An
Examination of Ecological Perspectives in Amitav Ghosh’s The Hungry Tide
S. Jayamohan,
Assistant Professor,
Department
of English,
Sona College of Arts and Science,
Tamil Nadu, India
Abstract: Over the past decade, many literary writers
have increasingly focused on the previously
under explored and dynamic relationship between humans and nature. This
evolving interest highlights the
significance of ecology and eco-critical approaches in literature. Contemporary writers, such as Amitav Ghosh have
incorporated pressing environmental issues into their works, drawing attention to the challenges
facing ecosystems today. Ghosh’s novel The Hungry Tide, set in the Sundarbans the Beautiful Forest spans over ten thousand
square kilometers and narrates the
history of the forced displacement of refugees from the island of Morichjhapi.
Central themes in the novel include
environmentalism, destabilization, and the complex interplay between human activities and the natural
world. In Ghosh’s portrayal, the physical environment is not just a backdrop, but an active force that
interlinks plant, animal, and human life, with each element influencing the other in both direct and indirect ways. The
purpose of my paper is to offer an ecological
analysis and an eco-critical reading of The Hungry Tide, exploring how Ghosh’s narrative challenges the conventional
boundaries between humans and nature and underscores the urgency of environmental awareness.
Keywords: Ecology, Eco-critical reading,
Displacement, Destabilization, Ecosystems, Human impact
Amitav
Ghosh is widely regarded as one of the foremost novelists in contemporary
Indian English Literature. Born on July 11, 1956, in Kolkata, Ghosh spent his
childhood in India, Sri Lanka, and Bangladesh. He completed his schooling at
the prestigious Doon School in Dehradun, and later pursued his higher education
at St. Stephen’s College, Delhi University, followed by the Delhi School of
Economics. Ghosh won the Inlaks Foundation Scholarship for a D.Phil. in Social
Anthropology at St. Edmund Hall, Oxford University. His career began in
journalism with the Indian Express in Delhi, after which he transitioned to
academia, teaching at various colleges and universities.
In
recognition of his outstanding contributions to literature, Ghosh was awarded
the Padma Shri by the Indian government in 2007. His literary works have left
an indelible mark on Indian English literature and can be categorized into two
main genres: fiction and non-fiction. Some of his most notable works in fiction
include The Shadow Lines, The Calcutta
Chromosome, The Glass Palace, The Hungry Tide, The Ibis Trilogy, and Gun Island. His non- fiction works,
which cover a wide range of topics, include In
an Antique Land, Dancing in Cambodia and At Large in Burma, Countdown, The Imam
and India, and The Great Derangement:
Climate Change and the Unthinkable.
In The Hungry Tide, Ghosh masterfully
intertwines two major narratives. The first explores the plight of displaced
refugees particularly a group from Bangladesh highlighting the human struggle
for survival in a changing world. The second plot delves into the complex
relationship between humans and the environment, raising questions about how
humans share a fragile and perilous ecosystem with wildlife. Through this dual
narrative, Ghosh reflects on themes of displacement, identity, and the impact
of human activity on the natural world.
In between the sea and the plains of Bengal, on the
easternmost coast of India, lies an immense archipelago of islands. Some of
these islands are vast and some no larger than sandbars; some have lasted
through recorded history while others have just washed into being. These are
the Sundarbans-the beautiful lands. Here there are no borders to divide fresh
water from salt, river from sea, even land from water. The tides reach more
than two hundred miles inland, and every day thousands of acres of mangrove
forests disappear only to re-emerge hours later. For hundreds of years, only
the truly dispossessed and the hopeless dreamers of the world have braved the
man eaters and the crocodiles who rule there, to eke a precarious existence
from the unyielding mud.(Harper Collins 2004).
Man and
nature are inseparable, two sides of the same coin. Since the dawn of human
evolution, there has been a profound emotional and physical connection between
the two. This relationship has been affirmed not only by ancient sages and
religious scriptures but also by modern science, which shows that human life is
intricately tied to natural forces, as well as to flora and fauna. Agriculture,
long considered the backbone of human civilization, further strengthens this
bond, creating a deep affection and reliance on nature. This mutual
relationship is captured in the field of ecology defined as the scientific
study of the relationship between living organisms and their environment. The
term “ecology” was first coined by the German biologist Ernst Haeckel in 1866,
and it is derived from two Greek words: oikos, meaning “house,” and logos,
meaning “study.” Thus, ecology can be understood as the study of organisms in
their “home,” or natural habitat. Ecology primarily focuses on the biological
relationships and processes among organisms, air, water, soil, and other
environmental factors.
