The Shadow Lines by Amitav Ghosh is a compelling and insightful novel that examines important themes like memory, identity, and the blurred boundaries between physical and emotional lines. Set against significant historical events such as the 1947 Partition of India, the 1964 communal riots in Dhaka, and the London bombings during World War II, the book provides a deep look at how these events impact personal lives.
The novel follows a non-linear narrative, moving through various times and viewpoints. It shows how personal stories are intertwined with major historical events, revealing how these “shadow lines” influence our understanding of the world. Through its characters’ experiences, Ghosh explores the complexities of borders and personal history, offering a unique perspective on how these elements shape our lives.
“The Shadow Lines: A Comprehensive Critical Analysis” explores the intricate themes of identity, memory, and the blurred boundaries between past and present in Amitav Ghosh’s acclaimed novel.
Table of Contents
Key Facts of the novel:
- When Written: 1986-1988
- Where Written: New York
- When Published: 1988
- Literary Period: Postcolonial Indian Literature
- Genre: Historical Fiction
- Setting: The novel moves between Calcutta (now Kolkata) in India, Dhaka (now the capital of Bangladesh), and London, England.
- Climax: The intense climax revolves around the riots of 1964, a pivotal and dramatic moment in the story. The climax of the novel occurs when Tridib encounters the violent mob in Dhaka.
- Antagonist: The novel’s main antagonists are not just individuals but also larger forces like the Partition of India, religious conflict, and violence. However, characters such as Tha’mma, Ila, and Nick Price also play roles as antagonists in the narrative.
- Point of View: The story is told from the first-person perspective, offering a personal and introspective view of the events and characters.
About the author: Amitav Ghosh
Amitav Ghosh is a novelist. His first novel, The Circle of Reason, published in 1986, won a prestigious literary award in France. The Shadow Lines, another of his notable works, also received multiple awards in India. By 2018, Ghosh had authored eight novels and six nonfiction books, including several essay collections. His writings have been featured in various publications both in India and internationally. His famous works are –
- The Circle of Reason (his 1986 debut novel),
- The Shadow Lines (1988),
- The Calcutta Chromosome (1995),
- The Glass Palace (2000),
- The Hungry Tide (2004),
- Sea of Poppies (2008),
- River of Smoke (2011),
- Flood of Fire (2015) and
- Gun Island (2019)
Amitav Ghosh’s writing is characterized by its rich historical and cultural context, complex narratives, and deep exploration of identity and interconnectedness. His detailed descriptions and multi-layered storytelling engage readers and provide a window into diverse worlds and experiences.
Historical Context:
The Shadow Lines by Amitav Ghosh touches on the significant historical event of the Partition of British India, which is an important backdrop for the novel’s story. Here’s a simple explanation of this historical context:
From the 15th century onwards, European countries began to explore and trade with India. By the early 19th century, Great Britain had taken control of most of India, calling it British India or the British Raj. Indian people increasingly wanted independence, especially in the 20th century. During World War I and World War II, Britain promised India freedom in exchange for its support. After the second world war, Britain eventually agreed to grant independence.
In August 1947, British India was divided into three separate countries: India, West Pakistan (now Pakistan), and East Pakistan (now Bangladesh). This division was based on religion, creating new borders that left minorities of Hindus, Muslims, and Sikhs in places where they hadn’t been before. This caused a lot of violence, particularly in Punjab, which was split between India and West Pakistan.
The religious tensions didn’t end with the Partition. In 1963-1964, riots broke out in Calcutta and Dhaka (then the capital of East Pakistan) after a sacred relic, believed to be a lock of hair from the Prophet Muhammad, disappeared from Kashmir. This relic was respected by Hindus, Sikhs, and Muslims alike. The loss led to widespread violence as people from different religions fought each other, reflecting the deep-seated animosity and conflict that had started with the Partition.
In The Shadow Lines, these historical events and the resulting conflicts deeply affect the characters’ lives and relationships, highlighting how historical events can shape personal experiences and identities.
Themes:
The Impact of History on Personal Lives:
In The Shadow Lines, history is a key theme, shaping both the narrator’s life and the lives of those he cares about. The novel examines how major historical events, especially political violence, affect individuals profoundly, though these impacts are often overlooked by the wider world.
As the story progresses, the narrator learns that his uncle Tridib died during a violent riot. This revelation prompts him to investigate what led to this tragic event. Years later, while researching old newspaper articles with a colleague, he discovers that tensions over a stolen religious artifact in Khulna sparked violence that reached Dhaka. This realization highlights how seemingly isolated incidents can have far-reaching effects, influencing events in distant places.
The narrator also reflects on Lionel Tresawsen’s death during the Blitz, noting that, although Tresawsen was not directly involved in the conflict, his death was still shaped by the larger historical events of the time. This theme ties into an earlier conversation the narrator had with his cousin, who believed that European cities are the epicenter of history. The narrator disagrees, arguing that historical events have complex and unpredictable impacts worldwide.
Overall, the novel explores how personal lives are intertwined with historical events, showing that history’s influence extends far beyond the immediate context of these events.
Childhood vs. Adulthood:
The Shadow Lines by Amitav Ghosh follows an unnamed narrator who looks back on his family’s history to understand his own life. The story moves through several decades and locations, including Dhaka in the 1910s and 1920s, World War II-era England, the Partition of India in 1947, and the riots in Calcutta and Dhaka in 1964, when the narrator was eleven years old.
The narrator reflects on his family’s experiences and the events he witnessed as a child. By revisiting these moments, he tries to make sense of his family’s past and his place in the world. The novel shows how his understanding evolves from a child’s simplistic view to a more mature perspective.
One key aspect of the novel is how the narrator’s understanding of events changes over time. For example, he initially misunderstands a story told by Ila, a family friend, as make-believe. Later, he learns the real story, which helps him grow up and see things more clearly.
As an adult, the narrator reconnects with May, who reveals truths about her past with Tridib, the narrator’s uncle. He learns about Tridib’s tragic death and their romantic relationship. These revelations help him piece together parts of his childhood that he didn’t fully understand before. The narrator’s mature perspective allows him to finally grasp the mysteries of his past and find closure.
