by Rana Dasgupta In the immediate aftermath of the Paris attacks, CNN reporters were at a loss to […]
A lot of my best reading this year has been spent trying to understand the ever spiralling maelstrom […]
Other winners include Damon Galgut, Rana Dasgupta, Mahesh Rao and T M Krishna.
Renowned Malayalam writer MT Vasudevan Nair was honoured with the Life-time Achievement Award at the fifth ‘Tata Literature Live!, the largest literary festival of the megapolis on 2 November, in Mumbai, India.
The 81-year-old Nair, popularly known as “MT”, is one of the most renowned authors, screenplay writers and film directors in Malayalam today. In 1995, he was honoured with the highest literary award the Jnanpith Award for his overall contribution to the Malayalam literature.
The festival also bestowed the first Poet Laureate of India Award to renowned Bengali poet Joy Goswami, which marked the launch of the ‘silver edition’ of ‘The Great Indian Novel’ by Congress leader Shashi Tharoor.
“To celebrate its 70th anniversary, the eminent French newspaper Le Monde will publish 70 portraits of personalities expected to shape tomorrow’s world in their own respective ways in various areas, from economics and politics to arts and sports. Indian author Rana Dasgupta has been chosen to represent India’s culture,” according to a statement by the French Embassy.
New non-fiction books by the novelists Arundhati Roy and Rana Dasgupta examine India’s troubled relationship with capitalism and the blurred links between political and business elites: The New Statesman
Midway through India’s recent election, I watched Meera Sanyal talk at a campaign event about a crisis in her country’s system of capitalism. It seemed an odd topic, given that Sanyal spent almost her entire professional career in finance. But late last year she quit her job as a senior banker, joined the newly formed anti-corruption Aam Aadmi (or “common man”) Party (AAP), and announced plans to run for parliament in the south of Mumbai, the financial capital.
Rana Dasgupta’s powerful study suggests the savage realities of the Indian capital will not be changing any time soon
In the final pages of this intense, lyrical, erudite and powerful book, Rana Dasgupta makes the most important of many perceptive points: there is no certainty, indeed little probability, that the city will eventually find the relative calm, order and hygiene of its counterparts in the developed world. There is no obvious reason why the evolution of this crowded, traumatised, violent metropolis in India in the early decades of the 21st century should follow that of New York, London or Paris in another place and another time. Delhi will remain as it is.
As India goes to the polls, we go to Delhi to learn about the rush of new fiction in English and how opening the economy has transformed the city in only 20 years. Features Aman Sethi, Manil Suri and Rana Dasgupta
As India prepares to begin a general election, we go to Delhi to learn more about the world’s biggest democracy through its writers. Anu Anand rummages through stalls selling Hindui pulp fiction and hears how a new generation is forging its own literary language not only from English and Hindi but from combinations of all the dialects spoken on the streets of this buzzing city.
Rana Dasgupta has produced a vivid and haunting account of the ‘new India’: The Guardian
Paris, Vienna, New York: every capital city has its moment of modernist euphoria. An era – often fleeting, enjoyed by some more than others – when new ideas and technologies and economic systems burst into view. When things that were solid start to melt. When the future is at once thrilling and terrifying – and seems to have landed suddenly in the present.
Essentialism feeds specious arguments in Capital. Perpetual City breathes a time of grace and preferment: The Outlook
Books on Delhi clearly suffer in comparison with those that embrace Mumbai, such as Maximum City or Shantaram. Only Dalrymple’s City of Djinns, written with an obvious fondness for the city’s monuments but an irreverent disdain for its inhabitants, and Sam Miller’s Megacity, with its idiosyncratic approach, come to mind. Neither, though, seeks to be representative of a city, not in the sense Rana Dasgupta’s Capital claims to be ‘A Portrait of Twenty-First Century Delhi’.
Rana Dasgupta’s Delhi book tries to deconstruct Delhi’s neuroses. Manjula Lal wishes the focus was sharper: Tehelka
A search for the soul of Delhi can only be a wild goose chase. For the very idea of our capital city having a soul would be scoffed at by those who see it only as a temporary workplace, never a “native place”. However, it does deserve to be deconstructed and understood, not just pilloried, for what it does today, Bharat will do tomorrow. Rana Dasgupta gives the city a biography it deserves, rising above journalistic eclecticism (though there’s that, too) to tease out its idiosyncracies, its pathos and its relentless materialism. He finds the reasons why so many migrant workers, refugees and government employees prolong their stay in the belief that going back to the Rest of India is like joining a losing team.