Eco-criticism
and green studies are terms used to describe a critical approach that emerged
in the United States in the 1980s and later gained prominence in the United
Kingdom during the 1990s. In the U.S., eco-criticism was largely founded by
Cheryll Glotfelty, who, along with co-editor Harold Fromm, produced a key
collection of essays titled The Eco-criticism Reader: Landmarks in Literary
Ecology. Glotfelty defined eco-criticism as “the study of the relationship
between literature and the physical environment”; The roots of eco-criticism
trace back to the late 1970s during a meeting of the Western Literature Association
(WLA), an organization focused on literature related to the American West. In
the U.S., eco-criticism can be traced through the works of three influential
writers: Ralph Waldo Emerson (1803–1882), Margaret Fuller (1810–1850), and
Henry David Thoreau (1817–1862), all of whom are recognized as
transcendentalists. Their writings laid the foundation for the eco-critical
movement by exploring the deep connections between human life and the natural
world.
Eco-criticism
is a branch of literary scholarship that seeks to explore the connections
between literature and the environment. As environmental issues have become one
of the most pressing concerns of the contemporary world, eco-criticism has
emerged as a significant field of study. This field can be divided into two
phases. The first phase focuses on nature writing, nature poetry, and
wilderness fiction. The second phase, often referred to as Revisionist
Eco-criticism, extends its focus to environmental justice, addressing issues
such as social inequality and urban concerns within the broader ecological
context. The primary goal of eco-criticism is to examine how literature
reflects environmental issues and how it can contribute to addressing pressing
ecological challenges.
Amitav
Ghosh’s The Hungry Tide (2004) stands
out as one of the most significant works in the genre of ecological and
eco-critical literature. The novel offers a contemporary narrative that delves
into themes of disjunction, displacement, and destabilization. It is widely
recognized as a powerful ecological novel, blending anthropology,
environmentalism, migration, travel, ethnography, and landscape, all woven into
the fabric of English fiction. With a limited cast of characters, the novel
becomes even more intimate and compelling, drawing readers into its complex
exploration of human relationships with the environment.
There are no borders here to divide fresh water from
salt, river from sea. The tides reach as far as three hundred kilometers inland
and every day thousands of acres of forest disappear underwater, only to
re-emerge hours later. The currents are so powerful as to reshape the islands
almost daily-some days the water tears away entire promontories and peninsulas;
at other times it throws up new shelves and sandbanks where there were none
before. (THT, p.7)
At the
beginning of The Hungry Tide, Amitav
Ghosh highlights the power of nature through vivid descriptions, setting the
stage for the central conflict between humans and the environment. Throughout
the novel, Ghosh portrays the dynamic tension between man and nature, where
sometimes humans seem to triumph over nature, while at other times; nature
asserts its dominance over human life. Humans often treat nature as subservient
to their needs, exploiting its resources to fulfill their desires, as seen in
the actions of the people of Morichjhapi. In the novel, these inhabitants
destroy natural resources in order to survive gathering food and building
homes. The unchecked exploitation of nature leads to climate change and the depletion
of vital resources, a situation mirrored in Morichjhapi, where the environment
suffers as a result of human overuse.
It is
widely understood that exploiting nature without regard for sustainability will
deplete resources for future generations, leading to devastating consequences.
Nature, in turn, responds with its own form of vengeance through typhoons,
cyclones, hurricanes, earthquakes, and landslides. In the novel, we witness the
devastating effects of a powerful cyclone, which results in the death of the
character Fokir. This event symbolizes nature’s retribution, signaling that
human beings must rethink their relationship with the natural world. Humans
must recognize that nature and humanity are two sides of the same coin, and
neither is superior to the other. It is essential that people acknowledge their
interdependence with nature to prevent further harm.
The
setting of The Hungry Tide is deeply
embedded in nature, specifically in the Sunderbans a unique and fragile
ecosystem consisting of mangrove forests located between the plains and the Bay
of Bengal. The novel addresses the ecological issues plaguing the Sunderbans,
where human activity is causing significant harm to the biodiversity of the
region. As the novel progresses, the character Moyna explains Nilima’s views on
the use of nylon nets to catch tiger prawns in the Sunderbans:
These
new nylon nets, which they use to catch chingrirmeen the spawn of tiger prawns.
