57 pages • 1 hour read
Amitav GhoshA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Dinanath “Deen” Dutta is the narrator of Gun Island. Originally from Calcutta (Kolkata), he is a rare books dealer of Bangla descent who moved to America as a university student following the death of his first love, Durga. He has lived and worked in the United States ever since, first in a library in the Midwest, and then in New York, where he eventually set up his own place in Brooklyn.
The legend of the Gun Merchant in the book parallels different aspects of each of the central characters’ stories, and Deen is no exception. He keenly feels the lack of romantic love in his life, for he arrived in the United States shortly after Durga’s death. Years later, he is still partnerless. He hopes to begin a relationship with Piya, and although he is initially rejected, the author inserts hints at the end of the novel that this relationship will progress. The Gun Merchant’s legend brings Piya into Deen’s life and facilitates his romantic hopes for the future, for his own adventure is fueled by his pursuit of the legend itself. Ultimately, Deen uses his knowledge of the legend to help Piya trace Tipu through a series of strange coincidences that mirror the Merchant’s story.
However, although the narrator of the story, Deen is not a traditional protagonist, for by Ghosh’s own confession, events seem to happen around Deen rather than happening to him directly. (Lou, Jo. “‘‘Gun Island’ Is a Surreal Novel about Climate Change and Migration.” Electric Literature, 10 Sept. 2019). Thus, he is caught up in the flow of events without necessarily accepting or rejecting the signs and omens that appear to him, as opposed to the other characters in the book such as Tipu and Cinta. Tipu’s visions ultimately propel one half of the story, for he insists that Rafi accompany him to Venice and eventually finds and helps rescue the refugees in Sinai. Likewise, Cinta brings the other half of the story to fruition by helping to decipher the Merchant’s story and encouraging Deen’s visit to Venice. She even has a sense that something momentous is about to occur with the Blue Boat, and insists that she be present to witness it, thus precipitating the novel’s climax. Even Piya has more of an investment in the strange occurrences happening in the book, particularly the ones related to animal behavior, by way of her profession. However, she does reject the possibility of visions or precognition to help make sense of them, insisting entirely on a rational or scientific explanation for them all.
Deen, in contrast to these characters, remains an observer of events with no engagement beyond a response in the moment. He is the catalyst, not a cause, for the story’s forward movement, facilitating Tipu’s visit to the shrine and Cinta’s exposure to the legend. However, he does not drive the action of the story, and in keeping with this, his perspective on the events at hand remains balanced between the conceptual extremes of the supernatural versus the rational, as represented by Cinta and Piya, respectively. In fact, as he swings between unease, incredulity, and wonder at different points in the story, Ghosh almost seems to suggest that Deen’s reactions are designed to represent the reader. His first-person voice in the story gives the reader a seat at the table, providing a firsthand experience of the emotions involved as Ghosh blends history and magical realism into a tumultuous adventure tale.
Giacinta “Cinta” Schiavon is Deen’s friend and mentor. She is an Italian historian with expertise in Venetian history, and she first meets Deen when she frequents the library in the Midwest that employs him, years before the main storyline of the novel begins. Cinta moved from Italy to the United States to escape the paparazzi following her husband and daughter’s deaths when her husband attempted to expose the workings of the Mafia.
Cinta is a respected scholar and expert in her field, having achieved great success in the years since she and Deen struck up a friendship. From his early interactions with her, however, it is clear to Deen that Cinta’s worldview allows space for the “supernatural” or the inexplicable to exist. She experiences a strong precognition about something happening to her family before their deaths, and during a near-death experience of her own, she once heard Lucia’s voice promising her a sign later in life. Additionally, she confesses to frequently feeling Lucia’s presence or hearing her voice. It is even hinted that Cinta had a sense that Deen would be the one to deliver her a miracle, from the very moment they met.
Cinta’s experiences with the “supernatural” manifest in her attitudes toward the world, particularly the power that stories hold in people’s lives. For example, she is enthralled by the jatra performance of Manasa Devi’s legend when she first witnesses it in Calcutta, commenting on how alive the legend still feels. There is an insistence that stories are never just static; they help people make sense of their existence and reconcile larger questions about the world. This approach dovetails with Cinta’s profession as a historian, for her work allows her to see patterns that repeat across time and cultures. This is also what allows her to help Deen decipher the Gun Merchant’s legend and identify the people and events upon which the story is based.
From the moment she meets Deen, Cinta becomes instrumental in changing the course of his life. She also invites Deen to the conference in LA where he makes sense of the Merchant’s story. She encourages him to visit Venice, and she is even the one who asserts that a miracle will take place near the Blue Boat, for she recognizes that the “Island of Chains” in the Merchant’s legend is really a reference to Sicily. In some ways, Cinta is one of the real protagonists of the story, as the Gun Merchant’s legend and its parallels in the contemporary world have an undeniable impact on her life. The culminating miracle of the novel is the sign she has been waiting for since Lucia’s death, and she is finally able to reconcile with the grief of this loss and reunite with her daughter at the end of the novel, passing away peacefully.
