of interpersonal interactions and communication. "The air was full of Thoughts and Things to Say" alludes to deeper feelings, thoughts, and worries that are kept to oneself because they are either too overpowering or too difficult to articulate. The proverb only the Small Things are ever said" captures how people tend to avoid facing the more important, frequently painful realities in favor of discussing unimportant, surface-level matters. The blocked feelings, enigmas, and unanswered difficulties that people may carry around are symbolized by the ‘Big Things’ that ‘lurk unsaid inside’ and can be linked to either personal anxieties or cultural restraints. A major topic in Roy's book is the conflict between what is said and what is not, emphasizing how the characters' lives are influenced by both their spoken words and the silences they must live with. An important feature of Estha's character is his shock, especially after experiencing childhood molestation. It is possible to interpret his quiet and inward retreat as a kind of subjugation—a coping strategy to deal with the emotional burden of the incident. It's also possible to interpret Rahel's sense of displacement and her return to Ayemenem after years away as an effort to make peace with her past and their early years. The ‘Love Laws’ that specify ‘who should be loved, and how,’ along with the loss and forbidden love between Ammu and Velutha, stand in for social repression and the results of transgressing bounds. Because of the trauma caused by these incidents, the characters' present lives are a place where the past keeps coming up. “They will not let you have peace, they don't want you to have anything they don't have themselves” (Surfacing 50) The quotation cited looks to capture a theme of control and scarcity mindset, where individuals or institutions may purposefully keep others from achieving success, happiness, or serenity just because they don't want to see someone else own something they themselves feel entitled to. It suggests an injurious, competitive attitude in which the welfare of others is compromised out of jealously or a fear of losing riches or authority. It highlights how those in positions of authority may limit the peace or possibilities of others, not out of need but rather out of a desire to keep things exclusive to themselves, even if doing so denies others the same benefits. It is a critique of egotism and social structures that impede equality and individual development. Through the nameless narrator of Atwood's Surfacing, who International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 151 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 goes back to a secluded island to look for her father, the novel examines memory and repression. Bottled-up reminiscences of pain, such as an abortion and her complicated relationship with her parents, start to come to the surface as she ponders about her early years. “The animals have no need for speech, why talk when you are a word” (Surfacing 77). A thoughtful suppression of disturbance is revealed by the narrator's disassociation from her feelings and difficulty articulating her previous experiences. An inner slide into the unconscious, where she faces hidden facets of her identity and background, is mirrored in her wilderness trek. She rejects social conventions and reverts to a more animalistic, primeval state, signifying a psychological collapse. “The act of bringing suppressed memories to the surface is implied by the title of the book, Surfacing, which also reveals how the narrator's trauma affects how she views herself and interacts with other people. Its doors I'm afraid of because I can't see through them, it’s the door opening by itself in the wind I'm afraid of” (surfacing 83). The fear of doors, and the opening door in particular, can be interpreted psychoanalytically as a defense against confronting curbed emotional state, recollections, or disturbances. According to Sigmund Freud, resistance is a crucial technique for overpowering uneasy or dangerous thoughts. As a barrier, the door might stand in for the subject's effort to keep unpleasant memories or unsolved disputes out of their mind. Anxiety over the unconscious mind's unpredictable behavior when these suppressed emotions come to the surface may be symbolized by the fear of an uncontrollably opening door (like a door swaying in the wind). Identity and self-awareness are major topics in Atwood's Surfacing, and the conflict between the aware and cataleptic is reflected in the narrator's hesitation or incapacity to confront her past and her actual feelings. This kind of mental conflict is essential to psychoanalysis because, in order to achieve psychological integration or healing, the individual must confront the painful realities that are concealed in the comatose. The narrator's fear of the door, which symbolizes a boundary, indicates that she is not yet prepared to face the suppressed aspects of herself. This passage also attaches with the broader issues of strangeness as in (Mother Courage and Her Children) and suspension in the novel which we can see in most of the post-colonial works. The narrator’s struggle to engage with her own identity is reflected in her inability to connect with others in a meaningful way—much like her fear of the doors prevents her from moving forward. