Abstract
The prehistory of the Maltese Islands is known for its megalithic monuments dating to the fourth and third millennia BC, often emerging in debates surrounding the connectivity of islands. By focusing on the declining presence of obsidian over the Maltese Neolithic and the development of the “Temple” period, these islands are seen as an example of isolation and insularity. Instead, the ongoing analysis of lithic assemblages from Late Neolithic megalithic structures suggests a narrowed and manipulated connectivity between Malta and the outside world. Even in a setting of presumed isolation, prehistoric islanders reacted to declining obsidian by procuring flint from southeastern Sicily. Their use of imported flint was wasteful within the confines of the megalithic structures, suggesting a disinterest in the limited availability of this raw material and a control of its procurement by individuals in power. The connection between Malta and the outside world seems tied to the organization of the megalithic monuments, as reflected by their spatial connection to fertile plains and access to anchorage bays. In this setting of cultural isolation, lithics and their technology reflect specific social strategies, promising a richer understanding of islanders.
ACKNOWLEDGEMENTS
This article was written while working on a doctoral degree at Brown University. An earlier version of this article was presented at the 2014 EAA in Istanbul, as part of the Steady State, Florescence and Bust: An Alternative Model from Malta. I thank the session participants for their fruitful comments, which I hope have improved the present article. Anthony Pace and Nathaniel Cutajar have supplied constant encouragement and interest in this topic. I would also like to thank Giulia Recchia, Alberto Cazzella, and Maurizio Moscoloni for inviting me a good number of years ago to participate in the Tas-Silġ prehistoric excavations. Peter van Dommelen, John Cherry, Thomas Leppard, and Raquel Vella offered valuable comments to an earlier draft. I am also grateful for the comments offered by two anonymous reviewers, which have greatly helped the final product. Finally, all omissions or errors remain entirely my own.