Tipu and Rafi are two young boys who migrate together to Venice from India. Tipu, named “Tutul” at birth, is the son of a villager named Fokir while trying to protect Piya during a cyclone when she first visited the Sunderbans years ago. (All three characters, and this particular incident, appear in Ghosh’s previous work, The Hungry Tide). Following Fokir’s death, Piya assumes responsibility for Tipu and Moyna, Tipu’s mother; she takes care of Tipu’s education and even takes him with her to the United States for a couple of years. However, he is disillusioned by his experiences both in the United States and within the Indian school system. In the latter location, he is bullied and ostracized for being Dalit (a lower caste, considered “untouchable” in India). Following these experiences, Tipu rejects all formal education and refuses to attend college. Instead, he spends his time on the internet and makes a living in the “people-moving industry” (65), helping people illegally emigrate to other countries.
Rafi is a young Muslim boy in his late teens and is the grandson of the caretaker of the shrine who originally told Nilima the story of the Gun Merchant. Rafi is named Ilyas at birth, the same name as the captain who becomes the Merchant’s companion and savior in the legend. Accordingly, Rafi’s interactions with Tipu mirror events in the original legend as well; for example, he saves Tipu’s life by sucking out the venom from the cobra’s bite and later becomes his travel companion, migrating with him from India. It is also implied that Rafi and Tipu are lovers.
Tipu is intelligent, headstrong, and bold. He learns how to make a living merely using his skills over the internet, and he is able to organize transport for others and himself to emigrate to different countries. He also admits to having crossed over illegally into Dhaka on multiple occasions, as the systems for helping people move are more organized there. Tipu scoffs at the need for passports and legal documentation for movement across borders. This outright rejection of authority and bureaucracy comes from his lived experiences and his identity as someone from an oppressed minority. In fact, Tipu and Rafi are both representations of multiple different communities on the margins; Tipu is Dalit and Rafi is Muslim, and both groups are oppressed minorities in the Hindu-majority population of India. Additionally, both characters are gay, thereby representing yet another marginalized group. They illegally emigrate to Europe, where they continue to exist on the fringes of European society’s hierarchy as migrants with brown skin who endure considerable prejudice amidst the white-majority cultures of Europe.
Tipu and Rafi are also meant to be modern-day representations of the Merchant and of Captain Ilyas, the characters from the original legend. However, unlike the Merchant who constantly attempts to flee Manasa Devi, Tipu responds with an open mind to the messages that his visions show him, and he often takes actions and makes decisions based upon this arguably supernatural input. Although he initially leaves India because he senses a darkness closing in, he is eventually drawn to the Ethiopian woman he sees in his dream and seeks her out. This choice enables him to help set the captive refugees free in Sinai. Thus, Tipu and Rafi are a second set of protagonists in the book, and the resolution of their journey mirrors the Gun Merchant’s legend, as they are reunited in a foreign land where they hope to build a fortune and a life together.
Piyali “Piya” Roy is an Indian American marine biologist who teaches in Oregon and travels to Calcutta (Kolkata) to pursue her research. She is close with Deen’s distant aunt, Nilima, and stays with and takes care of her when she visits. She is also a foster parent of sorts to Tipu, having helped take care of him since his father’s death. Piya is the voice of skepticism throughout the book. Even as Deen is swayed by the strange occurrences around him and at times attributes them to the “supernatural,” Piya resolutely looks for scientific explanations for every incident. She does not care for the suggestion that Tipu has visions, and while she acknowledges that some occurrences are atypical, she refuses to label anything as being miraculous or inexplicable. Despite her firm rational stance on the world, Piya still proves to be fairly attuned to and invested in the state of the natural world. She has been studying Irrawaddy river dolphins for years, and although she never admits it, there is a clear bond between her and the animals—even an inexplicable ability to communicate with them.
Piya is also a romantic interest for Deen. He is drawn to her from their very first interaction, and although she initially rejects his interest in her, over time she grows to reciprocate the feeling. Deen’s search for Tipu ultimately brings Deen and Piya closer together, for Deen is able to help track Tipu down thanks to the strange parallels between Tipu’s journey and the Merchant’s story. Because of this, Cinta even suggests that the Merchant himself has brought Piya into Deen’s life. As the book ends, it is suggested that Piya and Deen will potentially begin a romantic relationship, for he accepts her invitation to stay with her in Oregon and explore the possibility of building a life there.
By Amitav Ghosh