By Amitav Ghosh Farrar, Straus and Giroux: 416 pages, $32
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After the mid-18th century, when the British East India Co. was importing tea from China, few could have guessed that the industry would be revolutionized by a different plant: the opium poppy. Over the next century and beyond, Britain and other colonial powers, joined by American and Indian merchants, amassed unimaginable wealth by getting the Chinese addicted to opium. It was opium money from trade with China that primarily funded the expansion of so many Western corporations and institutions.
In his latest book, “Smoke and Ashes: Opium’s Hidden Histories,” Amitav Ghosh subverts Eurocentric history and digs open the recesses of racial capitalism, specifically Indian farmers coerced into growing poppy and the consequent pumping of opium into China. Ghosh exposes the hypocrisy of the Western world in perpetrating structural violence against Asians under the garb of free trade and progress and the uncanny similarities between the Machiavellian tactics of the opium business in China and of those who triggered the modern-day American opioid crisis. This conversation has been edited lightly.
China has long been perceived as an alien culture by the West. It has been demonized time and again, and after the COVID-19 outbreak, the animosity toward China has only worsened. But most Americans aren’t aware of the legacy in America of merchants who made their fortune in Guangzhou (Canton). Could you throw more light on that?
It might come as a shock to most readers that the U.S. has been dependent on China right from the very start. In 1783, when America was born, it was unable to trade with any of its neighbors that were still part of the British Empire. So, the Americans realized that it was essential for them to trade with China. In fact, one of the grievances that led to the birth of the U.S. was that the Americans were initially prohibited from trading with China because the trade was in the hands of the British East India Co. There was a lot of resentment against the East India Co.’s monopoly over tea. So almost immediately after the birth of the republic, China became the primary trading partner for the U.S. But the problem that the U.S. had in relation to China was the same that the British had — that the world again has today in relation to China — that the whole world buys Chinese goods, but the world doesn’t have any goods or enough goods to sell to China apart from resources because the Chinese make everything themselves. China was then, as it is now, the world’s great manufacturing hub.
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(Farrar, Straus and Giroux)
So many of the technologies that we know today were stolen from China by the West, such as porcelain, gunpowder, compasses and bank deposit insurance. When the Americans started trading with China in the late 18th century, they started with furs and later sandalwood, but soon they just couldn’t find enough stuff to sell to China. So eventually they started doing what the British did: They started selling opium to China, sourced initially from Turkey and then later from India. For many generations, young Americans, especially very privileged white men predominantly from Massachusetts and other parts of New England and New York, would travel to China, and they would come back within four or five years with these immense fortunes. China gave them the experience of doing global trade, understanding currencies and foreign exchange, etc. They also became aware of the new industries that were then arising in Europe because of the Industrial Revolution. So, they came back to the U.S. and became the founders of all these modern industries, most importantly, perhaps the railroads.
You’ve drawn parallels between the Chinese opium crisis and the American opioid crisis. The British blamed the Chinese for being corrupt and mentally feeble. According to the British, they were simply meeting the Chinese demand for opium. Whereas we’ve seen in the American opioid crisis that it’s not demand but supply that dictates the flow of opium, as is evident in the case of the five states that had additional regulations to curb the prescription of opioids. These states (California, Idaho, New York, Texas and Illinois) experienced low growth in overdose deaths. So, it’s clear that it is supply and not demand that controls opium.
Initially, the British had trouble selling even 500 crates of opium to China, but once it got on, it was like a forest fire, and by the end of the 19th century, the Chinese were consuming hundreds of thousands of crates of Indian opium. So, when the anti-opium movement tried to constrain the British Empire from selling opium, the British deflected the blame onto the Chinese demand for it. This is essentially what the Sackler family also said in America when they introduced OxyContin; addicts were blamed. The British “logic”: There’s a demand for it, and if we don’t meet it, then someone else will.