The novel portrays childhood as a time of innocence and confusion. It suggests that growing up involves moving beyond a simple, childlike view of the world and coming to terms with its complexities and harsh realities. Ghosh’s narrative shows that understanding one’s past is essential for achieving emotional maturity and making sense of life’s challenges.
The Power of Stories and Memories:
In The Shadow Lines, the narrator is deeply interested in how memories and stories shape our understanding of reality. As a child, he is captivated by the stories told by his uncle Tridib. These stories, which include adventures in England and tales about the Price family, are incredibly important to him. They not only entertain him but also help him navigate places he’s never visited, like London, based on the mental maps Tridib has created.
As he grows up, the narrator faces challenges that make him question the accuracy of these stories. Despite this, he continues to believe in the power of stories and memories to enrich one’s life. Unlike his cousin Ila, who grew up with wealth and privilege and doesn’t rely on imagination or storytelling to explore the world, the narrator finds that stories are a crucial part of how he experiences life. Ila can easily travel or find new interests, while the narrator’s rich inner world depends on stories.
The narrator’s belief in the importance of stories becomes evident when he learns more about his uncle Tridib’s death. As a child, he is told that Tridib died in an accident during a riot, but this explanation doesn’t make much sense to him. As he matures, he becomes more curious about the truth. When he reads about the riots and speaks with May, he discovers that Tridib was killed by a mob while trying to save others. This revelation helps him connect his own experiences with those of his uncle and understand the full impact of the events.
The novel shows that while reality, as experienced by Ila, is valid, memories and stories provide deeper insights and connections. The narrator’s journey highlights how storytelling and remembering can offer a richer understanding of events than mere experiences alone.
The Impact of Class:
In The Shadow Lines, class is an important theme that influences how characters interact and view each other. The narrator often highlights class differences and how they shape relationships and behaviors.
For example, the narrator points out that Ila comes from a wealthier family compared to him. This difference in social status affects how they see and experience life. Ila treats travel and luxury more casually, partly because she is used to a life of comfort. Her choice to be with Nick Price is also influenced by his ability to provide a luxurious lifestyle, despite his unreliability and dishonesty.
The narrator’s grandmother also demonstrates a strong sense of class distinction. She often dismisses and shows little sympathy for people of lower social classes. This attitude is evident in a scene where she disregards the financial struggles of a relative’s wife and focuses solely on her own concerns, like getting her uncle out of Dhaka. Her lack of empathy highlights her preoccupation with class and status.
Throughout the novel, class plays a significant role in how characters perceive themselves and others. The narrator shows that wealth and social standing do not always offer protection or moral superiority. Characters often display a blind faith in the power of wealth, which sometimes leads to hypocrisy or a lack of compassion. This theme of class demonstrates how deeply social status can affect relationships and individual behavior in The Shadow Lines.
Freedom and Identity:
In The Shadow Lines, the novel explores the complex relationship between freedom and identity. It delves into how people perceive and pursue freedom and how these perceptions shape their identities. The novel also suggests that the quest for freedom can be overwhelming and even lead to madness, especially when true freedom remains elusive.
The concept of freedom is examined through the perspectives of Tha’mma, the narrator’s grandmother, and Ila, his cousin. Tha’mma grew up during the British rule in India. As a young woman, she was deeply committed to gaining freedom from British colonial rule. She even dreamed of joining the terrorists to fight against the British. However, when India gained independence in 1947 and was divided into India, West Pakistan, and East Pakistan (now Bangladesh), Tha’mma was too preoccupied with family responsibilities to fully celebrate this newfound freedom. It isn’t until she is older and returns to Dhaka that she grapples with the implications of the Partition.
Although she identifies strongly as an Indian and Hindu, she was born in Dhaka, which is now East Pakistan, a Muslim-majority country. This realization shakes her sense of identity, especially as she becomes more nationalistic. Her growing nationalism, fueled by Tridib’s death, leads her to sell her gold chain to support the Indian fight against Muslims. Tha’mma’s desire for freedom and a clear identity pushes her towards madness, showing how deeply her identity is affected by her sense of freedom.
On the other hand, Ila’s view of freedom contrasts sharply with Tha’mma’s. Ila seeks freedom by moving to England, where she can live as a modern woman, free from traditional constraints. She can pursue her desires and travel the world. However, the novel questions if Ila’s freedom is genuine. Ila marries Nick Price, but he soon reveals that he has multiple relationships and no intention of committing to her fully. Despite this, Ila remains in the marriage, which undermines her sense of freedom.
The narrator sees this as evidence that true freedom remains out of reach, even for Ila. Tha’mma, in turn, criticizes Ila’s choice, arguing that freedom cannot be bought or escaped from with a plane ticket. Tha’mma believes that real freedom requires more than just leaving one’s country; it involves a deep understanding of one’s identity and place in the world.
The narrator’s interactions with others, including his uncle Robi and May, further highlight the complexity of freedom. Robi struggles with the trauma of witnessing Tridib’s death and feels unable to escape its shadow. Ila’s unhappy marriage, which she hoped would liberate her, only restricts her more.
The narrator reflects on the Indian subcontinent’s ongoing struggles, suggesting that true freedom from the past and its impacts is nearly impossible. The novel ultimately presents freedom as an ideal that is difficult to fully achieve, no matter how fiercely one fights for it or attempts to escape oppression.
Pride and Social Status: The Impact on Family and Identity
In The Shadow Lines, social status and pride play crucial roles in the characters’ lives. The novel shows how the pursuit of wealth and high social standing can sometimes lead to destructive consequences, both for individuals and their families. While these ambitions can have positive aspects, the characters’ excessive pride and focus on social status often lead to conflict and tragedy.
The narrator highlights how his family’s social standing and pride have both helped and harmed them. His education and family’s status have been beneficial, but they have also caused rifts and issues. For instance, Ila’s mother, nicknamed Queen Victoria, is particularly proud. She hires a nanny named Lizzie, who speaks English and Hindi, but Queen Victoria insists on speaking to her in a condescending, made-up language. This act reflects her desire to show off her own social superiority and belittle Lizzie, who is simply from a poorer background.
Tha’mma, the narrator’s grandmother, also exemplifies the consequences of pride. After her husband dies and leaves her to care for their son alone, Tha’mma refuses to seek help from her wealthy relatives due to her pride. Instead, she secures a teaching job and becomes self-sufficient. However, her pride leads her to criticize her relatives for not helping her, even though she had rejected their assistance.
