Sea of Poppies by Amitav Ghosh

The Barnes & Noble Review

Remember stories? Those rich fictions that we devoured as children and that gave us a lifelong taste for generous, hearty books? Literary fashion may dictate that we avoid such indulgences and consume instead desiccated novels containing just one gristly ingredient: consciousness. But real readers, however sophisticated, crave real stories now and then. Thankfully, these are still being written, often by postcolonial novelists such as Amitav Ghosh, whose Sea of Poppies, is both a writer's triumph and a reader's delight. Better yet, it is the first volume of a proposed trilogy.

Ghosh, a former anthropologist and historian, has written about Asia and India, Britain and America, the past and the present, always with a characteristic blend of subtlety and gusto. In The Glass Palace, for example, he memorably described the teak-logging industry of 19th- and early-20th-century Burma, charted the course of an epic love story, and dramatized the British invasion of 1885 as well as the country's subsequent history.

Like the masters to whom he is sometimes compared (Dickens, Tolstoy), Ghosh does not waste time. In the first chapter of Sea of Poppies, he plunges us into the heavy-scented air of India and infuses that air with a growing sense of unease. "It happened at the end of winter," Ghosh writes, "in a year when the poppies were strangely slow to shed their petals: for mile after mile, from Benares onwards, the Ganga seemed to be flowing between twin glaciers, both its banks being blanketed by thick drifts of white-petalled flowers."

Heavenly? Perhaps not. This is, after all, India in the 1830s. The poppy is not just a pretty flower. It is the source of opium, an essential fuel for the British Empire and the ostensible cause of its looming war with China. "The war…will not be for opium," a British trader insists, "It will be…for the freedom of trade and for the freedom of the Chinese people." Change the commodity and the argument sounds eerily modern. But Ghosh, wonderfully sly, leaves it at that. We may draw comparisons between the British Empire and any other enterprise that comes to mind while he gets on with the story.

It seems, at first, to be a simple one. Deeti, a young wife and mother who, like many in rural India, depends on the dominant poppy crop for survival, faces disaster when her husband, a worker in Ghazipur's opium factory, is mortally injured. Escaping immolation on her husband's funeral pyre, the resourceful widow flees with the gigantic but gentle Kalua. After many adventures, the couple join a shipment of indentured migrants on board the Ibis, a former British slave ship, bound for the plantations of Mauritius.

Deeti's adventure is just one strand in Ghosh's deftly strung rigging. By the time the Ibis sets sail -- a thrilling moment, tantalizingly deferred -- we are just as concerned about the novel's other characters, each of whom is drawn with tremendous wit and acuity. Zachary Reid, the Ibis's second mate, is the fair-skinned American son of a slave and her white master; listed as "black" in the crew list, he appears white -- even aristocratic -- to the world. Raja Neel Rattan Halder is a naïve local prince who is ruthlessly dispossessed and imprisoned by the East India Company. Paulette Lambert, the French orphan adopted by a Company family, is a courageous beauty fleeing a loathsome marriage proposal.

Add to this cast Paulette's Muslim brother; Neel's cell mate turned soul mate; Burnham, a Company man and genuine British bulldog; Burnham's cunning but increasingly delusional Hindu underling; assorted sailors, convicts, and indentured migrants -- and the novel's cargo becomes a potentially chaotic jumble. But Ghosh is too disciplined a writer to allow any slippage, on land or at sea. Shuttling between his disparate but equally engrossing dramas, he deftly cinches them together at the port of Calcutta on the eve of a voyage that will dramatically alter each character's life.