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The Sacklers were aided by a lot of historians and academicians who put forth revisionist arguments in favor of rehabilitating opioids. They even took the FDA into confidence, right?
That’s right. It wasn’t until the victims’ families began to protest in a very big way that the narrative changed. Until then, the people who were defending opiates had control of the narrative for the longest time. I think it’s also important to note that this kind of opioid crisis seems to go hand-in-hand with a certain kind of civilizational crisis. That was certainly the case with China when it started getting engulfed in the web of opium in the late 18th century. Suddenly, it found itself having to question its ideas of centrality in the world. It was facing, literally, an existential threat.
I think something very similar is happening in America today. There’s really a profound sense of civilizational crisis. And for ordinary Americans, they are facing life conditions that are unimaginably difficult. In a way, the opioid crisis took off because of all these other factors within society. Deindustrialization was happening, and old mining communities were disintegrating. Opium was sold to extremely vulnerable communities where there was a lot of pain and social difficulties. So, we really see a kind of playing out of what happened in China in the 19th century.
The anti-opium movement in the early 20th century rattled the British Empire, and eventually China succeeded in getting most of its population off opium. You’ve pointed out in your book that one of the problems with the American war on drugs was that it pinned the blame not only on the producers but also on the consumers, whereas the anti-opium drive only targeted the producers. The Chinese establishment ensured that they treated the addicts with sympathy.
This is the problem, really. The war on drugs was a state-led movement initiated by the U.S. armed forces and its security establishment. And there was a kind of double dealing involved because the Americans were using heroin, etc. in their conflicts in Southeast Asia, Latin America and so on. At the same time, they were also trying to suppress cocaine and other drugs, and they created an incredible mess. The first problem with the war on drugs is the idea of what exactly constitutes a drug. Many of the substances that they banned and considered drugs were, as we now know, in many ways beneficial to humanity.
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Now they’ve changed strategies. More and more states are recognizing that many substances they call drugs are actually very beneficial, like psilocybin mushrooms, which can be used to treat depression. America now finds itself trying to control the circulation of heroin, fentanyl, etc. The problem is that again, it’s a state-led initiative, and it’s failing. Opioid-related deaths peaked during COVID-19, and it was thought that after the epidemic they would tail off. But no, it’s only continued to grow. Especially because fentanyl is so cheap and easily available, more and more people are dying of substance abuse.
What happened in Asia in the late 19th century and early 20th century was a very remarkable thing. You saw the emergence of a popular grassroots movement that was opposed to the free circulation of opioids, and that was effective. Even though, in China, the addiction problem continued until the 1950s, when, finally, the Communist Party did crack down on it. I don’t think any country will be able to reproduce that today.
One of the problems with addiction is that it happens indoors; the victims are out of sight. If you just look around America today, you wouldn’t think there was a problem. Many people who traveled to China in the 19th century thought everything was fine, but it wasn’t. In recent years, the U.S. Army has not been able to meet its recruitment goals. A recent survey found that not even 25% of young Americans are eligible to serve in the Army, partly because of obesity, mental health problems or drug use. Now that is a crisis.
You can call me one-track-minded or say that I focus on the wrong things, but do not include an element that I am then expected to forget. Especially if that “element” is an animal – and a dog, even.
In No More Time, we meet a couple, and it takes quite some time before we suddenly see that they have a dog with them. It appears in a scene suddenly, because their sweet little dog has a purpose: A “meet-cute” with a girl who wants to pet their dog.
After that, the dog is rarely in the movie or mentioned. Sure, we see it in the background once or twice, but when something strange (or noisy) happens, it’s never around. This completely ruins the illusion for me. Part of the brilliance of having an animal with you during an apocalyptic event is that it can help you.
And yet, in No More Time, this is never truly utilized. It feels like a strange afterthought for that one scene with the girl to work, but as a dog lover, I am now invested in the dog. Not unlike in I Am Legend or Darryl’s dog in The Walking Dead. As such, this completely ruined the overall experience for me.