Later, Tha’mma’s nationalism and pride become even more pronounced. Following the Partition of India, she becomes obsessed with her identity as an Indian and engages in activities driven by her intense sense of nationalism, which leads her to take drastic measures, including selling her gold chain to fund the fight against Muslims. This obsession with social standing and identity ultimately drives her to madness.
The novel also explores how pride can damage relationships within a family. When Tha’mma and her sister Mayadebi were young, their family split into two factions over a disagreement. Their father and uncle decided to divide their large house in Dhaka and never speak again. Tha’mma sees this division as a result of their excessive pride. The two halves of the family cut off contact and continued to live separately. When Tha’mma returns to the house as an old woman, she finds Jethamoshai, her uncle, still consumed by the conflict and unable to move past it. His pride and stubbornness have led to his own downfall and the loss of family connections.
Tha’mma’s views on social status also impact her relationship with her grandson. She believes in making the most of one’s social standing, which leads her to disapprove of Tridib, who she feels squanders his opportunities by not conforming to societal expectations. Tha’mma’s disappointment is so great that, before her death, she tries to sabotage her grandson’s future by writing a letter accusing him of misconduct. This action is driven by her resentment towards her grandson’s love for Ila, who rejects her privileged background by embracing radical political ideas in London. Tha’mma’s attempt to undermine her grandson’s education shows how her pride and obsession with social standing can harm even those she loves.
Through these examples, the novel illustrates the negative effects of excessive pride and the obsession with social status. While the desire for social standing can be understood, the means of achieving and maintaining it can lead to personal and familial destruction. The story ends with a poignant message about the ways pride and social status can tear families apart, showing that while the motivations behind these desires can be relatable, the consequences are often severe and damaging.
Borders, Riots, and Political Impact:
In The Shadow Lines, the story revolves around riots that occurred in Calcutta, India, and Dhaka, East Pakistan, during late 1963 and early 1964. The narrator, who is in his late twenties or thirties, eventually learns that Tridib, his beloved uncle, was killed in the Dhaka riots. This shocking discovery forces him to reassess how these riots affected his life and how they were more significant than he initially understood.
The novel highlights the impact of British colonialism and the political boundaries established when British India gained independence in 1947. The British divided the territory into three separate countries based on religion: Hindu-majority India, and Muslim-majority East and West Pakistan (now Bangladesh and Pakistan, respectively). This division created a new reality where people in India, like the narrator, were largely unaware of the political and social issues happening just across the border in East Pakistan.
For the narrator, cities within India, even if far away, were always a part of his awareness, while places just a short distance away but across national boundaries seemed distant and irrelevant. The novel illustrates how these political borders and the legacy of colonialism shaped people’s perceptions and experiences, creating divides that had real and often tragic consequences.
The Theme of Silence:
Silence is a powerful theme in The Shadow Lines. As the novel progresses, the narrator reflects on how silence surrounds major events and personal losses, making it difficult to truly understand or communicate the impact of these moments.
Near the end of the book, the narrator notes that both the Indian and Pakistani governments seemed eager to let the riots of the 1960s be forgotten. They avoided discussing the violence and unrest that occurred, allowing it to fade from public memory. This silence from the authorities contrasts with the profound impact of the riots on individuals and families.
The narrator also struggles with his own silence. He finds it challenging to talk about Tridib’s death. He feels that no words can fully express the depth of his loss or adequately explain the tragic events surrounding Tridib’s death. His attempts to recount the events through his account, newspaper stories, and official speeches all fall short of providing the comfort or closure he seeks.
In both cases, the theme of silence highlights how difficult it is to capture the essence of significant historical events or personal grief. The novel shows that sometimes, words and public discourse are insufficient in addressing the true magnitude of such experiences, leaving behind a sense of unresolved silence.
The Shadow Lines: A Comprehensive Critical Analysis delves deeply into Amitav Ghosh’s intricate narrative, exploring the themes of memory, identity, and the blurred boundaries between nations and individuals.
The Complex Nature of Love:
In The Shadow Lines, love is a central theme, exploring how romantic relationships affect individuals and their choices. The novel reveals different kinds of love and how they can lead to both joy and pain.
The narrator begins by sharing his unrequited love for his cousin Ila. He feels hurt by the emotional distance she maintains and becomes jealous of her relationship with Nick Price. When he accidentally confesses his feelings, Ila responds with pity but continues her relationship with Nick. Despite her deep feelings for Nick from a young age, Ila finds herself hurt by his unkind treatment and infidelity. Even after discovering his multiple affairs, she chooses to stay with him, preferring to cling to a fantasy of happiness rather than face the reality of starting over.
Another significant love story in the novel is the relationship between Tridib and May Price. They develop feelings for each other through their letters, and their connection appears to be the most genuine of all the relationships depicted. Tridib’s love for May leads him to make a great sacrifice—he risks his life to save her from a violent mob. This act of love haunts May, showing how deeply their relationship affected them both.
Overall, the novel portrays love as complex and often turbulent. Characters are driven by their emotions to protect and support others, even when it might not be the best decision. This exploration of love highlights its power to shape lives and influence choices, demonstrating that love, in all its forms, can be both beautiful and painful.
Nationalism and Identity:
Nationalism is a key theme in The Shadow Lines, and the novel explores how different characters relate to their national identity in varied ways.
The narrator’s grandmother, Tha’mma, embodies a strong sense of nationalism. She is deeply passionate about her country and its political struggles. Her fervor becomes almost obsessive, to the point where, by the end of her life, her devotion to her nation overshadows all other relationships. Tha’mma’s sense of nationalism drives many of her actions, including her intense reaction to the political situation in her homeland.
In contrast, Ila rejects her upbringing and the political climate of Calcutta. She moves to England, believing that it offers her the freedom and opportunities that India cannot. Ila’s decision reflects her desire to escape the limitations she feels are imposed by her national identity and environment. For her, England represents a place where she can live freely, apart from the national issues she wishes to leave behind.