By that time, Raja Neel's gilded world has been obliterated with a suddenness that Ghosh masterfully conveys. "The touch of the orderly's fingers had a feel that Neel could never have imagined between two human beings," Ghosh writes of the imprisoned prince, " -- neither intimate nor angry, neither tender nor prurient -- it was the disinterested touch of mastery, of purchase or conquest…." In such moments, imperialism is exposed in all its subtlety and its crudity. "Freedom, yes, exactly," Mr. Burnham tells Zachary, "Isn't that what the mastery of the white man means for the lesser races?….. [T]he Africa trade was the greatest exercise in freedom since God led the children of Israel out of Egypt." Chillingworth, the ship's captain, views the Empire differently: "[M]en do what their power permits them to do," he observes, "…when we kill people we feel compelled to pretend that it is for some higher cause. It is this pretence of virtue, I promise you, that will never be forgiven by history."

Ghosh, however, rarely preaches. His detailed descriptions of opium cultivation, its use and trade, and of slavery's mechanisms speak for themselves. And while Sea of Poppies has a definite moral center, it is one that migrates between Deeti, Neel, and even Zachary. Identities, too, shift with circumstance; almost every character, at one time or another, is disguised -- black as white, female as male, prince as convict.

Then there is the novel's language, or rather languages. Ghosh's own voice is a recognizably 19th-century one, stately yet brisk, but his characters speak a lively assortment of tongues -- Anglo-Indian ("the flash lingo of the East"), bastardized Franco-English, pidgin, Bhojpuri, and Bengali in addition to a seafaring dialect familiar from any number of maritime adventures. (Among Ghosh's acknowledged sources are An English and Hindostanee Naval Dictionary of Technical Terms and Sea Phrases; he also includes a whimsical "chrestomathy" compiled by Neel, a man "obsessed with the destiny of words"). Thus we learn that the Ibis requires, among other things, "canvas by the gudge, spare jugboolaks and zambooras, coils of istingis and rup-yan, stacks of seetulpatty mats, tobacco by the batti, rolls of neem-twigs for the teeth, martabans of isabgol for constipation and jars of columbo-root for dysentery…."

These verbal high jinks are almost as impressive as the novel's shamelessly exuberant adventure scenes: the sight of an approaching tidal wave, for example, "on its coiled and tawny haunches, racing upstream as if in pursuit of some elusive prey." At such moments, we both admire the spectacle and fear for the individuals in its path. We have, in other words, been hooked again. With his grand vision and the seductive intimacy of his tone, Ghosh has not only drawn us into this exotic world. He has allowed us to inhabit these lives. --Anna Mundow

Anna Mundow writes "The Interview" and the "Historical Novels" columns for The Boston Globe and is a contributor to The Irish Times.

From the Publisher

The Literary Review

The seaboard sections rival those in Melville and Conrad, but the scenes ashore are equally gripping and one leaves this long page-turner wishing it could continue. One waits eagerly for its sequels. Sea of Poppies is a tremendous novel . . . [The] Ibis trilogy will surely come to be regarded as one of the masterpieces of twenty-first-century fiction. --John Thieme

The New Statesman

Sea of Poppies is bathed in a rich vernacular . . . [It] is a thoroughly readable romp of a novel, filled with excellent set pieces, comic digressions (especially its comedies of manners), love interest, subterfuge and betrayal. We are left thirsty for more. --Toby Lichtig

The Times (London)

India in the 1830s is wonderfully evoked -- the smells, rituals and squalor . . . Coarseness and violence, cruelty and fatalism, are relieved with flashes of emotion and kindness. This is no anti-colonial rant or didactic tableau but the story of men and women of all races and castes, cooped up on a voyage across the 'Black Water' that strips them of dignity and ends in storm, neither in despair nor resolution. It is profoundly moving. --Michael Binyon

The Independent

Bedazzling . . . Amitav Ghosh's Sea of Poppies, the first volume in his Ibis trilogy, revisits in new, breathtakingly detailed and compelling ways some of the concerns of his earlier novels . . . We await with eagerness the second volume of the trilogy. --Shirley Chew

The Observer (London)

[A] remarkably rich saga . . . which has plenty of action and adventure à la Dumas, but moments also of Tolstoyan penetration-and a drop or two of Dickensian sentiment. --Adam Mars-Jones

