文化多元性(plurality)及異質性(heterogeneity)一直是後殖民研究中的主要關切議題。阿蘭達蒂•洛依的初試啼聲之作《微物之神》檢視了印度從殖民時期、後殖民時期以至今日全球化脈動下的文化流變過程。從文化的面向來解讀，此小說再現了印度文化的含混特質及其受壓迫、居次等地位的「文化他者」(cultural others)，而這些正是需要我們深刻關切的議題。針對《微物之神》所做的研究，我從兩方面進行：首先，重新檢視後殖民印度的種姓階級制度（caste）的影響力，並探討與文本中之創傷、歷史、踰越敘事相關的文化衝突/差異；再來，重新思考洛依對帝國語言的挪用(appropriation)及小說中所再現的論述形式/模式。總結來說，此研究的目的在於：藉由傾聽印度子民的異質聲音，探究後殖民印度次大陸之中及其外的諸多「可能性」。
在小說的諸多角色中，維魯沙(Velutha)有其重要性，因為他的「階級化身體/地位」（casted body/status）指涉了印度之不同於其他國家的文化差異。而維魯沙的敘事，也顯示了印度種姓階級制度和社會分化之間的糾纏關係。然而，維魯沙和阿慕(Ammu)之間的踰越行為儼然挑戰了印度的傳統模式及社會階級。此外，瑞海兒(Rahel)和艾斯沙(Estha)的踰越行為也帶出了混雜(hybridity)、性別壓抑、社會禁忌和亂倫等議題。除了這些角色之外，創傷的敘事是由外婆Mammachi、姨婆Baby Kochamma和舅舅恰克(Chacko)口中延續。而此一家族的傷痛回憶，正也提醒我們印度所受過的殖民創傷。「歷史之屋」，既是滿覆瑣碎事件與傷痛回憶的地方，也是「她們的故事」（her-stories）所縈迴之處。藉由描繪此家族的瑣碎事件，洛依其實也是在質疑帝國的建制、殖民主義的遺風及不斷變動中的全球秩序。這麼看來，洛依的小說揭示了一種可能性：透過文學解殖民的過程，瓦解西方的典律和實行後殖民顛覆。

Cultural plurality and heterogeneity have always been the main concerns in postcolonial studies. Arundhati Roy’s debut novel The God of Small Things examines India’s cultural transformation from colonial, postcolonial period to contemporary era of globalization. Read from this trajectory, the novel represents to us the hybrid elements of Indian culture and the oppressed, subordinate “cultural others” that require our deep concern. In this study of The God of Small Things, my task is twofold: (1) to re-examine the influence of the caste system in postcolonial India and investigate the cultural conflicts/differences in relation to the narration of trauma, history and transgression; (2) to re-think Roy’s appropriation of the imperial language, the discursive forms and modes of representation of the novel. Overall, this study aims to explore the “possibilities” within and beyond the postcolonial subcontinent of India by listening to the heterogeneous voices of its peoples.
Among the characters in the novel, Velutha is prominent because his “casted body/status” signifies the cultural difference of India from other nations. The narration of Velutha reveals the intertwined relationship between caste and the social divisions in India. Yet the transgression between Velutha and Ammu poses challenges to the traditional norms and social hierarchy of India. Moreover, Rahel and Estha’s transgression brings out issues of hybridity, gender oppression, social taboo and incest. Apart from these characters, the narration of trauma is from Mammachi, Baby Kochamma and Chacko. The traumatic memories of the Ipe family remind us of India’s traumas of colonization. “The History House,” which is a place holding small events and traumatic memories, is also the haunted house of “her-stories.” By dwelling on the “small things” happened to the Ipe family, Roy actually is questioning the construction of empire, the lingering effects of colonialism and the global order in flux. In this way, Roy’s novel reveals to us the possibility of dismantling the western codes and performing postcolonial subversion through the process of literary decolonization.

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