India

Amartya Sen is Thomas W. Lamont University Professor and Professor of Economics and Philosophy at Harvard University. Sen’s previous books include: Development as Freedom; Rationality and Freedom; The Argumentative Indian; Identity and Violence, and The Idea of Justice. In 1998 Sen won the Nobel Prize in Economics. Much of the work done by the Indian economist has focused on poverty, specifically looking at developing new methods to predict and fight famines. His research also discusses ways to measure poverty, so that more effective social programs can be designed to prevent it. Sen has recently co-written a book with fellow economist, Jean Drèze, called An Uncertain Glory: India and its Contradictions.

50 summers have passed since C.L.R. James asked, ‘What do they know of cricket who only cricket know?’ James’s belief, that this quaint game reveals profound truths of those who play and love it, is alive and well: evident in The Great Tamasha by James Astill, which describes India, and Cricket Cauldron by Shaharyar M. Khan, which fumigates Pakistan. Astill, who is a Raja at The Economist, tells the story of India’s turbulent rise with reference to the history of cricket in India, where the sport is a form of entertainment – or tamasha, as numerous sub-continental languages have it. Astill is a self-confessed ‘cricket tragic’ but he is good company nonetheless, with an eye for an anecdote and an ear for a joke.

Rumer Godden’s prose tugs two ways at once. It is subtle, descriptive, and light, but also direct and unashamed of being turned inside out until darkness consumes it, rendering what was beautiful irrelevant and suddenly opaque. There is also a lot of it. Rumer Godden OBE (1907-1998) wrote over sixty works of fiction and non-fiction over a lifetime divided between England, where she was born, India, where she spent much of her young adulthood, and Scotland, where she lived for the last twenty years of her life. Godden’s three best-known novels, Black Narcissus, Breakfast with the Nikolides, and Kingfishers Catch Fire are set in India.

Cricket glorifies some cheats. W.G. Grace often batted on after being clean bowled; such was the public demand to watch him. Douglas Jardine’s bodyline tactics revolutionised fast bowling: eventually making it acceptable to target the batsman rather than the wicket. Fielders “work” the ball. Batsmen stand their ground when convention asks them to walk. Cheating is part of cricket. But match fixing? The culprits live forever in infamy, and deservedly so. The cricketing authorities (the ICC) believed that match fixing had died ten years ago; but the News of the World’s sting on the Pakistan team in 2010 demolished those hopes. The sting suggested that the problem was deep. Rumours abounded around the globe.

When totting up the positives from the British Raj, people often put the railways first, followed by the Indian Civil Service or the Indian Army. The Empire was won by the sword and held by the sword. It was racially exclusive, its taxes were often predatory, and its punishments savage. But at least it left an institutional legacy that helped to make independent India a startling success against all the odds, after the bloody wound of Partition and despite the excruciating poverty of the second most populous nation on earth. But what the British bequeathed to India was not only a usable future but a usable past. This may sound paradoxical. In the millennia of India’s more or less recorded history, the years of British dominance were an eyeblink.

The glorious monuments built in India by the Mughal emperors, from Babur in the early 16th century to Bahadur Shah Zafar II in the mid-19th century, have long deserved a comprehensive illustrated survey in one volume. George Michell is the ideal author. He is both a great scholar and a fervent communicator on many aspect of India’s cultural history. He has worked as a hands-on archaeologist on major Indian sites and recently established a Deccan Foundation to protect the wonders of that little-known region. He has been extremely well served in this magnificent book by the photographs of Amit Pasricha, who describes himself as a ‘panoramic photographer’. His photographs are staggeringly beautiful and impossible to praise too highly.