Top 10 in Indian non-fiction books: More reasons to skip Chetan Bhagat

chetan bhagat
Vivek Kaul
It is that time of the year when newspapers, magazines and websites get around to making top 10 lists on various things in the year that was. So here is my list for the top 10 books in the Indian non fiction category (The books appear in a random order).
Breakout Nations – In Pursuit of the Next Economic Miracles – Ruchir Sharma (Penguin/Allen Lane -Rs 599)
The book is based around the notion that sustained economic growth cannot be taken for granted.
Only six countries which are classified as emerging markets by the western world have grown at the rate of 5 percent or more over the last 40 years. Only two of these countries, i.e. Taiwan and South Korea, have managed to grow at 5 percent or more for the last 50 years.
The basic point being that the economic growth of countries falters more often than not. “India is already showing some of the warning signs of failed growth stories, including early-onset of confidence,” Sharma writes in the book.
When Sharma said this in what was the first discussion based around the book on an Indian television channel, Montek Singh Ahulwalia, the deputy chairman of the planning commission, did not agree. Ahulwalia, who was a part of the discussion, insisted that a 7 percent economic growth rate was a given. Turned out it wasn’t. The economic growth in India has now slowed down to around 5.5 percent.
Sharma got his timing on the India economic growth story fizzling out absolutely right.
The last I met him in November he told me that the book had sold around 45,000 copies in India. For a non fiction book which doesn’t tell readers how to lose weight those are very good numbers. (You can read Sharma’s core argument here).
In the Company of a Poet – Gulzar In Conversation with Nasreen Munni Kabir(Rainlight/Rupa -Rs 495)
There is very little quality writing available on the Hindi film industry. Other than biographies on a few top stars nothing much gets written. Gulzar is one exception to this rule. There are several biographies on him, including one by his daughter Meghna. But all these books barely look on the creative side of him. What made Sampooran Singh Kalra, Gulzar? How did he become the multifaceted personality that he did?
There are very few individuals who have the kind of bandwidth that Gulzar does. Other than directing Hindi films, he has written lyrics, stories, screenplays as well as dialogues for them. He has been a documentary film maker as well, having made documentaries on Pandit Bhimsen Joshi and Ustad Amjad Ali Khan. He is also a poet and a successful short story writer. On top of all this he has translated works from Bangla and Marathi into Urdu/Hindi.
In this book, Nasreen Munni Kabir talks to Gulzar and the conversations bring out how Sampooran Singh Kalra became Gulzar. Gulzar talks with great passion about his various creative pursuits in life. From writing the superhit kajrare to what he thinks about Tagore’s English translations. If I had a choice of reading only one book all through this year, this would have to be it.
Durbar – Tavleen Singh (Hachette – Rs 599)
Some of the best writing on the Hindi film industry that I have ever read was by Sadat Hasan Manto. Manto other than being the greatest short writer of his era also wrote Hindi film scripts and hence had access to all the juicy gossip. The point I am trying to make is that only an insider of a system can know how it fully works. But of course he may not be able to write about it, till he is a part of the system. Manto’s writings on Hindi films and its stars in the 1940s only happened once he had moved to Pakistan after the partition of India in 1947. When he became an outsider he chose to reveal all that he had learnt as an insider.
Tavleen Singh’s Durbar is along similar lines. As a good friend of Sonia and Rajiv Gandhi, during the days when both of them had got nothing to do with politics, she had access to them like probably no other journalist did. Over the years she fell out first with Sonia and then probably with Rajiv as well.
Durbar does have some juicy gossip about the Gandhi family in the seventies. My favourite is the bit where Sonia and Maneka Gandhi had a fight over dog biscuits. But it would be unfair to call it just a book of gossip as some Delhi based reviewers have.
Tavleen Singh offers us some fascinating stuff on Operation Bluestar and the chamchas surrounding the Gandhi family and how they operated. The part that takes the cake though is the fact that Ottavio Quattrocchi and his wife were very close to Sonia and Rajiv Gandhi, despite Sonia’s claims now that she barely knew them. If there is one book you should be reading to understand how the political city of Delhi operates and why that has landed India in the shape that it has, this has to be it.
The Sanjay Story – Vinod Mehta (Harper Collins – Rs 499).Technically this book shouldn’t be a part of the list given that it was first published in 1978 and has just been re-issued this year. But this book is as important now as it was probably in the late 1970s, when it first came out.
Mehta does a fascinating job of unravelling the myth around Sanjay Gandhi and concludes that he was the school boy who never grew up.