The narrator himself adopts a more neutral perspective. He recognizes that extreme nationalism can lead to justification for violence and conflict. By the end of the novel, he reflects on the riots in Calcutta, Dhaka, and Khulna, noting that those involved in the violence often believe they are fighting for a just cause. This observation highlights how nationalist sentiments can sometimes lead people to rationalize harmful actions, believing they are serving a greater good.
Overall, the theme of nationalism in The Shadow Lines shows how different characters grapple with their sense of national identity, influencing their actions and perspectives throughout the novel.
Characters:
The Narrator:
The narrator of The Shadow Lines was born in Calcutta, India, in 1953. He grew up in a close-knit family, living with his parents and his grandmother, Tha’mma. His childhood in Calcutta was filled with stories, mostly told by his favorite uncle, Tridib. Tridib would often show him faraway places on a map and share memories of living in London as a child. These stories became a window to the world for the narrator, who never traveled outside of Calcutta during his childhood. He admired Tridib’s way of seeing the world, which sparked his imagination and shaped his understanding of life.
However, the narrator’s deep connection to Tridib’s stories created a challenge when it came to his cousin Ila, whom he loved romantically. Ila had traveled extensively as a child, so she didn’t feel the same need for stories as the narrator did. This difference often frustrated the narrator, as he struggled to make Ila see the value and importance of the stories that meant so much to him. He and Tridib eventually concluded that Ila’s extensive travels meant she experienced the world firsthand, while the narrator had to rely on stories to understand it.
Throughout his life, the narrator often appeared self-centered, focused on his own emotions and experiences. Yet, he was also keenly aware of his family’s dynamics, understanding, for example, that his grandmother, Tha’mma, had a strong sense of pride. He used this knowledge to navigate his relationships within the family.
When Ila mentioned an English boy named Nick Price, the narrator quickly realized that Nick was his rival for Ila’s affection. This realization was painful for him, especially when Ila and Nick eventually got married. The narrator felt trapped by his unrequited love for Ila, knowing that she would never love him in the same way.
Years later, while living in London, the narrator reconnected with Ila, Nick’s sister May, and their cousin Robi. He had a brief and confusing sexual encounter with May, who had once been romantically involved with Tridib. During this time, May revealed to the narrator the true circumstances of Tridib’s death in Dhaka. This revelation helped the narrator understand that the terrifying riot he witnessed in Calcutta in 1964 was strikingly similar to the one that took Tridib’s life in Dhaka. This connection deepened his understanding of the world and his place in it.
Tridib:
Tridib is the narrator’s uncle, a man with a gift for storytelling. He is about twenty years older than the narrator and plays a significant role in shaping the narrator’s view of the world. Tridib often shares stories from the time he lived in London with the Price family, describing places and events so vividly that the narrator, years later, is able to navigate London using Tridib’s memories as a guide.
Tridib’s stories are not just tales; they are detailed journeys that make far-off places feel real. He uses an atlas to show the narrator where the places he talks about are located, turning his stories into a bridge between imagination and reality.
Unlike the rest of his family, Tridib doesn’t follow in his wealthy father’s footsteps by pursuing a high-powered, international career. Instead, he stays in his grandmother’s home in Calcutta and dedicates himself to earning a PhD in archaeology. Tridib is unique in his family for choosing a path driven by passion rather than wealth or status.
When Tridib is 27 years old, he begins writing letters to May, the daughter of Mrs. Price, the woman he stayed with in London as a child. May was just a baby when Tridib lived in London, but their correspondence continues for several years.
In one of his letters, Tridib shares a very detailed and personal story about witnessing strangers having sex and invites May to visit India. When May eventually accepts his invitation and arrives in Calcutta, she is surprised and relieved to find that Tridib, despite his intense letters, is actually shy and youthful in appearance. Though it’s clear that Tridib loves May deeply, he struggles to express his feelings and is unsure of how to act around her.
Tridib’s life takes a tragic turn when he accompanies May and Tha’mma, the narrator’s grandmother, to Dhaka, where they visit Tha’mma’s ancestral home. During their visit, a violent riot breaks out.
In a brave but doomed effort to protect May, their elderly relative Jethamoshai, and their family servant Khalil, Tridib is brutally murdered by an angry mob. His death is a shocking and devastating event that leaves a lasting impact on those who loved him. May, the narrator, Tha’mma, and Robi, Tridib’s younger brother, are all haunted by his loss for many years, each grappling with the memory of his courage and the tragedy of his untimely death.
Tha’mma:
Tha’mma is the narrator’s grandmother. When she was young in British India, she was eager to join the revolutionary groups fighting for India’s independence. However, after the Partition in 1947, she found herself too occupied with raising the narrator’s father as a single parent to think much about her previous ambitions. After her husband’s death, Tha’mma became very independent and refused help from anyone, including her younger sister, Mayadebi. Over time, Tha’mma convinced herself that her relatives were unwilling to help her, leading her to distance herself from much of her family.
Throughout the novel, Tha’mma is depicted as cautious about family relationships. This wariness stems from childhood experiences of seeing her father and uncle have a bitter feud that resulted in them building a wall through their house to separate themselves. Tha’mma values using time efficiently, a habit developed from having to support herself and educate her son alone. This mindset makes her critical of Tridib, whom she perceives as a gossip.
After retiring, Tha’mma withdraws from active involvement in the household, leaving its management to the narrator’s mother. In a significant change of character, in her early sixties, Tha’mma feels compelled to bring her elderly uncle Jethamoshai back to India due to rising tensions between India and Pakistan. The idea of returning to Dhaka is challenging for her; she struggles to understand the purpose of the Partition if the border is not even visible and is troubled by the realization that her birthplace, Dhaka, is now part of East Pakistan.
Following the deaths of Jethamoshai and Tridib in a riot, Tha’mma sells her beloved gold chain to support the war effort against Pakistan. As she ages and her health declines, she becomes increasingly harsh towards the narrator and even calls Ila a whore.
Ila:
Ila is the narrator’s cousin, and though their families often joke that they could be twins, they are very different in both personality and experiences. Ila grows up in a wealthy family and lives in various foreign cities throughout her childhood. This exposure to different cultures makes her less interested in the stories told by their uncle, Tridib, which the narrator finds captivating. Ila’s transient lifestyle causes her to crave consistency, which she finds in small things, like remembering where every ladies’ restroom is in airports.