The nets are so fine that they catch the eggs of all the other fish as well.
Mahima wanted to get the nets banned, but it was impossible. (THT, p. 134)
These lines reflect the downside of technological
advancement. While such innovations can benefit humans, they often have
dangerous consequences for biodiversity. The Sunderbans, once rich in natural
resources and biodiversity, are now being increasingly exploited by
impoverished, uneducated islanders. They view natural resources as their
entitlement, using them without considering the long term impact. To protect
the natural wealth of the Sunderbans and preserve its delicate ecological
balance, it is crucial for the government to take decisive action possibly by
relocating these communities to ensure that the cycle of biodiversity is
maintained. As Nilima remarks:
Some refugees have occupied one of the islands in the
forest. There was a confrontation with the authorities that resulted in a lot
of violence. The government wanted to force the
refugees to return their resettlement camp in Central India. They are put in
the truck and buses and taken away... (THT, p. 26)
In The Hungry Tide,
Ghosh seeks to reveal the inherent discipline of nature, contrasting it with
the often erratic behavior of humans. At times, he subtly mocks human beings
for their belief that they are the most intellectual species on Earth. Despite
this self-perception, humans tend to ignore natural laws and rules until they
are forced to recognize their importance, especially when their survival or
well-being is at stake. In contrast, nature operates without hesitation or the
need for recognition, following its own rhythms and cycles unconditionally. As
Ghosh illustrates throughout the novel, nature’s processes are not dependent on
human intervention or approval they unfold according to their own inherent
order.
Piya remembered a study that had shown there were more
species of fish in the Sundarbans than could be found in the whole continent of
Europe. This proliferation of aquatic life was thought to be the result of the
unusually varied composition of the water itself. The waters of river and sea
did not intermingle evenly in this part of the delta; rather, they
interpenetrated each other, creating hundreds of different ecological niches,
with streams of fresh water running along the floors of some channels, creating
variation of salinity and turbidity. (THT, p. 125)
Typically,
we regard natural disasters such as hurricanes, cyclones, earthquakes, and
phenomena like El Niño as mere natural processes of the ecosystem. However,
this view is misleading. These events can often be seen as nature’s wrath, a
form of retaliation against humans who, in their pursuit of progress and
exploitation, disrupt the delicate balance of nature without fully
understanding the consequences.
Though
The Hungry Tide is primarily a love story, Amitav Ghosh weaves in critical
ecological concerns, language barriers, and the complex relationships between
Piyali, Fokir, and Kanai. Ghosh skillfully resolves these tangled dynamics
through the novel’s dramatic conclusion a cyclone that claims Fokir’s life
while sparing Piya. As M. Abhijit Dhakuria aptly notes, “Amitav Ghosh is a
master of the genre fictionalized thesis. This observation perfectly captures
Ghosh’s unique literary approach, where he blends fiction with scholarly
exploration of pressing issues. As an astute observer of nature, Ghosh
demonstrates how human beings share a precarious and often hazardous ecosystem
with other living beings, including dolphins and tigers.
Climate
change is a central theme in the novel. The environmental disruption in the
Sunderbans has led to the suffering of rare species like the dolphins and other
marine life. Simultaneously, the tiger population is steadily declining, as the
delicate ecosystem of the region faces a crisis. The situation on Morichjhapi
Island is particularly dire, with ecological imbalances reaching alarming
levels. The submersion of islands in the region highlights the fragility of
these ecosystems. A slight disruption in the ecological balance can have
catastrophic consequences, as even small changes can trigger a chain reaction
of environmental harm. As Piya reflects:
Some kind of crabs actually laundered the mud they lived
in, scrubbing it grain by grain. Their feet and their sides were line with
hairs that formed microscopic brushes and spoons. They are used these to scrape
off the diatoms and other dibble matter attached to each grain of sand. They
were a sanitation department and a janitorial team rolled into one: they kept
the mangroves alive by removing their leaves and litter; without them the trees
would choke on their debris. Didn’t they represent some fantastically large
proportion of the system’s biomass? Didn’t they outweigh even the trees and the
leaves? Hadn’t someone said that intertidal forests should be named after crabs
rather than mangroves since it was they – certainly not the crocodile or the
tiger or the dolphin –who were the keystone species of the entire ecosystem?
