The

Consequences of Childhood Sexual Abuse in Cereus Blooms at Night and The God
of Small Things.
Cereus Blooms at Night by Shani Mootoo and The God of Small Things by
Arundhati Roy are two novels that explicitly depict childhood sexual abuse and its
terrible negative consequences. However, neither of the two novels do this
arbitrarily. But rather both novels use the two main characters, Mala and Estha, with
the premise that both have been sexually abused in order for the reader to neither
judge nor misunderstand their actions as the two stories progress. They also use the
prerequisite that both have been abused as a literary technique in order to invoke
sympathy upon the reader as well as to display the long-lasting negative effects of
childhood sexual abuse.
It is to be noted that the way in which both novels are written demonstrates how
strongly both authors want to emphasize that both Mala and Estha have
experienced sexual abuse as children. Regarding The God of Small Things, Joanne
Lipson believes that, It is a fragmented narrative that requires the reconstructive,
often imaginative, work of a reader or listener to put together a complete, linear
account of key events (Lipson 222). This being due to the fact that Roy wants it to
be read as if one were trying to piece together and make sense of ones own
traumatic experience. Mootoo also utilizes this literary technique in writing Cereus
Blooms at Night. Cereus Blooms at Night also follows a non-linear style. Except, Mala
Ramchandin might be too effected by her experiences with childhood sexual abuse
that she is unable to piece together her story and instead, Tyler, her caretaker has to
do it for her. Another interesting thing about the way in which the novel is written is

that the novel shifts between Malas two mental identities: Mala, and the younger
version of herself, Pohpoh. Mootoo chooses to do this in order to show that no one
protected Mala when she was in her abusive household so Mala is basically mentally
reverting to a previous time where she can try to help herself. This also signifies
how truly traumatizing the sexual abuse Mala suffered was.
The novel, The God of Small Things, tells the story of the fraternal twins, Estha and
Rahel whose lives are forever changed due to the caste system that is in place in
India as well as sexual abuse. The novel is centered around the idea that small
events in particular, although seemingly insignificant, can and will effect ones life in
a more momentous way. When chapter four of the novel approaches, there is a
sudden shift in tone. As a result of, Estha, Rahel, Ammu, and Baby Kochamma going
to Abhilash Talkies to see the movie, The Sound of Music. Once there, Estha is so
excited to see the movie that he is unable to control himself from singing along. He is
sent outside alone and continues to sing. While outside he awakens the man selling
refreshments who is then referred to as the, Orangedrink Lemondrink Man. Estha
is manipulated into going behind the counter, Now that youve disturbed me, at
least come have a drink, its the least you can do (Roy 97). The Ornagedrink
Lemondrink Man proceeds to molest Estha.
Consequently, this event is so inscribed into Esthas young, malleable brain that
the Orangedrink Lemondrink Man reappears many times throughout the novel as a
way to demonstrate that this event has and will forever haunt Estha. Roy doesnt
just use this scene nonchalantly but rather strategically. As the rest of the novel
plays out the reader is confronted with actions involving Estha that would normally

invoke sensations such as misunderstanding and disgust: with age, Estha is silenced
and Estha has sexual relations with his twin sister. But instead because of the abuse
scene, the reader gains insight into the cause of these events and therefore
understanding. Estha continued living his life in a way that was, not rude, not
polite. Just quiet (Roy 15). Even when Estha sees his sister Rahel after not seeing
each other for a long period of time he, had looked at her and walked straight past
(Roy 21). This scene once again demonstrates how deeply affected and damaged
Estha is on account of the sexual abuse he suffered as a child. The relationship he
shared with his twin sister was so durable, and even that could not remain intact
post-abuse.
It is to be noted that it is not by coincidence that Roy doesnt allow Esthas
character to share the story of his abuse with anyone. The heavy burden of this
colossal secret physically and psychologically cripples Estha. Because he doesnt tell
anyone he places himself in the position of a victim rather than a survivor. His
internal silence about the rape then translates into his external silence; this makes
him physically unable to communicate verbally with other human beings.
Comparatively, there is another event that takes place in the novel that arouses a
ginormous emotional response in the readers as well. In chapter nineteen of the
novel, Estha and his twin sister Rahel have sexual relations. Before the sex scene
takes place Roy writes that, There is little that anyone could say to clarify what
happened next (Roy 310). Knowing that the scene she was about to write was
going to be very controversial and worthy of criticism Roy had to include Esthas
prior sexual abuse in the novel. She included it not to excuse the incest, but rather to