During her time in London, Ila lives at Mrs. Price’s house and attends school with Nick Price, Mrs. Price’s son. When she visits Calcutta and plays with the narrator, she indirectly hints at the bullying and mistreatment she faced for being Indian, but the young narrator doesn’t fully understand her pain until much later. This traumatic experience shapes Ila’s understanding of freedom and identity.
Because Ila spends her formative years in Western cities, her idea of freedom is quite different from that of the narrator and their other cousin, Robi. Ila expresses her freedom by talking openly about her relationships and dressing in a way that seems exotic to the narrator, mostly in jeans and t-shirts. Despite the narrator’s long-standing romantic feelings for her, Ila either doesn’t notice or doesn’t care, and their relationship remains distant.
In London, Ila briefly explores Trotskyism, a political theory, and tells the narrator that nothing significant happens in India from a global perspective. Her sense of detachment from her homeland is further highlighted when she marries Nick Price. However, this marriage soon turns out to be a mistake, as Nick is unfaithful and maintains relationships with other women. Although Ila confides in the narrator about her struggles, she later dismisses these confessions, claiming that she fabricated the entire story and that Nick would never harm her.
Ila’s character is a reflection of the confusion and conflict that arise from living between cultures. Her search for freedom, both personal and political, leads her down paths that ultimately leave her feeling more isolated and misunderstood.
May Price:
May Price is Mrs. Price’s daughter and was a baby when Tridib and his family stayed with her family in London in 1939. She is at least ten years older than her younger brother, Nick. As an adult, May becomes a professional oboist, playing in an orchestra. Later in life, she also works for charitable organizations that help provide housing and disaster relief in developing countries.
When May is 19, she starts a correspondence with Tridib, which lasts for four years. Their communication leads to a visit to India. During this visit, May and Tridib spend time together, often with the narrator, who is eleven at the time. They visit tourist sites and enjoy each other’s company, but May remains uncertain about her feelings for Tridib.
Towards the end of her visit, May travels to Dhaka with Tridib and Tha’mma to see Tha’mma’s ancestral home. When a riot erupts, May initially believes that being English will keep her safe and gets out of the car. Tridib, however, leaves the car to protect her and his great-uncle Jethamoshai and is killed by the mob. May is haunted by the incident, wondering if she unintentionally caused Tridib’s death. She eventually comes to believe that Tridib sacrificed himself for her.
As a result of her experiences and guilt, May adopts strict habits like sleeping on the floor and fasting one day a week. In the 1980s, she reconnects with the narrator and shares her doubts about whether she truly loved Tridib and her fears about the riot. Despite their difficult past, she invites him to be intimate with her after recounting her version of the events.
Nick Price:
Nick Price is introduced to the narrator by Ila when they are children. Ila tells the narrator stories about Nick from her time in London when her family stayed with his. Nick is older than Ila, with blonde hair and a carefree attitude. Even though the narrator doesn’t meet Nick until they are adults, he always feels like he is competing with Nick for Ila’s affection. This creates a sense of rivalry in the narrator’s mind, as he sees Nick as a shadow he must grow up under, constantly aware of Nick’s presence through Ila’s stories.
As a child, Ila idolizes Nick, and they likely spent time playing together in London. However, despite their closeness, Nick failed to defend Ila when she faced racial discrimination, revealing a significant flaw in his character. This lack of support during a critical moment hints at Nick’s deeper indifference, which becomes more apparent as he grows older.
In adulthood, Nick drifts through life, taking advantage of the opportunities that come his way because of his privileged background. Unlike others who might have to struggle, Nick seems to float along, not really striving for anything substantial. His sister, May, suggests that Nick might have been fired from his last job due to embezzlement, further highlighting his irresponsible and morally questionable behavior.
When Nick and Ila get married, their relationship quickly becomes troubled. Ila soon discovers that Nick has multiple girlfriends and doesn’t intend to give up any of them. This betrayal deeply hurts Ila, but instead of leaving him, she chooses to stay. However, Ila doesn’t simply accept Nick’s behavior; she finds ways to punish him subtly, such as embarrassing him at dinner parties, as a way to express her anger and frustration.
Shaheb:
The Shaheb is Mayadebi’s husband and a key figure in the narrator’s family. He is a wealthy, elegant, and dignified man who holds an important position within the family. His status earns him the admiration and respect of nearly everyone, except for Tha’mma, the narrator’s grandmother.
Tha’mma harbors a strong resentment towards the Shaheb. She believes that he might be an alcoholic, although it is never confirmed if he truly smells of alcohol. Tha’mma sees him as weak and suspects that Mayadebi, his wife, is the one who truly manages everything in their life. Her frustration is also fueled by the Shaheb’s extensive wardrobe, which she finds excessive. As a diplomat, the Shaheb needs various styles of clothing for different occasions and locations, which Tha’mma sees as unnecessary and extravagant.
Despite Tha’mma’s disapproval, the Shaheb is a kind and thoughtful man. He goes out of his way to engage women in conversations about topics that matter to them, which makes him particularly endearing to the narrator’s mother. His kindness and considerate nature make him a beloved figure in the family.
In 1939, the Shaheb moves his family to London, where he needs to undergo an operation. This move underscores his role as the provider and protector of his family, even as Tha’mma questions his strength and character.
Mayadebi:
Mayadebi is Tha’mma’s younger sister, and the two women are often described as being like reflections in a mirror, though their lives take different paths. Mayadebi marries the Shaheb, a wealthy diplomat, which allows her to live a life of travel and luxury. This fortunate marriage takes her to various places, including London in 1939, where she goes with her nine-year-old son, Tridib. She has two other sons—Jatin, her oldest, and Robi, her youngest, who is only slightly older than the narrator.
Mayadebi is a beautiful and shy woman, who often worries about her son Tridib’s safety, especially while they are in London during the early days of World War II. Despite her fortunate circumstances, Mayadebi has a gentle and caring nature. When Tha’mma’s husband dies, Mayadebi offers to help her older sister, but Tha’mma, who is fiercely independent, refuses the assistance.
Tha’mma often thinks of Mayadebi as somewhat naive or foolish. For instance, Mayadebi used to believe in scary stories and was convinced by Tha’mma that their uncle Jethamoshai’s side of the house was completely upside-down—a tale that Mayadebi believed when they were young.
