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69 pages 2 hours read

Amitav Ghosh

In an Antique Land: History in the Guise of a Traveler's Tale

Nonfiction | Book | Adult | Published in 1992

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Background

Authorial Context: Amitav Ghosh

Amitav Ghosh is an acclaimed Indian author and academic, known for his genre- blending works. Born in 1956 in Kolkata, India, he studied at St. Stephen's College in Delhi and later earned a PhD in social anthropology from Oxford University. His work often explores themes of migration, colonialism, environmentalism, and global trade, with a particular focus on the interconnected histories of South Asia, the Middle East, and the Indian Ocean regions.

As well as In an Antique Land, Ghosh is known for fiction and non-fiction works including The Shadow Lines (1988), which examines the blurred boundaries between nations and personal identities, The Glass Palace (2000), a historical epic set in Burma, and The Ibis Trilogy (Sea of Poppies; River of Smoke; and Flood of Fire), which explores the opium trade and colonial exploitation.

 

Ghosh combines an interdisciplinary approach with his lived experiences, creating works which provide unique insights into global history. His works have won several awards, including the Jnanpith awards, India’s highest literary honor. Among the most notable of his other awards are the Padma Shri (one of India’s highest civilian honors) two lifetime achievement awards, and four honorary doctorates.

In an Antique Land thus fits within Ghosh’s body of work as it seeks to reckon with modern identities across the Indian Ocean and Middle East following colonialism. It is also a work that is demonstrably deeply personal, with Ghosh linking himself and his own wish to understand modern identities with the entirely different world of Ben Yiju and Bomma. Ghosh, always sensitive to issues of ethnocentrism, is eager in this book to find out if a world without cultural and national tensions is possible.

Literary Context: Blending Historical Narratives and Anthropology

In an Antique Land combines historical research with an anthropological study. Ghosh interweaves his reconstruction of the lives and cultural milieu that Ben Yiju and Bomma acted in with an investigation into the lives of Egyptian villagers, two largely unconnected narratives. This structure allows Ghosh to question the nature of both history and anthropology, as his work is both within these fields and outside of them.

Ghosh’s work does not fit neatly into the category of history because of the personal experiences he includes throughout. This allows him to reconsider what a historical narrative is. Ghosh critiques the tendency of “History” to rely too heavily on broad narratives, choosing to instead emphasize the lived experiences of people, both in the past and the present. He compares the stories that they tell about themselves and that academia has told about them to show how sweeping, historical accounts tend to create a teleological explanation of how the current situation was reached. Too broad of an approach distances a community from their past, as such narratives often depict the past as “lesser” than the more advanced present. Ghosh argues that this version of history does not reflect how people engaged with the world at the time, asserting that it is linked to a fundamentally colonial interpretation of the world, one which places supreme value on scientific and military power and, therefore, generally favors Western nations.

Simultaneously, in Ghosh’s anthropological study of the Egyptians, he shows how he is questioned by them as much as he questions them. In both Ghosh’s study of the Egyptians and their study of him, there are clear misunderstandings and stereotypes, such as Ghosh’s worry about offending Egyptians if he looks at their women or their insistence that he worships cows. Ghosh thus emphasizes that the anthropological wish to understand and categorize the “Other” often relies on inaccurate generalizations, which ignore historical circumstances or the reasons for certain cultural traits.

Accordingly, Ghosh shows in his studies the flaws of a purely anthropological or historical approach to understanding the present. He produces a piece of work that takes a combined approach, with the goal of studying the anonymous in history. In doing so, he makes an effort to avoid an arbitrary division between the past (history) and present (anthropology), recreating a picture of a culture that would be hard to imagine solely through a single, modern viewpoint.

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