“Intellectually Sanjay had never encountered complexity. He was an I.S.C and at that educational level you are not likely to learn (through your educational training) the art of resolving involved problems… He himself confessed in 1976 that possibly his strongest intellectual stimulation came from comics,” writes Mehta.
The book goes into great detail about the excesses of the emergency era. From nasbandi to the censors taking over the media, it says it all. Sanjay was not a part of the government in anyway but ruled the country. And things are similar right now!
Patriots and Partisans – Ramachandra Guha (Penguin/Allen Lane – Rs 699)
The trouble with most Delhi based Indian intellectuals is that they have very strong ideologies. There sensitivities are either to the extreme left or the extreme right, and those in the middle are essentially stooges of the Congress party. Given that, India has very few intellectuals who are liberal in the strictest of the terms. Ramachandra Guha is one of them, his respect for Nehru and his slight left leanings notwithstanding. And what of course helps is the fact that he lives in Bangalore and not in Delhi.
His new book Patriots and Partisans is a collection of fifteen essays which largely deal with all that has and is going wrong in India. One of the finest essays in the book is titled A Short History of Congress Chamchagiri. This essay on its own is worth the price of the book. Another fantastic essay is titled Hindutva Hate Mail where Guha writes about the emails he regularly receives from Hindutva fundoos from all over the world.
His personal essays on the Oxford University Press, the closure of the Premier Book Shop in Bangalore and the Economic and Political Weekly are a pleasure to read. If I was allowed only to read two non fiction books this year, this would definitely be the second book. (Read my interview with Ramachandra Guha here).
Indianomix – Making Sense of Modern India – Vivek Dehejia and Rupa Subramanya (Vintage Books Random House India – Rs 399)
This little book running into 185 pages was to me the surprise package of this year. The book is along the lines of international bestsellers like Freakonomics and The Undercover Economist. It uses economic theory and borrows heavily from the emerging field of behavioural economics to explain why India and Indians are the way they are.
Other than trying to explain things like why are Indians perpetually late or why do Indian politicians prefer wearing khadi in public and jeans in their private lives, the book also delves into fairly serious issues.
Right from explaining why so many people in Mumbai die while crossing railway lines to explaining why Nehru just could not see the obvious before the 1962 war with China, the book tries to explain a broad gamut of issues.
But the portion of the book that is most relevant right now given the current protests against the rape of a twenty year old woman in Delhi, is the one on the ‘missing women’ of India. Women in India are killed at birth, after birth and as they grow up is the point that the book makes.
My only complain with the book is that I wish it could have been a little longer. Just as I was starting to really enjoy it, the book ended. (Read my interview with Vivek Dehejia here)
Taj Mahal Foxtrot – The Story of Bombay’s Jazz Age – Naresh Fernandes (Roli Books – Rs 1295)
Bombay (Mumbai as it is now known as) really inspires people who lives here and even those who come from the outside to write about it. Only that should explain the absolutely fantastic books that keep coming out on the city (No one till date has been able to write a book as grand as Shantaram set in Delhi or a book with so many narratives like Maximum City set in Bangalore).
This year’s Bombay book written by a Mumbaikar has to be Naresh Fernades’s Taj Mahal Foxtrot.
The book goes into the fascinating story of how jazz came to Bombay. It talks about how the migrant musicians from Goa came to Bombay to make a living and became its most famous jazz artists. And they had delightful names like Chic Chocolate and Johnny Baptist. The book also goes into great detail about how many black American jazz artists landed up in Bombay to play and take the city by storm. The grand era that came and went.
While growing up I used to always wonder why did Hindi film music of the 1950s and 1960s sound so Goan. And turns out the best music directors of the era had music arrangers who came belonged to Goa. The book helped me set this doubt to rest.
The Indian Constitution – Madhav Khosla (Oxford University Press – Rs 195)
I picked up this book with great trepidation. I knew that the author Madhav Khosla was a 27 year old. And I did some back calculation to come to the conclusion that he must have been probably 25 years old when he started writing the book. And that made me wonder, how could a 25 year old be writing on a document as voluminous as the Indian constitution is?
But reading the book set my doubts to rest, proving once again, that age is not always related to good scholarship. What makes this book even more remarkable is the fact that in 165 pages of fairly well spaced text, Khosla gives us the history, the present and to some extent the future of the Indian constitution.
His discussion on caste being one of the criteria on the basis of which backwardness is determined in India makes for a fascinating read. Same is true for the section on the anti defection law that India has and how it has evolved over the years.