Even with her perceived naivety, Mayadebi remains a supportive sister. When Tha’mma visits her in Dhaka, Mayadebi agrees to take her to their ancestral home, fulfilling Tha’mma’s deep-seated wish to reconnect with their family roots. However, during the visit and the chaos of the riot that follows, Mayadebi is mostly silent, her usual gentle nature overshadowed by the tragic events.
After the tragic death of Tridib in the riot, Mayadebi honors his memory by giving the narrator Tridib’s atlas, a cherished item that holds the stories and places Tridib loved so much. This act shows her deep love for her son and her desire to pass on his legacy to someone who also cherished him.
Jethamoshai:
Jethamoshai is the uncle of Mayadebi and Tha’mma. When the sisters were young, they knew him as an eccentric and difficult man. His bony, thin frame and sharp, piercing eyes made him seem both strange and a little scary. Despite his oddities, he was sometimes hard to take seriously.
Many years before the events of the novel, Jethamoshai had a bitter feud with the girls’ father. Both were lawyers, and their disagreements eventually led to them deciding to build a wall right through their shared house. This wall physically separated the two sides of the family, and after it was built, they stopped speaking to each other altogether. Over the next fifty years, Jethamoshai held onto his pride and anger, refusing to reconcile with his brother’s family.
Jethamoshai’s stubbornness was so strong that he even chased some of his own relatives out of the house and allowed Muslim families to move in instead. One of these families was Khalil’s family, who took care of Jethamoshai in his old age. By the time Mayadebi and Tha’mma return to bring him back “home” to India, Jethamoshai is a senile old man in his nineties, still full of spite and bitterness.
He is only convinced to leave the house when he’s told that he’s finally going to court to fight for ownership of the house—a battle that he believes he can win even in his old age. However, tragedy strikes when, just minutes after leaving the house, Jethamoshai is brutally murdered by a mob.
Robi:
Robi is the narrator’s uncle, though he is only a few years older than him. When his parents, Mayadebi and Shaheb, moved to Dhaka in 1963, Robi went along with them. At the age of thirteen, he joined his family, including his mother, aunt, Tridib, and May, on a trip to retrieve Jethamoshai from his childhood home. During this trip, Robi witnessed a riot that led to Tridib’s tragic death. This traumatic event left him with post-traumatic stress disorder (PTSD) and recurring nightmares that continue to affect him into adulthood.
As a student and later as an adult, Robi is known for his strong sense of moral duty. The narrator describes him as having an unusually strict adherence to rules, sometimes following even the most unreasonable ones. Despite his leadership role in college, where he is well-known as a prominent figure among students, Robi does not take part in protests or demonstrations, due to his respect for rules and order. His rigid attitude often annoys Ila, who finds his attempts to impose traditional Indian values on her both tiresome and offensive.
Queen Victoria:
Queen Victoria, also known as Ila’s mother, is married to Jatin, an economist. She earned her nickname because she often sits with a proud and regal demeanor, reminiscent of the famous British monarch. Queen Victoria is known for her extravagant lifestyle, including keeping many servants.
One of her peculiar habits is creating silly, made-up languages to speak to her servants. She does this to make them feel confused and inferior, and she seems to enjoy their responses, whether human or animal. For example, she allows a large monitor lizard to live in her garden simply because it flicks its tail when she talks to it, which she believes is a sign that it understands her special language.
The Narrator’s Mother:
The narrator’s mother is a skilled and proud housewife. She takes great pride in her ability to manage her home efficiently. Her confidence is briefly tested when her mother-in-law, Tha’mma, retires and starts spending more time at their house. However, she quickly reasserts her control over the household.
Despite her competence, the narrator’s mother and Tha’mma often clash. Tha’mma had given her a lot of jewelry when her husband passed away, but Mother is not interested in such things and prefers a practical approach to life. This difference in values causes tension between them. When Tha’mma is in a difficult mood, Mother avoids direct confrontation by sending her son to handle the situation.
Mrs. Price:
Mrs. Price is the mother of May and Nick. She and her husband, Snipe, live in West Hampstead, London. When Tridib was a child, just before World War II, Mrs. Price and Snipe generously took him and his family into their home.
Years later, when the narrator meets Mrs. Price, she is elderly and tires easily. Despite this, she still enjoys having guests from India. Over the years, Mrs. Price and her husband have been very generous, providing lodging for several members of the narrator’s family, including Ila’s family.
Symbols:
The Story of the Upside-Down House: A Symbol of Division:
The tale of the upside-down house in The Shadow Lines serves as a powerful symbol of how borders and the stories people create about them can divide and polarize. After Tha’mma’s father and her uncle, Jethamoshai, put up a wall to split their house in half, Tha’mma begins telling her younger sister, Mayadebi, a strange story. Because Mayadebi was too young to remember the house before it was divided, Tha’mma tells her that their aunt, uncle, and cousins on the other side of the wall live in an upside-down world. She insists that they drink tea out of buckets and eat dinner at breakfast time.
Over time, Tha’mma almost starts to believe this wild story herself, mainly because she never visits the other side of the house after the wall is built. Through this story, Tha’mma convinces herself that the people living on the other side of the wall are entirely different from her, even though they are, in reality, just like her—they are family.
This story reflects how borders, whether physical or imagined, can make people see others as completely different, even when they are not. It shows how the stories we tell about those on the “other side” can deepen divides, even when, at the core, we share more similarities than differences.
The Brick Lane Photographs: A Glimpse into the Past:
In the early part of The Shadow Lines, the narrator talks about some old photographs that include Tresawsen. He explains how these photos were taken in a time when cameras were treated with great care, so the people in the pictures appear more formal and posed. The narrator then describes the relationships between the people in the photographs, drawing on Tridib’s memories of living in the house where the photos were taken.
However, the narrator points out that these photographs, while capturing a moment in time, cannot convey the deeper emotions and experiences of the people in them. He emphasizes that most of the people in the pictures would pass away not long after the photos were taken. In this way, the photographs symbolize the idea that the past is something we can never fully grasp or understand. They offer only a brief and distant view of people from another time, without providing a way to truly know what their lives were like.