The Washington Post - Shashi Tharoor

…one does not need the impressive bibliography of sources at the end to be struck by the wealth of period detail the author commands. His descriptions bring a lost world to life, from the evocatively imagined opium factory, the intricacies of women's costumes and the lovingly enumerated fare on the opulent dining tables of the era, to the richly detailed descriptions of the Ibis and its journey. At times, Sea of Poppies reads like a cross between an Indian Gone with the Wind and a Victorian novel of manners. And yet Ghosh has managed a sharp reversal of perspective. His ship, with the author's fine feel for nautical niceties, sails in Joseph Conrad territory, through waters since romanticized by the likes of James Clavell. But whereas those writers and so many others placed the white man at the center of their narratives, Ghosh relegates his British colonists to the margins of his story, giving pride of place to the neglected subjects of the imperial enterprise: colonialism's impoverished, and usually colored, victims…his novel is also a delight. I can't wait to see what happens to these laborers and seamen, the defrocked raja and the transgendered mystic in the next volume.

The New York Times - Janet Maslin

…during the course of this novel, the first installment in his projected Ibis trilogy, Mr. Ghosh turns the ship into something robustly, bawdily and indelibly real…home to Mr. Ghosh's sparkling array of eccentrics, blowhards, runaway lovers and people seeking new leases on life…Sea of Poppies works well as a free-standing novel. But it also lays the groundwork for Mr. Ghosh's larger project. By the time this book ends, the reader has been caught up in a plot of Dickensian intricacy, the Ibis readied for whatever its mission may be, and the characters firmly enveloped in new, self-created identities.

The Economist

Rich and panoramic, Amitav Ghosh's latest novel -- the first of a promised trilogy-sees this Indian author on masterly form . . . Sea of Poppies is a sprawling adventure with a cast of hundreds and numerous intricate stories encompassing poverty and riches, despair and hope, and the long-fingered reach of the opium trade . . . Lustrous.

Publishers Weekly

Ghosh's latest novel is a 19th-century epic of slaves, opium and the Indian diaspora. Phil Gigante didn't seem to note the time period; he reads Ghosh's work as if its characters dated from the 1940s, not the 1840s. Gigante goes to town with the novel's voices, African, Indian and otherwise, but they are distractingly modern and aggressively stylized. When he is reading Ghosh's narration, Gigante's voice is smooth and calming, but the onset of dialogue sends him into a tizzy. The result is a shambles, with Indian voices sounding like a parody of The Simpson's Apu, and even sillier Southerner voices. The parade of clichéd vocals sinks Ghosh's work, rendering this audiobook an unnecessarily distracting historical anomaly. A Farrar, Straus & Giroux hardcover (Reviews, Aug. 18). (Nov.)

Juleigh Muirhead Clark - Library Journal

This first entry in internationally best-selling author Ghosh's (The Glass Palace) new "Ibis" trilogy revolves around the 19th-century opium trade. While the stories are grim, the language is beautiful, and actor/narrator Phil Gigante does an excellent job conveying it to listeners, moving swiftly and seamlessly among a variety of accents and pitches. The audiobook omits the glossary accompanying the print edition, but Gigante's inflexions give listeners a general idea of meaning. Highly recommended for all collections. [Audio clip available through library.brillianceaudio.com; the Farrar hc was recommended "for larger public library collections," LJ10/1/08.-Ed.]