If it were just me, I could (sort of) live with it. But there’s a reason why an entire website is named after people demanding to know whether the dog dies, before they’ll decide if they’ll watch a movie.
Scarlett Johansson wasn’t on the hunt for a feature film to direct when she was sent “Eleanor the Great,” about a 90-something woman who reminded Johansson of her own sparky grandmother. But Tory Kamen’s script arrived with a cover letter from Oscar nominee June Squibb.
“I was really interested in what, at this stage, June wanted to star in,” she says. “I was compelled to read it because of that.”
What Johansson also learned is that Squibb, star of last year’s acclaimed caper “Thelma” and the voice of Nostalgia in “Inside Out 2,” adds extra gloss to a project and is genre-adaptable. Since “Eleanor,” she’s wrapped shooting on an indie mockumentary called “The Making of Jesus Diabetes,” starring and produced by Bob Odenkirk. (“Bob and I know each other from ‘Nebraska,’” she says. “He asked and I did one scene.”) Currently, she’s in the play “Marjorie Prime,” her first appearance on Broadway since “Waitress” in 2018, when she stepped into the role of Old Joe, previously occupied by Al Roker. (“They made [the character] into a lady for me.”)
Recently, Johansson and Squibb got together via Zoom to discuss lurching process trailers, how Squibb bonded with co-star Erin Kellyman (who plays Nina, Eleanor’s college-age friend), and the trick to playing a character who tells a whopper at a Holocaust survivors’ support group based on her dead best friend’s experience.
Squibb, left, Erin Kellyman and Chiwetel Ejiofor in “Eleanor the Great.”
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(Jojo Whilden / Sony Pictures Cla)
What does a first-time director plan for Day One of a wintertime shoot in New York?
Johansson: The first thing we shot was [Eleanor and Nina] arriving at Coney Island. It wasn’t easy. We were outside. It was cold. It was a little hectic, but we figured it out. Then we had to do this thing in a car, and it was just miserable. Nobody wants to shoot a scene being towed in a car. There are all these stops and starts. You get nauseous. I felt terrible about that. But it was good for June and Erin.
Squibb: We had a lot of time that day together and we liked who each other was. It was just easy.
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June, you believe in showing up fully prepped, on script. Did you and Scarlett talk a lot about Eleanor?
Squibb: I’m sure we talked over that first two weeks, but I think we started delving when we started shooting. I can’t say this enough, but her being the actress she is? It just helped me tremendously. I felt so relaxed, like she knew what I was doing.
A less charismatic actor might have trouble pulling off this character. Eleanor can be so impertinent, yet the audience still has to like her.
Johansson: The tightrope June walks is that she’s able to be salty, inconsiderate and rude as the Eleanor character, then balance it out with quiet moments where you see the guard slip. You see the vulnerability of [Eleanor]. June plays that so beautifully.
June, in 1953, you converted to Judaism. Scarlett, how important was it to have Eleanor played by a Jewish actress?
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Johansson: It was definitely important to me, and it became important to the production too. We had tremendous support from the Jewish community. We brought the script to the Shoah Foundation and they helped us craft [Eleanor’s best friend] Bessie’s survivor story.
(The Tyler Times / For The Times)
Did they also help you find real-life Holocaust survivors — like Sami Steigmann —that you cast as support group members?
Johansson: It was a real group effort. Every time someone joined, it was a huge celebration. We got another one! At the time there were, like, 225,000 [survivors] worldwide. It gets less every year. I think only two of [the survivors in the group] knew each other previously. None of them had ever been on a film set before, and they were so patient with us.
Squibb: We just sort of passed the time of day. Sami, who was sitting next to me, and I chatted. It was all very relaxed. They were having a good time. They were interested in lunch. I remember that.