Batholomew’s Atlas: A Symbol of Connection
In The Shadow Lines, Batholomew’s Atlas symbolizes the deep connections between historical events. Towards the end of the novel, the narrator looks at an atlas that Tridib had given him when he was young. He notices how the cities of Khulna, Dhaka, and Calcutta seem far apart on the map.
However, the narrator reflects on how, on the day Tridib died, the distances between these cities seemed to disappear. The riots in Khulna triggered riots in both Dhaka and Calcutta, showing how major events can link cities across great distances. The atlas, therefore, symbolizes how hidden connections between significant events can transcend physical space and reveal a larger, interconnected reality.
Literary Devices:
Allusions:
The novel alludes to multiple major historical events including the Partition of India, the Riots of 1962-64, and the London Blitz.
Metaphor:
Looking-Glass Border:
At the novel’s end, the narrator uses the metaphor of a “looking-glass border” to describe the connection between Calcutta and Dhaka on the day Tridib died. He suggests that the two cities were so closely linked that being in Calcutta was like looking into a mirror to see Dhaka. This metaphor highlights how the events in one city mirrored those in the other, creating an eerie symmetry. The “looking-glass border” emphasizes the uncanny reflection of violence and turmoil across two distant locations.
In The Shadow Lines: A Comprehensive Critical Analysis, readers will find a detailed examination of Ghosh’s portrayal of historical events and their impact on personal lives, offering new perspectives on this modern classic.
Volcano of Silence:
In the novel The Shadow Lines, the metaphor “volcano of silence” is used to describe how the riots gradually disappeared from public awareness. The narrator reflects on how, by the end of January 1964, the riots had faded from newspapers and public conversation, becoming almost forgotten. The term “crater” indicates that the events have vanished from view, while “volcano” suggests that this silence is not truly peaceful but rather a temporary lull. Like a dormant volcano, this silence might erupt again, implying that the situation is not resolved but merely quiet for now.
Simile:
Like a Toothbrush:
The narrator compares time to a toothbrush, saying that for his grandmother, “time was like a toothbrush: it went mouldy if it wasn’t used.” This simile illustrates her belief that wasted time leads to a meaningless life. Just as a toothbrush becomes dirty and useless if not used, time that isn’t used purposefully becomes worthless. Her point is that people need to make the most of their time; otherwise, it loses its value.
Red like Lipstick:
When Ila describes a boy at her school who received a BMW sports car for his birthday, she says it is “red, like lipstick.” This simile helps convey the bright, striking color of the car. By comparing the car to lipstick, Ila emphasizes its bold and eye-catching appearance. It also reflects the boy’s desire to stand out and the image that Ila wants to project about him.
Like Veteran Soldiers:
During a concert in London, the narrator observes that May and the other musicians play with “a bored mechanical precision, very much like veteran soldiers going through a familiar exercise at their sergeant-major’s command.” This simile highlights that while May plays her music skillfully, she does so with a lack of enthusiasm. The comparison to veteran soldiers emphasizes that her performance is routine and lacks emotional engagement, despite her expertise.
Situational Irony:
Narrator’s Grandmother Causes Multiple Deaths:
In the second part of the novel, the narrator’s grandmother is determined to bring her uncle back from Dhaka, believing this will reunite her family. Her strong desire to reconnect her family leads them on a dangerous trip to Dhaka. However, the situation turns tragic when her uncle, Jethamoshai, and his caretaker Khalil are killed by a violent mob. In a twist of situational irony, the grandmother’s intention to bring her family together results in a horrifying tragedy that permanently tears them apart.
Ila Wants to Be Free:
Ila moves to London, believing it to be the place where she can escape the constraints of her life in Calcutta and her family’s traditional views. Initially, she seems content with her new life and her marriage to Nick Price. However, she soon discovers that Nick is unfaithful and dishonest, which makes her feel trapped in a different way. This situation is ironic because Ila sought freedom from her old life but ended up in a situation that mirrors the constraints she was trying to avoid.
Shaheb’s Promotion Allows the Narrator’s Grandmother to Go to Dhaka:
The narrator’s grandmother has a low opinion of Shaheb, Tridib’s father, thinking he’s ineffective in his job and as a husband. When she learns that Shaheb has been promoted, she is initially dismayed. However, her attitude changes when she finds out that the promotion will enable her to travel to Dhaka to see her uncle. This situation is ironic because the promotion of someone she views as incompetent allows her to pursue a goal she had long desired.
Robi Is Admired For His Decisiveness:
Robi is praised at his school for his strong convictions and his ability to stick to his values, even when faced with opposing opinions. However, this admiration turns ironic when Ila points out that Robi behaves inconsistently. She notes that while he avoids drinking in Calcutta, he drinks heavily at his university abroad. This situation reveals that Robi’s commitment to his values is not as steadfast as it seemed, showing an ironic contrast between his public image and private behavior.
Imagery:
Auditory Imagery: Children’s Cries
When the narrator visits London, he goes to Sumatra Road to see a house Tridib had told him about. He’s surprised to find it still standing despite the bombings. The scene is lively and vivid: “But despite that, I still could not believe in the truth of what I did see: the gold-green trees, the old lady walking her Pekinese, the children who darted out of a house and ran to the postbox at the corner, their cries hanging like thistles in the autumn air.” The sound of the children’s cries adds a lively and vivid contrast to the narrator’s earlier, perhaps somber, expectations of the area.
Haptic Imagery: Ila’s Warmth
When Ila understands that the narrator loves her, she comforts him with a tender gesture before leaving to be with Nick. She leans in to kiss him on the chin, and he feels the warmth of her body against his: “I felt the warmth of her body over mine as she leant to kiss me on my chin.” This touch conveys her affection and his deep, lingering feelings for her, even as she leaves him.
Visual Imagery: Sunlight on the Leaves
In London, the narrator is struck by the serene beauty of a quiet street. He describes the scene vividly: “The trees were a pale honey-green—the colour of English greenery—but gentler still now, gilded by the steep afternoon sunlight.” The image of sunlight bathing the leaves in a golden glow captures how deeply the peaceful scene affects him, showing how memorable the street is to him.