Kirkus Reviews

A historical novel crammed almost to the bursting point with incidents and characters, but Ghosh (The Hungry Tide, 2005, etc.) deftly keeps everything under control. It's 1838, and Britain is set on maintaining the opium trade between India and China as a buttress of its economic, political and cultural power. Ghosh orchestrates his polyphonic saga with a composer's fine touch. He lays out multiple narrative lines, initially separate, that eventually conjoin on the Ibis, a schooner bound from Calcutta to China across the much-feared "Black Water." Neel, the sophisticated raja of Raskhali, is convicted of a trumped-up forgery charge. Kalua, a prodigiously strong member of the lower caste, rescues the higher-caste Deeti from ritual burning on the death of her egregious husband. Paulette, a feisty French orphan, stows away on the Ibis to escape the restricted life of a white woman in India. It also might have something to do with the attractions of Zachary Reid, the ship's mixed-race second mate from Baltimore. He's commanded by brutal first mate Jack Crowle, who has no sympathy for anyone of any color, and by Captain Chillingworth, who warns passengers and crew, "at sea there is another law, and . . . on this vessel I am its sole maker." Ghosh could be accused of using coincidence a bit too freely, but a more charitable view will judge the inevitability of these characters' intertwinings as karma-and part of the pleasure of reading the novel. The density of settings, from rural India to teeming Calcutta to the Sudder Opium Factory, is historically convincing, and the author pays close attention to variations in speech, from the clipped formality of the educated class to a patois ("thekubber is that his cuzzanah is running out") that definitely requires the glossary that Ghosh provides. Planned as the first of a trilogy, this astonishing, mesmerizing launch will be hard to top.

Product Details

• Reading Group Guide
• Read an Excerpt

Reading Group Guide

Read an Excerpt

One

The vision of a tall-masted ship, at sail on the ocean, came to Deeti on an otherwise ordinary day, but she knew instantly that the apparition was a sign of destiny, for she had never seen such a vessel before, not even in a dream: how could she have, living as she did in northern Bihar, four hundred miles from the coast? Her village was so far inland that the sea seemed as distant as the netherworld: it was the chasm of darkness where the holy Ganga disappeared into the Kala-Pani, ‘the Black Water’.

It happened at the end of winter, in a year when the poppies were strangely slow to shed their petals: for mile after mile, from Benares onwards, the Ganga seemed to be flowing between twin glaciers, both its banks being blanketed by thick drifts of white-petalled flowers. It was as if the snows of the high Himalayas had descended on the plains to await the arrival of Holi and its springtime profusion of colour.

The village in which Deeti lived was on the outskirts of the town of Ghazipur, some fifty miles east of Benares. Like all her neighbours, Deeti was preoccupied with the lateness of her poppy crop: that day, she rose early and went through the motions of her daily routine, laying out a freshly washed dhoti and kameez for Hukam Singh, her husband, and preparing the rotis and achar he would eat at midday. Once his meal had been wrapped and packed, she broke off to pay a quick visit to her shrine room: later, after she’d bathed and changed, Deeti would do a proper puja, with flowers and offerings; now, being clothed still in her night-time sari, she merely stopped at the door, to join her hands in a briefgenuflection.

Soon a squeaking wheel announced the arrival of the ox-cart that would take Hukam Singh to the factory where he worked, in Ghazipur, three miles away. Although not far, the distance was too great for Hukam Singh to cover on foot, for he had been wounded in the leg while serving as a sepoy in a British regiment. The disability was not so severe as to require crutches, however, and Hukam Singh was able to make his way to the cart without assistance. Deeti followed a step behind, carrying his food and water, handing the cloth-wrapped package to him after he had climbed in.

Kalua, the driver of the ox-cart, was a giant of a man, but he made no move to help his passenger and was careful to keep his face hidden from him: he was of the leather-workers’ caste and Hukam Singh, as a high-caste Rajput, believed that the sight of his face would bode ill for the day ahead. Now, on climbing into the back of the cart, the former sepoy sat facing to the rear, with his bundle balanced on his lap, to prevent its coming into direct contact with any of the driver’s belongings. Thus they would sit, driver and passenger, as the cart creaked along the road to Ghazipur—conversing amicably enough, but never exchanging glances.