Lucknow Boy – Vinod Mehta (Penguin – Rs 499)
One of my favourite jokes on Lucknow goes like this. An itinerant traveller gets down from the train on the Lucknow Railway station and lands into a beggar. The beggar asks for Rs 5 to have a cup of tea. The traveller knows that a cup of tea costs Rs 2.50. He points out the same to the beggar.
“Aap nahi peejiyega kya? (Won’t you it be having it as well?),” the beggar replies. The joke reveals the famous tehzeeb of Lucknow.
Vinod Mehta’s Lucknow Boy starts with his childhood days in Lucknow and the tehzeeb it had and it lost over the years. The first eighty pages the book are a beautiful account of Mehta’s growing up years in the city and how he and his friends did things with not a care in the world. Childhood back then was about being children, unlike now.
The second part of the book has Mehta talking about his years as being editor of various newspapers and magazines. This part is very well written and has numerous anecdotes like any good autobiography should, but I liked the book more for Mehta’s description of his carefree childhood than his years dealing with politicians, celebrities and other journalists.
Behind the Beautiful Forevers – Life, Death and Hope in a Mumbai Undercity – Katherine Boo (Penguin – Rs 499)
As I said a little earlier Mumbai inspires books like no other city in India does. A fascinating read this year has been Katherine Boo’s Behind the Beautiful Forevers. Indians are typical apprehensive about foreigners writing on their cities. But some of the best Mumbai books have been written by outsiders. Gregory David Roberts who wrote Shantaram arrived in Mumbai having escaped from an Australian prison. There is no better book on Mumbai than Shantaram. The same is true about Suketu Mehta and Maximum City. Mehta was a Bombay boy who went to live in America and came back to write the book that he did.
Boo’s book on Mumbai is set around a slum called Annawadi. She spent nearly three years getting to know the people well enough to write about them. Hence stories of individuals like Kalu, Manju, Abdul, Asha and Sunil, who live in the slum come out very authentic. The book more than anything else I have read on Mumbai ( with the possible exception of Shantaram) brings out the sheer grit that it takes to survive in a city like Mumbai.
So that was my list for what I think were the top 10 Indian non fiction books for the year. One book that you should definitely avoid reading is Chetan Bhagat’s What Young India Wants. Why would you want to read a book which says something like this?
Money spent on bullets doesn’t give returns, money spent on better infrastructure does… In this technology-driven age, do you really think America doesn’t have the information or capability to launch an attack against India? But they don’t want to attack us. They have much to gain from our potential market for American products and cheap outsourcing. Well let’s outsource some of our defence to them, make them feel secure and save money for us. Having a rich, strong friend rarely hurt anyone.
And if that is not enough let me share what Bhagat thinks would happen if women weren’t around. “There would be body odour, socks on the floor and nothing in the fridge to eat.” Need I say anything else?
The article originally appeared on on December 26, 2012.
(Vivek Kaul is a writer. He can be reached at [email protected])

A hand-me-down role in ‘Anand’ crowned Khanna’s career

Vivek Kaul

So the world has rediscovered Rajesh Khanna or so it seems.
Around one pm today I was at Rhythm House, the only decent music shop to survive in Mumbai, after the onslaught of MP3s and what not.
As soon as I entered the shop I heard Kishore Kumar singing “zindagi ke safar main guzar jaate hain jo makam wo phir nahi aate”. For the half an hour I was at Rhythm House only Rajesh Khanna-Kishore Kumar songs were played.
Rhythm House has also created a special shelf where all the Rajesh Khanna audio CDs, VCDs and DVDs have been separately put up.
Aaj subah sab se kewal Rajesh Khanna hi bick raha hai,” a shop attendant told me as I paid for my purchases ( I wasn’t buying Rajesh Khanna by the way. I have all of him that is necessary).
While returning home the taxi driver told me “kya gaane the sahab Rajesh Khanna ke, subah se Radio waale wahin baja rahe hain.”
News channels have been broadcasting songs, trivia, interviews and even a documentary in remembrance of India’s first Superstar.
A television channel has advertised on the front pages of a Mumbai daily that it shall be showing Kati Patang and Anand in the evening today (as you read this Kati Patang has probably started and Anand plays at 9pm).
Kati Patang is clearly a movie of the late sixties and the early seventies with a rather predictable storyline. But the Rajesh Khanna movie that has stood the test of time is Hrishkesh Mukherjee’s Anand. A story of a character called Anand who is dying of cancer but who does not give up his zest for life, even though he knows that he has a very short time to live.
Mukherjee, who also wrote the story, originally wanted Shashi Kapoor for the film. But Shashi Kapoor had just tasted success with Jab Jab Phool Khile and was probably more interested in doing romantic roles rather than a role in which his character died in the end.