(THT, p.142)
Nature
is a precious gift bestowed upon humanity by the divine since the dawn of
mankind. In The Hungry Tide, Amitav
Ghosh portrays nature as a nurturing mother, essential for the survival and
well-being of human beings. Without nature’s resources, humans cannot thrive in
the way they are accustomed to. We rely on nature for everything from basic
needs to comfort. In the novel, Kusum expresses how her father’s successful
fishing trip brings prosperity to their home: there is money, food, and a sense
of security. This illustrates how nature provides for humans and fulfills their
fundamental needs. With nature’s help, survival becomes possible, yet over
time, human needs transform into greed, leading to exploitation and imbalance.
As a result, humans must eventually face the consequences, or the “wrath” of
nature and animals.
One
example in the novel demonstrates how human desire for more leads to
destruction. Kusum’s father, after returning from a successful fishing
expedition, is eager to enjoy a hearty meal. Kusum’s mother prepares rice, dal,
and vegetables, but when it comes time to cook the fish, they realize they have
run out of firewood. Kusum’s father, frustrated by this, becomes angry and
storms out to gather more firewood. In his pursuit, he fails to recognize the
dangers of his actions, and tragically, this leads to his death. Ghosh uses
this moment to depict how humans, driven by impatience and stubbornness, often
fail to compromise with nature, which can lead to disastrous outcomes. Kusum’s
father loses his life simply because he was unwilling to adapt to the
circumstances and chose to act impulsively.
Through
this, Ghosh illustrates the power dynamics between humans and animals.
Sometimes, humans assert control, while at other times; nature and animals
overpower human efforts. However, in each case, there are losses on both sides.
Despite being considered the most intelligent species on Earth, humans often
fail to acknowledge the delicate balance of the ecosystem. They ignore the fact
that animals, too, possess emotions and instincts, and will behave according to
their nature. The tragedy of Kusum’s father highlights how human beings,
despite their knowledge, often choose to ignore the signs and wisdom of nature.
As Ghosh writes:
The animal was in the trees that lined the shore, and
from the direction of its advance she knew it had watched the boat as it came
across the river. At Kusum’s first scream her mother and many others from the
hamlet ran up to embankment. But her father, for whom the shout of warning had
been intended, didn’t hear for the wind was blowing in the wrong direction.
Within moments dozens of people had joined her on the
embankment and all saw what she had seen: The animal was stalking her father.”
(THT, p.108)
Ghosh
emphasizes that animals, like humans, have emotions, but due to human
selfishness and exploitation, they are often forced into situations where they
feel threatened or cornered. This fear or the need to protect them may lead
animals to attack or even prey on humans. Just as humans do not want others to
intrude on their territory, animals too desire to live freely in their natural
habitat. However, due to human overpopulation and the relentless destruction of
forests to build homes and industries, animals are increasingly deprived of
their safe spaces. Forests and caves, once their sanctuaries, are being
encroached upon, leaving animals feeling helpless and angry. When they see
humans as intruders or threats, they may retaliate, believing that humans are
there to harm or destroy their territory. In such situations, animals often use
their strength to protect themselves, and in some cases, they may even attack
humans or view them as a potential source of food.
Ghosh
vividly reveals the emotions and instincts of animals in The Hungry Tide. He writes, “The animal too was upwind of its prey
and they could see its coal flashing as it closed in; because of the
distinctiveness of its own odour, it was skilled in dealing with the wind and
it knew that the people on the other bank were powerless against these gusts”
(THT, p. 108). This passage reflects the animal’s instinctual awareness of its
surroundings and the struggle for survival, emphasizing the complex and often
violent interactions between humans and the natural world.
Through
the novel, Ghosh portrays the cyclical nature of life and the environment. He
recalls the catastrophic cyclone of 1970, which devastated the Sunderbans, and
parallels it with the present-day events that see Fokir, Piya, and other island
residents facing the same violent storm. This recurrence of natural disasters
serves as a powerful reminder: if humans continue to disrupt the natural order,
nature will eventually retaliate. Ghosh uses these calamities as a warning,
urging readers to reconsider their actions and lifestyles. He underscores that
the natural disasters of the future will be a direct result of human negligence
and exploitation of the environment. As Ghosh illustrates the unrelenting cycle
of nature, he warns that unless humans change their behavior, nature will
continue to take its revenge.
