Arundhati Roy occupies a distinctive position in contemporary Indian English fiction as a writer whose literary imagination is inseparable from her political activism. Her two novels, The God of Small Things (1997) and The Ministry of Utmost Happiness (2017), separated by two decades, together constitute a sustained literary meditation on the structures of power that organise Indian society along the axes of caste, class, and gender. Rather than treating these categories as background social detail, Roy positions them as the central architecture of her narratives, using the intimate lives of her characters to expose how systemic hierarchies discipline desire, love, and belonging. This paper examines how Roy transforms marginality itself into a site of resistance, arguing that her fiction refuses the conventional realist strategy of representing the oppressed as passive victims and instead endows them with narrative agency, subversive desire, and quiet defiance. Drawing on postcolonial and feminist literary theory, along with concepts of subalternity, intersectionality, and heteronormativity, the paper analyses Roy's treatment of the "Love Laws" in The God of Small Things and the politics of embodiment and belonging in The Ministry of Utmost Happiness. It further considers Roy's narrative techniques, particularly her fragmented chronology, her attention to the materiality of bodies, and her deployment of the small and the ordinary as instruments of political critique. The paper concludes that Roy's novels function as counter-hegemonic texts that write the margins not merely as spaces of suffering but as fertile ground for resistance, solidarity, and alternative forms of community.