Deeti, too, was careful to keep her face covered in the driver’s presence: it was only when she went back inside, to wake Kabutri, her six-year-old daughter, that she allowed the ghungta of her sari to slip off her head. Kabutri was lying curled on her mat and Deeti knew, because of her quickly changing pouts and smiles, that she was deep in a dream: she was about to rouse her when she stopped her hand and stepped back. In her daughter’s sleeping face, she could see the lineaments of her own likeness—the same full lips, rounded nose and upturned chin—except that in the child the lines were still clean and sharply drawn, whereas in herself they had grown smudged and indistinct. After seven years of marriage, Deeti was not much more than a child herself, but a few tendrils of white had already appeared in her thick black hair. The skin of her face, parched and darkened by the sun, had begun to flake and crack around the corners of her mouth and her eyes. Yet, despite the careworn commonplaceness of her appearance, there was one respect in which she stood out from the ordinary: she had light grey eyes, a feature that was unusual in that part of the country. Such was the colour—or perhaps colourlessness—of her eyes that they made her seem at once blind and all-seeing. This had the effect of unnerving the young, and of reinforcing their prejudices and superstitions to the point where they would sometimes shout taunts at her—chudaliya, dainiya—as if she were a witch: but Deeti had only to turn her eyes on them to make them scatter and run off. Although not above taking a little pleasure in her powers of discomfiture, Deeti was glad, for her daughter’s sake, that this was one aspect of her appearance that she had not passed on—she delighted in Kabutri’s dark eyes, which were as black as her shiny hair. Now, looking down on her daughter’s dreaming face, Deeti smiled and decided that she wouldn’t wake her after all: in three or four years the girl would be married and gone; there would be enough time for her to work when she was received into her husband’s house; in her few remaining years at home she might as well rest.

With scarcely a pause for a mouthful of roti, Deeti stepped outside, on to the flat threshold of beaten earth that divided the mud-walled dwelling from the poppy fields beyond. By the light of the newly risen sun, she saw, greatly to her relief, that some of her flowers had at last begun to shed their petals. On the adjacent field, her husband’s younger brother, Chandan Singh, was already out with his eight-bladed nukha in hand. He was using the tool’s tiny teeth to make notches on some of the bare pods—if the sap flowed freely overnight he would bring his family out tomorrow, to tap the field. The timing had to be exactly right because the priceless sap flowed only for a brief period in the plant’s span of life: a day or two this way or that, and the pods were of no more value than the blossoms of a weed.

Chandan Singh had seen her too and he was not a person who could let anyone pass by in silence. A slack-jawed youth with a brood of five children of his own, he never missed an opportunity to remind Deeti of her paucity of offspring. Ka bhaíl? he called out, licking a drop of fresh sap from the tip of his instrument. What’s the matter? Working alone again? How long can you carry on like this? You need a son, to give you a helping hand. You’re not barren, after all . . .

Being accustomed to her brother-in-law’s ways, Deeti had no difficulty in ignoring his jibes: turning her back on him, she headed into her own field, carrying a wide wicker basket at her waist. Between the rows of flowers, the ground was carpeted in papery petals and she scooped them up in handfuls, dropping them into her basket. A week or two before, she would have taken care to creep sideways, so as not to disturb the flowers, but today she all but flounced as she went and was none too sorry when her swishing sari swept clusters of petals off the ripening pods. When the basket was full, she carried it back and emptied it next to the outdoor chula where she did most of her cooking. This part of the threshold was shaded by two enormous mango trees, which had just begun to sprout the dimples that would grow into the first buds of spring. Relieved to be out of the sun, Deeti squatted beside her oven and thrust an armload of firewood into last night’s embers, which could still be seen glowing, deep inside the ashes.

Kabutri was awake now, and when she showed her face in the doorway, her mother was no longer in a mood to be indulgent. So late? she snapped. Where were you? Kám-o-káj na hoi? You think there’s no work to be done?