It was in 1737. The Emperor Aurangzeb had died some
thirty years before and the country was in turmoil. Calcutta was a new place
then-the English had seized their opportunity and made it the main port of the
east.’
‘Go on, Saar.
it happened in October- that’s always when the worst of
them strike, October and November. Before the storm had even made landfall the
tide country was hit by a huge wave, a wall of water twelve meters in height.
Can you imagine how high that is, my friend? It would have drowned everything
on your island and on ours too. Even we on this roof would have been under
water.’ . . . ‘And this, may friend and comrade, is a true a story, recorded in
documents stored in the British Museum, the very place where Marx wrote Das
Capita.’
But, Saar, it couldn’t happen again, Saar, could it? . .
. ‘My friend, not only could it happens again- it will happen again. A storm
will come, the waters will rise, and the badh will succumb, in part or in
whole. It is only a matter of time.’ (THT, p.204-205)
Amitav
Ghosh skillfully weaves together Indian mythology and the ecological issues of
the Sunderbans in The Hungry Tide. The people of Lusibari, for example, revere
“Bon Bibi,” the goddess of the forest, who is believed to rule over all the
animals of the region. The villagers stage performances celebrating her glory,
honoring her as a protective and merciful deity. According to their belief, Bon
Bibi commands the tigers, crocodiles, and other creatures, ensuring they follow
her will. She is seen as a guardian figure, one who intervenes during times of
danger to save human lives. In a key scene, when Dokkhin Rai is being stalked
by a tiger, he calls out, “O mother of mercy, Bon Bibi, save me, come to my
side!” (THT, p. 105), and the goddess appears to rescue him, embodying her role
as a protector of human life. This myth reinforces the belief that Bon Bibi
enforces the laws of the forest: the greedy are punished, while the poor and
humble are rewarded with her mercy.
However,
Ghosh also challenges this myth in the novel through Kusum’s testimony. She
recalls the tragic death of her father and how she called out to Bon Bibi for
help, but received no answer. “I called her too, but she never came, Bon Bibi.
The day my father died. I saw it all, it happened in front of me, and I called
her again and again...” (THT, p. 107). This moment adds complexity to the
portrayal of Bon Bibi, raising questions about the reliability of local myths
and the harsh realities that people face. Ghosh uses the myth to reveal the
simplicity and faith of the rural people, who tend to accept these beliefs
without questioning; highlighting their vulnerability and the challenges they
face in understanding the forces of nature.
Piyali
Roy, a marine biologist, arrives in the Sunderbans to conduct a survey of the
region’s marine mammals, particularly the endangered Gangetic Dolphins and
Irrawaddy Dolphins. Throughout the novel, Piya provides detailed accounts of
the dolphins’ history, their challenges, and the dangers they face in their
natural habitat. After spending some time in Lusibari, Piya is forced to leave
due to a personal crisis and the ongoing threats in the area. However, she
returns to continue her work with the Badabon Trust, a conservation
organization. She decides to direct the trust’s efforts toward the protection
of the Gangetic Dolphins, collaborating with the local fishermen of Lusibari.
To further her cause, she helps finance a house for Moyna and provides funding
for Tutal’s education. Piya also asks Nilima for the rent of the upper floor of
her house, intending to set up a guest house for the project.
In a
poignant moment, Piya reflects on her connection to the Sunderbans and the
dolphins she has come to love. She tells Nilima, “For me, home is where the
Orcaella are, so there’s no reason why this couldn’t be it” (THT, p. 400). This
statement underscores Piya’s deep bond with the Sunderbans and her commitment
to conservation. Meanwhile, Kanai begins to write down his memories, drawing
from Nirmal’s journal, as the narrative comes full circle. Ghosh concludes the
novel on a note of hope, offering a sense of resolution after the turbulent
natural disasters and personal struggles faced by the people of Lusibari.
Despite the environmental and emotional upheavals, the novel ends with a sense
of possibility for the future, as Piya and her colleagues work towards the
conservation of the Sunderbans and its delicate ecosystems.
The novel abounds in information about natural history,
the authenticity of which need not be questioned from a writer with a reputation
for meticulous research and one who is an anthropologist by training. However,
it is the movement towards a vision at the end, which is more interesting and
enlightening. What Piya realizes should be realized by all the eco-critics.