Olfactory Imagery: Smoke and Soap Smell
The narrator recalls Tridib’s unique scent: “Then Tridib relaxed a little and leant back, smelling as he always did of fresh cigarette smoke and soap.” The combination of these two distinct smells creates a strong and vivid memory of Tridib. This olfactory image highlights how memorable and impactful Tridib’s presence was to the narrator.
Quotes:
Judgments of that kind came very easily to Ila, because to her morality could only be an …… why Robi would feel himself defiled, drinking in a nightclub, surrounded by paunchy men with dark-pouched eyes.
-Narrator
In these lines, Ila criticizes Robi for being a hypocrite. She thinks that if someone does something in one place but refuses to do it in another, like drinking at college but not at a nightclub, it shows inconsistency in their beliefs.
For Ila, this kind of behavior is very unappealing because it seems like the person is just trying to maintain appearances rather than following true moral values. The narrator also highlights how Robi’s life is divided between two worlds: his life in India and his life abroad. These two parts of his life follow very different rules, which explain his conflicting actions.
So that was what I told my grandmother as she lay in her sickbed, glaring at me; I told her that Ila lived in London only because she wanted to be free. But I knew I had made a mistake the moment I said it; I should have known that she would have nothing but contempt for a freedom that could be bought for the price of an air ticket. For she too had once wanted to be free; she had dreamt of killing for her freedom.
-Narrator
In these lines, the narrator reflects on a crucial conversation with his grandmother. He explains to her that Ila lives in London because she wants to be free, something she couldn’t fully achieve in India. However, he quickly realizes that this explanation was a mistake. His grandmother, who had once dreamed of fighting for her own freedom, views Ila’s choice with contempt. To her, freedom is something earned through struggle and sacrifice, not something that can be easily obtained by moving to a different country.
The narrator understands that his grandmother’s hatred of Ila’s freedom is deeper than just disapproval; it stems from her own inability to escape her past and the choices she made, which ultimately led to tragic consequences. His grandmother’s disdain for Ila is tied to the pain and regret of her own life, where true freedom was never within her reach.
I would wonder why a girl had attempted suicide exactly nine times to get back the man she loved; why I had been driven to count all the yards that I had walked when I went to see Ila. I could think of no answer, …. that if we heap them high enough, we shall, in the end, be able to approximate that state metaphorically.
-Narrator
In these lines, the narrator reflects on the complex and often contradictory nature of love. He observes that people, including himself, try to quantify love, assigning it value or numbers in an attempt to make it more understandable or manageable. By counting the yards he walked to see Ila or questioning why a girl would attempt suicide nine times for love, the narrator highlights how love defies logic and justice. He suggests that love, being so unpredictable and overpowering, stands in direct opposition to the idea of justice, which is rooted in fairness and balance.
The narrator implies that people attempt to rationalize love by measuring it against tangible things—like diamonds or career sacrifices—in hopes of taming its chaotic nature. However, this effort to make love seem normal or justifiable only underscores its powerful and sometimes destructive force. The passage reveals the narrator’s realization that love is an uncontrollable emotion, often leading people to actions and thoughts that defy reason and justice.
It is a fear that comes of the knowledge that normalcy is utterly contingent, that the spaces that surround one, the streets that one inhabits, can become, suddenly and without warning, as hostile as a desert in a flash flood. It is this that sets apart the thousand million people who inhabit the subcontinent from the rest of the world—not language, not food, not music—it is the special quality of the loneliness that grows out of the fear of the war between oneself and one’s image in the mirror.
-The Narrator
In these lines, the narrator reflects on the fragile nature of normalcy, particularly in the context of life on the subcontinent. He describes a deep-seated fear that arises from the awareness that what seems stable and familiar can suddenly become dangerous and hostile, much like a desert experiencing a flash flood. This fear, he suggests, is a unique aspect of life for the people living on the subcontinent, where the threat of social upheaval and violence is always present, even in seemingly peaceful times.
The narrator emphasizes that this fear is not rooted in differences of language, food, or music, but rather in the profound loneliness that comes from knowing how quickly life can change. This passage captures the ever-present tension and vulnerability that defines the lives of those on the subcontinent, highlighting how the fear of sudden violence shapes their experience of everyday life. The narrator’s observation that peace is “contingent” underscores the idea that social order is precarious and can be disrupted at any moment, leaving a lasting impact on the collective psyche.
But I knew I had made a mistake the moment I said it; I should have known that she would have nothing but contempt for a freedom that could be bought for the price of an air ticket. For she too had once wanted to be free; she had dreamt of killing for her freedom.
-Narrator
In these lines from The Shadow Lines, the narrator reflects on a significant mistake he made while speaking to his grandmother. He realizes too late that his comment about Ila’s freedom, which was achieved simply by moving to London, would be met with scorn. His grandmother’s disdain stems from her own deep and painful understanding of freedom, which she had once been willing to fight and even kill for during the struggle for independence. To her, freedom is not something that can be easily obtained or bought with an air ticket; it is something profound, hard-won, and tied to sacrifice.
The narrator’s remark highlights the generational and ideological gap between him and his grandmother. It also emphasizes the complexity of freedom—how its meaning can vary drastically depending on one’s experiences and the context in which it is sought. This passage illustrates the tension between different understandings of freedom and the personal histories that shape those views.
I began to marvel at the easy arrogance with which she believed that her experience could encompass other moments simply because it had come later; that times and places are the same because they happen to look alike, like airport lounges.
-Narrator
In this passage from The Shadow Lines, the narrator reflects on how a character, likely Ila, demonstrates a kind of arrogance by assuming that her experiences can fully grasp and explain other moments in time, simply because they occurred afterward. The narrator is struck by her simplistic thinking, as she believes that different times and places are essentially the same if they appear similar on the surface, much like how airport lounges can look alike despite being in different countries. This reveals her superficial understanding of the complexities of time, place, and experience.
The narrator seems to critique this attitude, emphasizing that deeper, more meaningful differences exist beyond what is immediately visible. This analysis points out the narrator’s growing awareness of how such an oversimplified view fails to capture the true essence of diverse experiences and histories.
For those seeking to understand the deeper meanings behind Ghosh’s work, The Shadow Lines: A Comprehensive Critical Analysis is an essential resource that sheds light on the novel’s rich symbolism and thematic depth.