Deeti gave her daughter the job of sweeping the poppy petals into a heap while she busied herself in stoking the fire and heating a heavy iron tawa. Once this griddle was heated through, she sprinkled a handful of petals on it and pressed them down with a bundled-up rag. Darkening as they toasted, the petals began to cling together so that in a minute or two they looked exactly like the round wheat-flour rotis Deeti had packed for her husband’s midday meal. And ‘roti’ was indeed the name by which these poppy-petal wrappers were known although their purpose was entirely different from that of their namesake: they were to be sold to the Sudder Opium Factory, in Ghazipur, where they would be used to line the earthenware containers in which opium was packed.

Kabutri, in the meanwhile, had kneaded some atta and rolled out a few real rotis. Deeti cooked them quickly, before poking out the fire: the rotis were put aside, to be eaten later with yesterday’s leftovers—a dish of stale alu-posth, potatoes cooked in poppy-seed paste. Now, her mind turned to her shrine room again: with the hour of the noontime puja drawing close, it was time to go down to the river for a bath. After massaging poppy-seed oil into Kabutri’s hair and her own, Deeti draped her spare sari over her shoulder and led her daughter towards the water, across the field.

The poppies ended at a sandbank that sloped gently down to the Ganga; warmed by the sun, the sand was hot enough to sting the soles of their bare feet. The burden of motherly decorum slipped suddenly off Deeti’s bowed shoulders and she began to run after her daughter, who had skipped on ahead. A pace or two from the water’s edge, they shouted an invocation to the river—Jai Ganga Mayya ki . . . —and gulped down a draught of air, before throwing themselves in.

They were both laughing when they came up again: it was the time of year when, after the initial shock of contact, the water soon reveals itself to be refreshingly cool. Although the full heat of summer was still several weeks away, the flow of the Ganga had already begun to dwindle. Turning in the direction of Benares, in the west, Deeti hoisted her daughter aloft, to pour out a handful of water as a tribute to the holy city. Along with the offering, a leaf flowed out of the child’s cupped palms. They turned to watch as the river carried it downstream towards the ghats of Ghazipur.

The walls of Ghazipur’s opium factory were partially obscured by mango and jackfruit trees but the British flag that flew on top of it was just visible above the foliage, as was the steeple of the church in which the factory’s overseers prayed. At the factory’s ghat on the Ganga, a one-masted pateli barge could be seen, flying the pennant of the English East India Company. It had brought in a shipment of chalán opium, from one of the Company’s outlying sub-agencies, and was being unloaded by a long line of coolies.

Ma, said Kabutri, looking up at her mother, where is that boat going?

It was Kabutri’s question that triggered Deeti’s vision: her eyes suddenly conjured up a picture of an immense ship with two tall masts. Suspended from the masts were great sails of a dazzling shade of white. The prow of the ship tapered into a figurehead with a long bill, like a stork or a heron. There was a man in the background, standing near the bow, and although she could not see him clearly, she had a sense of a distinctive and unfamiliar presence.

Deeti knew that the vision was not materially present in front of her—as, for example, was the barge moored near the factory. She had never seen the sea, never left the district, never spoken any language but her native Bhojpuri, yet not for a moment did she doubt that the ship existed somewhere and was heading in her direction. The knowledge of this terrified her, for she had never set eyes on anything that remotely resembled this apparition, and had no idea what it might portend.

Kabutri knew that something unusual had happened, for she waited a minute or two before asking: Ma? What are you looking at? What have you seen?

Deeti’s face was a mask of fear and foreboding as she said, in a shaky voice: Beti—I saw a jahaj—a ship.

Do you mean that boat over there?

No, beti: it was a ship like I’ve never seen before. It was like a great bird, with sails like wings and a long beak.

Casting a glance downriver, Kabutri said: Can you draw for me what you saw?