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Johansson: I talked to everyone individually. Quite a lot of them are public speakers and share their stories. It’s amazing. You’re talking to people in their 90s about an experience they had when they were 7. Their stories are so vivid in their minds. Sami told June that sharing the story is part of the healing.
June, for a bat mitzvah scene you memorized a complicated Torah portion. How did it go?
Squibb: It wasn’t easy to learn. I didn’t do it overnight. But we were in a beautiful synagogue, and it was great to stand there and do it. I enjoyed it.
Talk about finding out that it didn’t make the final cut.
Squibb: I think the first thing I asked [Scarlett was], [sounding peeved] “Where did my Torah portion go?” [laughs]
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Johannson: It was, like, “What the hell happened?” [laughs, then winces] I really struggled. But every way I cut it, it didn’t work so it just had to go. I was pretty nervous to show it [to June]. I said to Harry, my editor, “She worked so hard on it.”
How about that five-minute standing ovation when “Eleanor” has its world premiere at Cannes?
Squibb: It was just terribly exciting. We hugged each other a lot. And Erin was there, and she was in our hug too. I kept thinking, “We’re not even at a lovely theater in America. My God, this is an international audience here and they’re loving it.” And they did.
The Timothée Chalamet movie that’s arriving on Christmas Day is “a 150-minute-long heart attack of a film,” said Nick Schager in The Daily Beast. In “a career-best turn” that’s “a feverish go-for-broke tour de force,” Chalamet plays Marty Mauser, an aspiring table tennis champ in 1950s New York City who’s ready to lie, cheat, and steal for the chance to become the best in the world. This first film from director Josh Safdie since 2019’s Uncut Gems turns out to be a character study that “doubles as a cracked American success story,” said David Fear in Rolling Stone. Marty is a scrawny kid with a pathetic mustache, but he’s also a fast-talking grifter with supreme self-confidence, and his game earns him a trip to London and the world championship tournament before a humbling stokes his hunger for a comeback.
Surrounding Chalamet is “a supporting cast you’d swear was assembled via Mad Libs,” because it features Fran Drescher, Penn Jillette, Tyler the Creator, Shark Tank’s Kevin O’Leary, and—as a faded movie star Marty sweet-talks into an affair—Gwyneth Paltrow, “reminding you how good she was before Goop became her full-time gig.” To me, it’s the story beneath the story that makes Safdie’s “nerve-jangling, utterly exhilarating” movie one of the best of the year, said Alissa Wilkinson in The New York Times. “It’s about a Jewish kid who knows just what kind of antisemitism and finely stratified racial dynamics he’s up against in postwar America, and who is using every means at his disposal to smack back.”
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‘Is This Thing On?’
Directed by Bradley Cooper (R)
★★★
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“There are far worse things that a gifted filmmaker could offer an audience these days than a feel-good divorce comedy,” said Owen Gleiberman in Variety. But it’s still slightly disappointing that screen star Bradley Cooper has followed up A Star Is Born and Maestro with this minor work, due Dec. 19, about a father of two who starts doing stand-up in New York City to cope with the likely end of his marriage. With Will Arnett and Laura Dern as its co-stars, Is This Thing On? is “an observant, bittersweet, and highly watchable movie,” but it’s also so eager to hide the agonies of divorce that it “can feel like it’s cutting corners.”
The 124-minute film “doesn’t really get going until hour two,” said Ryan Lattanzio in IndieWire. Until then, it’s “lethargic and listless,” slowed by long takes “that drag on and on.” Fortunately, Arnett and Dern have real chemistry that kicks in when Dern’s Tess accidentally catches Arnett’s Alex performing his bit about their sidelined marriage and sees him with new eyes. Good as Arnett is, “it’s Dern who’s the revelation as a woman who truly doesn’t know what she wants and is figuring it out in real time,” said Alison Willmore in NYMag.com. Cooper, playing a reprobate friend of Alex’s, gives himself the script’s biggest laughs. More importantly, he proves again to be a director with “a real flair for domestic drama.”
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