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 158 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 Sampath physically distances himself from society in Hullabaloo in the Guava Orchard. The implications of not being able to completely express or reconcile their actual selves with the expectations of their settings are explored via the experiences of the protagonists in all three novels. Desire for Freedom and Escape from Strict Societal Norms In an effort to live outside the bounds of society, Anjum established Jannat Guest House, (The Ministry of Utmost Happiness) a community of outcasts, demonstrating her yearning for independence. This area symbolizes her desire for a life free from continual rejection or condemnation. Tilo's story demonstrates her determination to live according to her own terms, as evidenced by her complicated relationship with Musa and her disregard of social norms. Her little Delhi flat, which is full with secrets and memories, turns into a place where she can maintain her independence despite being alone. Through her story, Iris expresses her want for independence and the emotions she was unable to communicate in her marriage. Writing turns into an escape, a means for her to regain control over her narrative and to express herself. In the book, Laura uses her made-up scenario to express her own repressed desires and to imagine a world free from social restrictions where she and her partner can live together. They use this fiction as a psychological diversion from the harsh realities of their everyday existence. “People look down on Sampath, and he always disappoints his father. Sampath gets fired because he messes all up on the wedding day preparations for his commanding officer’s daughter” (Neelima C. 395). In Hullabaloo in the Guava Orchard, Sampath genuinely escapes social conventions by withdrawing to the guava tree, which gives him a place where he is unencumbered by his family's and his community's expectations. The orchard turns into a haven where he may reject the traditional life that made him feel unimportant. But his sudden prominence as a spiritual leader draws even more attention from society, putting pressure on him to live up to his followers' expectations while also wanting to be alone. The intricacy of his departure is reflected in this paradox, which is both a rejection of society and a novel way to interact with it. The protagonists in all three works are motivated by a longing for freedom. Sampath physically withdraws from society in order to reinvent his identity, Iris and Laura utilize storytelling as a means of escape, and Anjum and Tilo try to establish places where they may dwell outside of social standards. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 159 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 Result and Findings Through diligent study of these selected works of Atwood, Roy and Desai, one can understand the working of inner-self of their characters. It will enable readers to imagine their struggle and dormant desires that are repressed and prove traumatic. Margaret Atwood's novels strictly focus on the frequent uncertainties of the female protagonists. Atwood shows the struggle of the characters in terms of identity crisis and the establishment, domination of males in family and society. She stresses on suppressed worries, dreams in relation to Freud, and memories of the past that torture the self. The God of Small Things and The Ministry of Infinite the Justice by Arundhati Roy explains how social anathemas, traumas of childhood, and forbidden instincts create enduring impressions on the unconscious that mold the broken subjectivities of Rahel, Ammu, and Estha and Anjum. Diasporic estrangement and dislocation are highlighted in Kiran Desai's The Inheritance of Loss, where the unconscious negotiations of loss and belonging are reflected in suppression, nostalgia, and shattered identities. Conclusion The philosophy of psychoanalysis achieves deep, most often unconscious childhood experiences and conflicts that are unresolved which drive adult behavior, leads to lasting self-awareness, improved kinships, and emotional growth. Atwood, Roy and Desai deal such ideas like behavior and its impact on mind, forbidden love, caste and their impact on personal relationships often resulting in severe strain and breakdown due to familial and societal pressure. By completely blending varied life styles through novel narrative techniques they elucidate the powerful impact on the human psyche and the resulting internal conflicts of individuals. International Journal of Research (IJR) e-ISSN: 2348-6848 p-ISSN: 2348-795X Vol. 12 Issue 12 December 2025 Received: 22 November 2025 160 Revised: 7 December 2025 Accepted: 12 December 2025 Copyright  authors 2025 DOI: HTTPS://DOI.ORG/10.5281/ZENODO.17914351 References Atwood, Margaret. Handmaid's Tale, The (Graphic Novel), Vintage. 19 September 1996. ……………………………, Surfacing. Simon & Schuster. 15 March 1973. ……………………., Blind Assassin, Vintage Books. 1 August 2001. Desai, Kiran. Hullabaloo in the Guava Orchard. Faber; Main edition. 4 October 2012. ………………., The Inheritance of Loss. Grove Press; First Trade Paper edition. 29 August 2006. Roy, Arundhati. The God of Small Things, Penguin India; 2002nd edition. 5 April 2002. ………………., Ministry of Utmost Happiness, Penguin. 26 June 2018 Carroll, J. And Murphy, J. Who Am I? I Am Me! Identity Management in a Networked World, Proc 4th International We-B Conference, Edith Cowen University, November. 2004. Gilovich, T., Keltner, D., Chen, S., & Nisbett, R. E. Social Psychology, Fourth Edition. W. W. Norton & Company. 2016. Neelima C. Human Alienation in Kiran Desai’s Hullabaloo in Guava Orchard, IJJELAH, Volume III, Issue IX, 2015. PP, 394-401. Sharma, Shreeja. Hullobullo in the Guava Orchard. IJELLAH, Volume III, Issue I, 2015. PP, 678681. https://www.oxfordlearnersdictionaries.com