Flood of Fire

Critics Review

• A masterpiece . . . Flood of Fire is not just a work of literary imagination but also an exercise in deep and original historical reflection

  Chris Clark, author of Sleepwalkers

• For the past weeks, [Amitav Ghosh] has been holed up in his Goa home, putting the finishing touches to Flood of Fire, the third part of his epic Ibis trilogy. The project has taken a decade. The three novels, starting with Sea of Poppies . . . have cemented his reputation

  Financial Times

• Totally absorbing

  Literary Review

• As ever for Mr Ghosh, language is a great tumasher, and it is not surprising that he is on the shortlist for the biennial Man Booker International Prize . . . He swims with relish in a lexicon he has made his own, a rich brew of English, Bangla, Hindi, Parsi, Malay, Cantonese and pidgin at a time when free trade and imperialism were recombining Asian cultures and tongues . . . Mr Ghosh’s genius is to paint this world from its teeming heart, rather than from the perspective of metropolitan centres of power in London, or, for that matter, Peking

  The Economist

• It is a testimony to Ghosh’s great skills that he can both teach us history and create believable fictional characters . . . What makes Ghosh’s characters come alive all the more is the use of language . . . Ghosh, occasionally, translates, but often does not, yet pulls off this presentation of the medley of tongues his characters use with great aplomb

  Independent

• The final instalment of an extraordinary trilogy . . . Ghosh’s story roars along, constantly flipping between high seriousness and low humour. It is simultaneously wrong-footing and delightful, riveting and diverting . . . His expansive trilogy has, in fact, advanced his story by only a few years; but the ground it has covered is almost immeasurable

  Guardian

• Ghosh’s scrupulous depiction of army life is just one part of this tour de force of historical description. Together, the novels are a weighty and precious chronicle of those times, a compendium of lost habits, languages and attitudes . . . Flood of Fire has all the romance, subterfuge and ingenious plotting to keep Ghosh’s audience firmly lagowed. But it is the integrity of his historical vision that will ensure his books outlast other literary dumbpokes

  FT Weekend

• The best bits of the trilogy, however, do not merely satirize the greed and hypocrisy of the foreign traders; but allow crosscurrents of sympathy . . . full of unforgettable vignettes

  The Spectator

• A huge, sprawling, rumbustious novel . . . rich and engrossing . . . a splendid adventure story, full of rich and varied characters and romantic entanglements . . . In the last chapters Amitav Ghosh pulls the strings of his enthralling trilogy together. It’s a remarkable achievement: an adventure novel full of feeling, but one which also invites – even compels – you to think about the assumptions which men act upon

  Scotsman

• The star of the proceedings is the historical detail that really brings it all alive. Anyone who knows me knows my love of historical factoids and Amitav provides enough for us to luxuriate in them. The difference between the treatment of British and Indian soldiers, the colonial structure, the importance of China and the opium fields, not to mention the rituals surrounding taking opium – it’s all here with much more besides, simultaneously entertaining and educating. I will definitely be going back to the beginning of the trilogy and look forward to catching up

  Bookbag

• Amply justifying the hype and expectation, this is a thrillingly realised and richly populated novel, imbued with a wealth of historical detail, suffused with the magic of place and plotted with great verve: Flood of Fire is a beautiful novel in its own right, and a compelling conclusion to an epic and sweeping story, one of the greatest literary works of our time. For Amitav Ghosh, the glittering literary prizes beckon

  Nudge Book

• Graphic and gripping

  New Statesman

• A terrific read. I wish Amitav Ghosh could live forever, like Ganesh, the Hindu patron god of writers and complete what he once planned. Flood of Fire, alas, will have to do

  The Times

• If you fancy a rip-roaring story with history, an erudite critique of colonialism, funny and full of contemporary parallels, you could try Amitav Ghosh’s third in his Ibis trilogy, Flood of Fire

  i

• Flood of Fire sweeps Amitav Ghosh majestically to the pinnacle of historical fiction writers and fittingly completes his Ibis trilogy . . . Ghosh has long set a standard for the kind of fine historical fiction writing that paints perfect pictures of what life was like for ordinary people as the world changed around them at breakneck pace. What sets him apart from other writers in this genre is his knowledge of the subject and his detailed descriptions and minute detail

  Dundee Courier

• Unexpectedly comic

  Sunday Times

• Ghosh’s ebullient fluency in the colorful argot of the contentious worlds he brings forth distinguishes this passionately researched series as much as his wily and zealous exposure of entrenched discrimination pertaining to race, religion, gender, caste, and class. Once again Ghosh proves himself to be a virtuoso scene-setter and action writer . . . This feverishly detailed, vividly panoramic, tumultuous, funny, and heartbreaking tale offers a vigorous conclusion to Ghosh’s astutely complex and profoundly resonant geopolitical saga

  Booklist

• A rip roaring story rich with history, an erudite critique of colonialism, funny and full of contemporary parallels

  Independent

• Sweeps Amitav Ghosh majestically to the pinnacle of historical fiction writers

  Oxford Times

• Exuberant

  Guardian

• This doorstopper of a novel, thick as curry with Anglo-Indian patois and with a bundle of rattlingly good narratives, makes one desperate that he does continue

  The Times, Books of the Year

• A rollicking wordfest that sprawls across land, sea, social class and ethnicities, sweeping us along in its narrative drive

  Guardian

• By an ingenious hotchpotch of different languages and registers, Ghosh’s story roars along, constantly flipping between high seriousness and low humour. It is simultaneously wrong-footing and delightful

  Guardian