By Dimitri Keramitas
PARIS – Indian author Amitav Ghosh bemoans the fact
that the novel isn’t dealing with current reality.
Speaking with readers in the French capital on the
publication of La Déesse et le Marchand (the translation by Myriam
Bellehigue of his novel Gun Island, Actes Sud), Ghosh debated
whether this literary form is relevant or not, as he addressed pressing world
issues such as climate change and migration.
“The novel doesn’t deal with the issues that are so important
for the survival of civilization, but instead focuses on individuals’ subjectivity,”
he told readers during a lively discussion earlier this month at bookstore l’Arbre à Lettres in
the Bastille area of Paris.
Ghosh has devoted himself to these mega-concerns since
the publication of his nonfiction book The Great Derangement, and
he has also won acclaim for Sea of Poppies, a novel that deals with the tumultuous
encounter of European and Asian civilizations in the 19th century. He is also celebrated for The Glass Palace, which has been translated into more than 25 languages.
Ghosh said that he considered the novel to be
inherently conservative in form, and difficult to change. Without giving
examples, he said that film was much more adaptable, but, at the same time, he
acknowledged that the novel’s vivid elements - scene-making and dialogue - had
continuing vitality.
For Ghosh, John Steinbeck’s The Grapes of
Wrath is the great novel of climate change. (Steinbeck’s classic deals
with the migration of “Okies” as a result of “dust bowl” conditions in the
1930s that rendered much of the United States an agricultural wasteland.)
However, Ghosh said that if the novel had been written
today, it would necessarily include many Hispanic characters, which would also
affect the work’s language. He added that the novel form suffers from monolingualism, and that it needs to address today’s cross-pollination of
languages and cultures.
“The novel is usually limited to one language, for
example English. But if The Grapes of Wrath were written today, it would
have to include Spanish. Migration nowadays concerns people from Africa to
South Asia, and fiction dealing with the subject must incorporate other
languages.”
He noted that in the past, the Western literary
tradition was actually less monolingual.
“A writer in medieval France would have spoken two
languages, French and Latin,” he noted, although he might also have mentioned regional
languages such as Provençal, Occitan and Breton.
When Ghosh spoke more directly about migration, he
emphasized that the underlying issues for people's movement were more complex than just climate change. He
described doing first-hand research among Bangladeshi and other migrants in
Italy. He said that none of the migrants he spoke to accepted the term
“ecological migrant”.
“Migration is complex and there are many reasons
people leave their countries. Political, religious, economic, familial,” he
stated. He found that most of the migrants weren’t happy with their lot in
Europe and felt trapped there.
“They felt they’d made a mistake, leaving behind their
family bonds, communities, language and traditions, and would return if it were
possible,” he added.
In response to a question, he said he chose Italy, as
opposed to France or Greece, for his research because he was more familiar with
the country and its language, and had friends there. He was able to communicate
with those from his home region (he’s from Calcutta in West Bengal, while
Bangladeshis are from what used to be called East Bengal, with Bengali the
common language).
“One of the key aspects of the migrant experience is
that those who would explain it do not speak the migrants’ language.
Journalists and others don’t speak Bengali, so they interpret migrant reality
in English.”
A member of the audience, also from Calcutta but residing
in France and working with refugees, pointed out another aspect of the
communication gap: Many refugees, when questioned or interviewed, tend to say
what they imagine others, who might help them or have power over them, want to
hear. The author agreed with her observation.
He added that mounting migration was perhaps the single
most important factor in recent political developments. He said that migration
accounted for the rise of the extreme right in Europe, for Brexit, and for the
election of Donald Trump. Asked about his own country, Ghosh said that the same
issues had led to the rise of Hindu nationalism.
“While there aren’t many people crossing India’s
borders, there have been problems with the situation of forest people and other
minorities,” he said.
Ghosh also highlighted the role that technology,
particularly smartphones and social media, play in migration.
“Much migration couldn’t take place without it, (for)
persons who fly into Libya or go through the Balkans. One migrant travelled
from Bangladesh to Europe on foot, over a year and a half. This just wouldn’t
be possible without today’s communication technology,” he told the audience.
Surprisingly, while focusing on the large-scale
problems of the day and the need for the novel to deal with them, Ghosh also
made a case for phenomena that surpass conventional notions of what’s real. He
said people encounter uncanny, inexplicable events all the time, and called
this preternatural, as opposed to supernatural. He gave an example from his
novel, the temple that appears in it.
When asked about this, he answered that he’d invented it, but sometime
after the book was published, an American geologist contacted him with
information about a temple that had been unearthed in the novel’s setting, which
bore a striking resemblance to the fictional one.
La Déesse et le Marchand / Gun Island
– Ghosh’s most recent novel - is phantasmagorical and originates in a Bengali
folktale about a merchant who crosses (and then must flee) the goddess of
snakes Manasa Devi. This might seem like indulging in magic realism, but it is actually
a way to look at our current predicament, he indicated.
Photos (top to bottom): Amitav Ghosh (by D. Keramitas) and the cover of La Déesse et le Marchand (Actes Sud).
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