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This is the first collection of international scholarship on the fiction of Amitav Ghosh. Ghosh's work is read by a wide audience and is well regarded by general readers, critics, and scholars throughout the world. Born in India, Ghosh has lived in India, the United Kingdom, and the United States. His work spans genres from contemporary realism to historical fiction to science fiction, but has consistently dealt with the dislocations, violence, and meetings of peoples and cultures engendered by colonialism. The essays in this volume analyze Ghosh's novels in ways that yield new insights into concepts central to postcolonial and transnational studies, making important intertextual connections and foregrounding links to prevailing theoretical and speculative scholarship. The work's introduction argues that irony is central to Ghosh's vision and discusses the importance of the concepts of \"testimony\" and \"history\" to Ghosh's narratives. An invaluable interview with Amitav Ghosh discusses individual works and the author's overall philosophy.

Precision medicine (PM) aims to revolutionise healthcare, but little is known about the role religion and spirituality might play in the ethical discourse about PM. This Perspective reports the outcomes of a knowledge exchange fora with religious authorities in Singapore about data sharing for PM. While the exchange did not identify any foundational religious objections to PM, ethical concerns were raised about the possibility for private industry to profiteer from social resources and the potential for genetic discrimination by private health insurers. According to religious authorities in Singapore, sharing PM data with private industry will require a clear public benefit and robust data governance that incorporates principles of transparency, accountability and oversight.

Comprehensive overview of the work of Indian novelist Amitav Ghosh.

CS: Your two recent novels The Glass Palace and The Hungry Tide have been seen as concerned with larger historical or global movements. They are often perceived as compelling explorations of some of the central problems and dilemmas surrounding both colonialism and globalization, concerned with ways individual predicaments and larger “Histories” get entangled. Would you agree? Did you write to expose these? AG: I wrote it because it was the only way that I could write it, I suppose. In some ways I don’t feel that these issues are distinct from the people. I mean the lives of, say, Dolly

The Calcutta Chromosome: A Novel of Fevers, Delirium and Discovery, as it is described, is Amitav Ghosh’s first venture into science fiction territory. The novel, published in 1996, won the Arthur C. Clarke Award for the year’s best science fiction in 1997. The story of The Calcutta Chromosome is set in what appears to be the not-too-distant future. It begins with the omniscient narrator focusing on Antar, an Egyptian computer programmer, who is part of a global migrant labor force for a highly technologized world. In its complex global networking and in the way humans seem subordinated to the unceasing

“Like the opium that forms its subject, the narrative becomes increasingly powerful and addictive as it takes hold,”¹ writes William Dalrymple, author of The Last Mughal: The Fall of a Dynasty on Amitav Ghosh’s most recent novel, Sea of Poppies, which was published in 2008. The novel, the first in a projected trilogy, made it to the Man Booker Prize shortlist (though not winning it), the first of Amitav Ghosh’s novels to do so. It later went on to win the Vodafone Crossword Book Award in 2009. But Ghosh is no stranger either to international awards or to controversies surrounding

\"This book offers a timely exploration into the rapidly growing field of ecocriticism and gives prominence to the writers, creators, theorists, traditions, concerns, and landscapes of Southeast Asia. The contributors emphasize the transnational flows between Southeast Asian countries and Australia, England, Taiwan (Formosa), and the United States\"...

The Hindu festival of Taipucam celebrated in honour of the male god Murugan is one of the public festivals that Hindus in Singapore celebrate with a great deal of aplomb and ceremony. It takes on the hue of a carnival and is a major tourist attraction. At the centre of the festival is the male kavadi bearer. Beside him walks the docile woman carrying her pot of milk. In the Taipucam festival procession, there is clearly apparent an empowered male versus a subsidiary female space, which appears determinate and confined, marking a tentative emergence of a subversive ‘feminist’ space that attempts to grasp at a measure of empowerment for women.