After the storm and Fokir's death, Piya goes away only to return with funds and
a proposal for a research project. Piya wants to work in consolation with the
local fishermen so that the burden of conservation would not fall on those who
could least afford it. She wants the project to run under the sponsorship of
the Badabon Trust. It is a small gesture but significant nevertheless. She
refuses to exclude the man at the grassroots from her work as a
conservationist. She is aware that without Fokir's particular knowledge of his
environment, she would have remained ignorant of the river dolphins in the tide
country and so would the rest of the world. (Thakur 70-71)
The
novel also revisits the Morichjhapi incident of 1979, focusing on the
exploitation faced by refugees from Bangladesh who settled in the area. The
Indian government, recognizing the environmental importance of the region,
implemented policies to protect its natural resources, including endangered
species like the Royal Bengal Tiger and the Gangetic Dolphins, known locally as
Orcaella. However, these conservation efforts sparked significant conflict with
the local population.
In
1978, a large number of refugees mainly from Bangladesh settled in the area,
including Muslim communists and upper-caste Hindus who had been displaced.
Because the region was designated as a protected forest, the government
authorities decided to evict these settlers. For nearly a year, there was
intense conflict between the authorities and the local people, culminating in
the tragic events of 1979. The true extent of the conflict remains shrouded in
mystery, and whether Nirmal was involved in it is never fully clarified. The
details of these events are revealed through the papers Nirmal left behind for
Kanai.
Environmentalism
and destabilization are among the central themes of the novel. The geographical
setting of the Sundarbans serves as a powerful metaphor throughout the
narrative. The physical environment in the novel is depicted as an active,
dynamic force that connects plants, animals, and humans where each life form
influences the others, whether directly or indirectly. The topography of the
region, with its dense forests, rivers, and wildlife, shapes the communities
living there. In the novel, we witness how people from different walks of life
coexist and face the same consequences when interacting with the harsh,
unpredictable environment an environment teeming with crocodiles, tigers,
snakes, and the ever present threat of natural disasters like cyclones and
storms.
In The
Hungry Tide, Ghosh reveals nature’s resistance to human attempts at
categorization and control. Nature, as depicted in the novel, operates on its
own terms, beyond human comprehension or regulation. In the Sundarbans, the
boundaries between rivers collapse, and the land is constantly shifting,
symbolizing the fluid and uncontrollable nature of the environment. Ghosh uses
the backdrop of this unpredictable natural world to explore the destabilizing
effects of globalization, which exacerbates the tensions in the region. The
novel is based on a real historical event the Morichjhapi incident and also
addresses the critical issues of environmental protection, conservation, and
the conflicting interests of local people and government authorities.
Through
the story, Ghosh highlights how globalization affects even the most
marginalized communities, who are often seen as backward or “uncivilized.” The
process of globalization brings these communities into contact with new ideas,
technologies, and ways of thinking, leading to some benefits, including
increased access to education and technological advancements. However, Ghosh
also critiques the negative impacts of globalization, particularly the inhuman
and dismissive attitudes of urban people toward the settlers of Morichjhapi.
These people, in their quest for progress, often fail to recognize the humanity
of those they deem “primitive” or “other.”
Works Cited
Abrams, M. H. A Glossary of Literary Terms. Harcourt, 2001.
Bate, Jonathan. Romantic Ecology. Routledge,1991.
Barry, Peter. Beginning Theory. Viva Book, 2013.
Bruell, Lawrence. The Environmental Imagination; Thoreau, Nature Writing and the
Formation of American Culture. Harvard University, 1995.
Garrard,Greg. Ecocriticism: New Critical Idiom. Routledge, 2004.
Ghosh,Amitav. The Hungry Tide. Harper Collins, 2018.
Huggan, Graham, Helen Tiffin. Postcolonial Ecocriticism: Literature, Animals, Environment. Routledge, 2010.
Sharma,Brahma Dutta. "Environmentalism
versus Humanism in Amitav Ghosh's The Hungry Tide". The Journal of Contemporary Literature. vol 4, no 2, Aug 2012.
Sinha, Sunita. “Amitav Ghosh The Hungry Tide:
Book Review”. The SPIEL Journal of
English Studies. vol. 3, no. 1, 2007.
Thakur, Akhileshwar, “Amitav Ghosh's The
Hungry Tide: A Critique of Nature-Culture Duality”. Literary Perspectives. vol. 9, no. 1, Jan 2014.