The use of language in ‘Sea of Poppies’ is beguiling and brilliant. Set in and around the colonial India of the 1830s, the novel cleverly helps the reader immediately identify with the Asian point of view characters by having the colonial occupiers and ship’s officers speak the most extraordinary pidgin. I loved this verging-on-incomprehensible talk, as it demonstrated that these invading foreigners have little understanding of the cultures and societies they’ve imposed themselves upon. An example:

”Why, look at you, Puggly - you’re flapping about like a titler!” she said. “I’ve never seen you worry about your jumma before. It’s not because of a chuckeroo, is it?”
“Why no,” said Paulette quickly. “Of course not! It is only that I feel I should not let down your family at such an important evenment.”
Annabel was not taken in. “You’re trying to bundo someone, aren’t you?”

And another:

The mate took another sip, watching the convicts over the rim of the mug. “Jack-gagger - ye’re a ready one with the red-rag. Let’s hear it: do y’know why we called yer up on deck?”
“No, sir,” said Neel.
“Here’s the gaff then,” said Mr Crowle. “Me and my good friend Subby-dar Muffin-mug, we was coguing our noses with a nipperkin of the boosey and he says to me…”

The whole book has an impressive sense of atmosphere. Indeed, I was surprised by the amount of time spent scene-setting. The blurb implies that the whole book concerns the voyage of the Ibis. This is by no means the case - the ship only sets sail two thirds of the way through. Prior to that, the reader is gradually introduced to the cast of characters travelling aboard and it is explained how and why they came to be there. Although this probably could have been achieved in fewer pages, I found it so well-written and compelling that I blamed only the blurb-writer for mistaking the narrative emphasis. The main characters are all fascinating and well-drawn, their worlds beautifully displayed to the reader. Deeti and Neel are especially sympathetic and appealing. The background of opium production and consumption is carefully woven through the narrative, with the war over it only starting to brew as the book ends. In fact, my only real complaint about this novel is that it ends abruptly on the cliffhanger. I understand that it’s the first in a series, but cliffhangers are frustrating when you’re invested in characters! ( )

This does feel like the first volume of a trilogy. The end is very much "to be continued".

Lots of wild language play here. It doesn't really get in the way. It's a pretty effective way to pull the reader into the complex world of sailing the Indian Ocean in 1837.

We really get to know a wonderfully diverse group of people. Yeah quite a few times I was looking at maps of Calcutta. What a world! ( )

A rollicking adventure with a wide ensemble of characters, set in the mid-19th century. The main theme is the production and distribution of opium, and how it affects the different stratas of society in India. The underlying theme is the evil of mercantile collonialism. Lots of the story takes place in and around one of the ships that will transport the opium, so there is lots of ship-lore and salty language.

In fact language is one of the predominant features of the book - particularly how it crosses different cultures (there is an extensive semi-fictionalised glossary devoted just to that). At first, I found the extremely stylised dialogue a little self-conscious and off-putting - even annoying. But eventually I decided that I should just enjoy the fun of it, much as I assume Ghosh was having fun writing it.

When the ending arrives it all feels very sudden, leaving a slight dissatisfaction. But it's a transporting adventure story - not exactly life-changing, but illuminating and enjoyable.

Update - just saw that this is part of a trilogy, making the sudden ending more understandable (though still a bit unfulfilling). May probably read the sequel at some point. ( )

Thoroughly researched! Wonderful characters. ( )

Opium wars, the high seas, imperialism and colonialism. The Ibis, an ex-slave ship is re-fitted to carry opium and indentured servants, becomes the focal point of the story as far-flung characters start to converge. Deeti is fleeing her dreadful rapey brother-in-law, Zachary has fled racism and accidentally jumped up a class or two, Neel is on his way to prison and Paulette, too seeks a better future.

This is rich, evocative, and full of complex language and details. I can see why it was Booker shortlisted, they all seem to have that intensely personal, wordy style.

I want to love this more than I do, the (realistic) sexual violence makes me angry and sad and my willingness to experience it in fiction when I have to put up with it in life is very low.