Deeti answered with a nod and they waded ashore. They changed quickly and filled a pitcher with water from the Ganga, for the puja room. When they were back at home, Deeti lit a lamp before leading Kabutri into the shrine. The room was dark, with soot-blackened walls, and it smelled strongly of oil and incense. There was a small altar inside, with statues of Shivji and Bhagwan Ganesh, and framed prints of Ma Durga and Shri Krishna. But the room was a shrine not just to the gods but also to Deeti’s personal pantheon, and it contained many tokens of her family and forebears—among them such relics as her dead father’s wooden clogs, a necklace of rudraksha beads left to her by her mother, and faded imprints of her grandparents’ feet, taken on their funeral pyres. The walls around the altar were devoted to pictures that Deeti had drawn herself, in outline, on papery poppy-petal discs: such were the charcoal portraits of two brothers and a sister, all of whom had died as children. A few living relatives were represented too, but only by diagrammatic images drawn on mango leaves—Deeti believed it to be bad luck to attempt overly realistic portraits of those who had yet to leave this earth. Thus her beloved older brother, Kesri Singh, was depicted by a few strokes that stood for his sepoy’s rifle and his upturned moustache.

Now, on entering her puja room, Deeti picked up a green mango leaf, dipped a fingertip in a container of bright red sindoor and drew, with a few strokes, two wing-like triangles hanging suspended above a long curved shape that ended in a hooked bill. It could have been a bird in flight but Kabutri recognized it at once for what it was—an image of a two-masted vessel with unfurled sails. She was amazed that her mother had drawn the image as though she were representing a living being.

Are you going to put it in the puja room? she asked.

Yes, said Deeti.

The child could not understand why a ship should find a place in the family pantheon. But why? she said.

I don’t know, said Deeti, for she too was puzzled by the sureness of her intuition: I just know that it must be there; and not just the ship, but also many of those who are in it; they too must be on the walls of our puja room.

But who are they? said the puzzled child.

I don’t know yet, Deeti told her. But I will when I see them.

*

The carved head of a bird that held up the bowsprit of the Ibis was unusual enough to serve as proof, to those who needed it, that this was indeed the ship that Deeti saw while standing half-immersed in the waters of the Ganga. Later, even seasoned sailors would admit that her drawing was an uncannily evocative rendition of its subject, especially considering that it was made by someone who had never set eyes on a two-masted schooner—or, for that matter, any other deep-water vessel.

In time, among the legions who came to regard the Ibis as their ancestor, it was accepted that it was the river itself that had granted Deeti the vision: that the image of the Ibis had been transported upstream, like an electric current, the moment the vessel made contact with the sacred waters. This would mean that it happened in the second week of March 1838, for that was when the Ibis dropped anchor off Ganga-Sagar Island, where the holy river debouches into the Bay of Bengal. It was here, while the Ibis waited to take on a pilot to guide her to Calcutta, that Zachary Reid had his first look at India: what he saw was a dense thicket of mangroves, and a mud-bank that appeared to be uninhabited until it disgorged its bum-boats—a small flotilla of dinghies and canoes, all intent on peddling fruit, fish and vegetables to the newly arrived sailors.

Zachary Reid was of medium height and sturdy build, with skin the colour of old ivory and a mass of curly, lacquer-black hair that tumbled over his forehead and into his eyes. The pupils of his eyes were as dark as his hair, except that they were flecked with sparks of hazel: as a child, strangers were apt to say that a pair of twin-klers like his could be sold as diamonds to a duchess (later, when it came time for him to be included in Deeti’s shrine, much would be made of the brilliance of his gaze). Because he laughed easily and carried himself with a carefree lightness, people sometimes took him to be younger than he was, but Zachary was always quick to offer a correction: the son of a Maryland freedwoman, he took no small pride in the fact of knowing his precise age and the exact date of his birth. To those in error, he would point out that he was twenty, not a day less and not many more.