call upon sympathy in the readers so that they wouldnt judge the two characters so
harshly. Roy also writes that, what they shared that night was not happiness, but
hideous grief (Roy 311). She again wants to emphasize that this was not an act of
passion, but instead a major consequence of childhood sexual abuse.
The trauma displayed in Cereus Blooms at Night all stems from Chandin
Ramcandin, Malas father. Reverend Thoroughly adopts Chandin in exchange for his
parents conversion to Christianity. As Chandin ages, he falls in love with Reverend
Thoroughly daughter, Lavinia. After he gathers up courage and confesses his
undying love to her, Lavinia is appalled and flees to the Wetlands where she finds a
fianc. Chandin decides to get engaged to her best friend Sarah. They have two
children together: Mala and Asha. Lavinia breaks off her engagement and returns
home where she continues her friendship with Sarah. Lavinia and Sarahs friendship
however turns into a more intimate relationship and they decide to run away with
the children so they can live together. As they are trying to run away Chandin
intercepts them and they flee without the children.
As a direct result of Chandins everlasting love for the unattainable Lavinia as well
as the sting of having his wife commit acts of infidelity with her, Chandin begins
molesting his two daughters. The molestation starts one night when Chandin, in a
fitful, nightmarish sleep mistook Pohpoh for Sarahthen he brought his body
heavily on top of hers and slammed his hand over her mouth (Mootoo 65). The
consequences of Malas sexual abuse are then seen as the rest of the story is told:
she at a very young age initiates sexual acts with her friend Boyie, she murders her
father, and she too is silenced.

 As Mala ages we start to see that her actions are a reflection of the effects of
childhood sexual abuse. There is a scene in particular that demonstrates these everlasting effects. When she is still a rather young girl she seduces her friend Boyie into
going to his house in order to have sex by saying, Leh we go to your house, ah tell
yuh-I really want to do it with yuh (Mootoo 93). In a study, The Journal of
Psychology found that, children who had been sexually abused showed a higher
propensity towards promiscuity. With this, Mootoo is displaying Malas skewed
perception of sex and the lack of boundaries she has due to her being unwillingly
over sexualized as a young child. She is also displaying Malas desire to be in control
of a sexual situation. Right as they are about to have sex however, instantly her
body dissolved into an entirely different mode (Mootoo 96). All of a sudden she
stated that she had to leave and, without notice, Pohpoh Ramchandin was gone, as
though it were nothing at all (Mootoo 96). In Mootoo choosing to include this scene
she lets the reader know that Mala Ramchandin most definitely does display the
behavior of being effected by childhood sexual abuse, and she is silently urging
readers to remember this when judging her character based off of her actions.
One of the most noteworthy scenes in the novel is when Mala murders her father.
She murders her father out of self-defense but she holds on to his body and keeps
him in her basement thinking that he is still living, yet another disguisable sign of
her severe trauma. The importance in Mootoo using a character that has suffered
childhood sexual abuse is extremely evident in this scene. If the reader had not
known that Mala was sexually abused as a child, she would have been viewed as a
villain rather than a victim. The reader would not have known of Malas

psychological history and would have thought of her as a murderous sociopath.

Even when she is older and goes down to the basement with Otoh, she fears for her
safety, Its better not to take chances, you know. Well keep it locked so he cant
come out (Mootoo 163). By Mootoo indicating at Malas eternal fear of her father,
she is implementing a literary technique that calls upon sympathy and empathy in
the reader so that they dont persecute Mala based on her actions.
Mala, like Estha also demonstrates external silence in the novel, Cereus Blooms at
Night. She does not speak, but instead the only sounds she does make are imitations
of bird, cricket, and frog noises. Like Estha, Malas silence is also a direct reflection of
abuse and trauma. The town that she lives in recognizes the abuse that occurred in
her household during childhood; however, they refuse to accept it for what it really
is, a terrible crime against a helpless child. Instead, the town refers to the
Ramchandin household as, a place of sin and moral corruption (Mootoo 243) and
the citizens of the town refuse to venture anywhere near there. Vivian May makes
very important points about the towns perpetuation of Malas abuse, language
often silences, demands a problematic submission, perpetuates violence and harm
through its seemingly innocuous demands for clarity. And because of the towns
silence and dismissive attitude towards Malas horrific sexual abuse, Malas own
voice is debilitated to the point of nonexistence. Mootoo chooses to silence Mala in
order to show how deeply Mala is affected by her abuse. She doesnt want Mala to be
viewed as odd, but she would rather the reader empathize with her.
All things considered, both authors purposely chose to use characters that have
been sexually abused as children as the protagonists of their novels. Nevertheless, it

is interesting that Mala and Estha are of the opposite sex. A study preformed by The
Journal of Interpersonal Violence sought out to test whether or not there is a
difference on the effects of childhood molestation between genders. They found that
both genders displayed more signs of dysfunction than did people who had not been
sexually abused as children. But, they also found that male victims displayed higher
levels of worry and anxiety, and female victims showed more signs of body image
issues. This scientific information clarifies that there are definite effects of childhood
sexual abuse whether the abuse be directed towards a male or a female. Both
Mootoo and Roy made a conscientious effort to choose leading characters that had
been sexually abused as children. Roy intended to use this fact as the groundwork of
her novel so that the reader would not mistake Esthas silence and sexual
intercourse with his sister as willing and disturbing; but rather as the acts of a boy
who has a skewed perception of the world because of the sexual abuse he suffered
as a child. Mootoo purposely chose to include the horrific sexual abuse that Mala
endured as a child so that the reader would not misjudge Malas promiscuity, her
murdering her father, nor her silence. Both authors implement this literary strategy
in order to avoid mistaking the intentions behind their two protagonists as profane
and ungodly. Instead they appeal to their readers empathetic and understanding
characteristics.

















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Works Cited
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Roy, Arundhati. The God of Small Things. New York: Random House, 1997. Print.
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