It was Zachary’s habit to think, every day, of at least five things to praise, a practice that had been instilled by his mother as a necessary corrective for a tongue that sometimes sported too sharp an edge. Since his departure from America it was the Ibis herself that had figured most often in Zachary’s daily tally of praiseworthy things. It was not that she was especially sleek or rakish in appearance: on the contrary, the Ibis was a schooner of old-fashioned appearance, neither lean, nor flush-decked like the clippers for which Baltimore was famous. She had a short quarter-deck, a risen fo’c’sle, with a fo’c’sle-deck between the bows, and a deckhouse amidships, that served as a galley and cabin for the bo’suns and stewards. With her cluttered main deck and her broad beam, the Ibis was sometimes taken for a schooner-rigged barque by old sailors: whether there was any truth to this Zachary did not know, but he never thought of her as anything other than the topsail schooner that she was when he first signed on to her crew. To his eye there was something unusually graceful about the Ibis’s yacht-like rigging, with her sails aligned along her length rather than across the line of her hull. He could see why, with her main- and headsails standing fair, she might put someone in mind of a white-winged bird in flight: other tall-masted ships, with their stacked loads of square canvas, seemed almost ungainly in comparison.

One thing Zachary did know about the Ibis was that she had been built to serve as a ‘blackbirder’, for transporting slaves. This, indeed, was the reason why she had changed hands: in the years since the formal abolition of the slave trade, British and American naval vessels had taken to patrolling the West African coast in growing numbers, and the Ibis was not swift enough to be confident of outrunning them. As with many another slave-ship, the schooner’s new owner had acquired her with an eye to fitting her for a different trade: the export of opium. In this instance the purchasers were a firm called Burnham Bros., a shipping company and trading house that had extensive interests in India and China.

The new owners’ representatives had lost no time in calling for the schooner to be dispatched to Calcutta, which was where the head of the house, Benjamin Brightwell Burnham, had his principal residence: the Ibis was to be refitted upon reaching her destination, and it was for this purpose that Zachary had been taken on.

Zachary had spent eight years working in the Gardiner shipyard, at Fell’s Point in Baltimore, and he was eminently well-qualified to supervise the outfitting of the old slave-ship: but as for sailing, he had no more knowledge of ships than any other shore-bound carpenter, this being his first time at sea. But Zachary had signed on with a mind to learning the sailor’s trade, and he stepped on board with great eagerness, carrying a canvas ditty-bag that held little more than a change of clothes and a penny-whistle that his father had given him as a boy. The Ibis provided him with a quick, if stern schooling, the log of her voyage being a litany of troubles almost from the start. Mr Burnham was in such a hurry to get his new schooner to India that she had sailed short-handed from Baltimore, shipping a crew of nineteen, of whom nine were listed as ‘Black’, including Zachary. Despite being undermanned, her provisions were deficient, both in quality and quantity, and this had led to confrontations, between stewards and sailors, mates and fo’c’slemen. Then she hit heavy seas and her timbers were found to be weeping: it fell to Zachary to discover that the ‘tween-deck, where the schooner’s human cargo had been accommodated, was riddled with peepholes and air ducts, bored by generations of captive Africans. The Ibis was carrying a cargo of cotton, to defray the costs of the journey; after the inundation, the bales were drenched and had to be jettisoned.

Off the coast of Patagonia, foul weather forced a change in course, which had been plotted to take the Ibis across the Pacific and around Java Head. Instead, her sails were set for the Cape of Good Hope—with the result that she ran afoul of the weather again, and was becalmed a fortnight in the doldrums. With the crew on half-rations, eating maggoty hardtack and rotten beef, there was an outbreak of dysentery: before the wind picked up again, three men were dead and two of the black crewmen were in chains, for refusing the food that was put before them. With hands running short, Zachary had put aside his carpenter’s tools and become a fully fledged foretopman, running up the ratlines to bend the topsail.

Then it happened that the second mate, who was a hard-horse,

Excerpted from Sea of Poppies by Amitav Ghosh.
Copyright 2008 by Amitav Ghosh.
Published in October 2009 by Farrar, Straus and Giroux.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.