Then Raj Kapoor, Shashi’s elder brother, and a great buddy of Mukherjee came into the picture. The trouble was that Mukherjee was superstitious about letting Raj Kapoor die on screen. Kapoor and Mukherjee were great friends and Kapoor referred to Mukherjee as babumoshai
Kishore Kumar was also considered for the role. But the story goes that he had a tiff with Mukherjee. Mukherjee who was a prolific film director wanted Kishore Kumar to act in one of his movies. Mukherjee paid him half the amount agreed on in advance and the remaining half was to be paid after the film was shot. But Kishore Kumar wanted the entire amount in advance. He refused to shoot for the movie. Mukherjee took him to court and won the case. The court directed Kishore Kumar to complete the movie and thereafter Mukherjee would pay him the remaining half.
Being the cranky genius that he was Kishore Kumar landed up on the sets with his head and moustache half shaved and apparently told Mukheree that “Aadhe paise mein aadha Kishore hi milega!
After this Rajesh Khanna got the role of Anand. In fact, it is said that Mukherjee also considered Bengali matinee idols Uttam Kumar and Soumitra Chatterjee for the roles of Anand and Dr Bhaskar Banerjee.
The role of Dr Bhaskar Banerjee eventually went to Amitabh Bachchan. As IMDB points out “Mehmood advised Amitabh Bachchan to grab a secondary role alongside the then heartthrob Rajesh Khanna in the film, saying, “All you need to do is feed off Khanna, the rest will take care of itself.””
Bachchan had just landed in Mumbai a few years back giving up his comfortable job (what we now call a boxwallah) with Byrd & Co, in Calcutta, as it was then called. He was great friends with Mehmood’s younger brother Anwar Ali.
Every “big actor” does one role during his character that people remember him for. Marlon Brando had “The Godfather”. In case of Robert de Niro it was “Raging Bull”. For Amitabh Bachchan it was “Deewar”. And for Shah Rukh Khan it was “Dilwale Dulhainya Le Jayenge (DDLJ)”.
Anand was Rajesh Khanna’s Deewar. His Godfather. His Raging Bull. And his DDLJ. He reached his peak with Anand and his acting only went downhill after that. Khanna played out Anand’s part brilliantly but the role as explained came to him by sheer chance. Success is about things that happen. It is also about things that do not happen.
What is ironic though that Khanna who was a romantic hero did not have a heroine in the movie. This was a huge risk. But the fantastic script, songs, dialogues and music pulled it through.
Hrishikesh Mukheree did not make a better movie than this. It was also Salil Chouwdhury’s peak as a music director. And Gulzar’s dialogues in the movie are still doing the rounds and even helping news channels like Aaj Tak make a living. Sample this:
Zindagi aur maut upar wale ke haath main hain jahapanah,
use na aap badal sakte hain na main,
Hum sab toh rang-manch kee katputliya hain,
jinki dor uparwale ki ungliyon mein bandhi hain
Kab kaun kaise uthega, koi nahi bata sakta
ha ha ha…

The news channel Aaj Tak started playing this scene from Anand even before Rajesh Khanna’s death was announced. Such was the power of these lines. Anand’s dialogues are probably the most powerful dialogues in Hindi cinema after Sholay and Mughal-e-Azam.
What also stood out in the movie were two songs written by a new lyric writer called Yogesh. Yogesh started out writing songs for movies like Flying Circus, Marvel Men, Rustom Kaun and Husn Ka Ghulam, what were known as stunt movies back then. Hrishikesh Mukherjee heard the lyrics of two songs that Yogesh had written and loved them. But the rights for those song were already with a producer called LB Lachman.
As Yogesh told DNA in an interview few years back “Lachmanji was adamant about keeping the songs, but Rajesh Khanna, Amitabh Bachchan and Mukherjee pleaded with him. Bachchan, who was a young man then, would say to me, ‘Kavi Raaj, yeh do gaane humein dila di jiye (Please get us these two songs somehow).’ Finally, Lachmanji relented and gave them one of the songs.”
This song was kahin door jab din dhal jaaye. Mukherjee was so happy with Yogesh that he asked him to write another song and Yogesh came up with the even better zindagi kaisi yeh paheli hi. These two songs turned what was a brilliant movie into an extraordinary one.
The other standout performance in the movie was that of Johnny Walker playing Issabhai Suratwala who Anand keeps calling Muralilal. Suratwala on the other hand keeps calling Anand as Jaichand.
Anand is a movie which has a tragic undertone throughout. But even with that the movie is not a tragedy. It makes you laugh at different points of time, only to make you cry in the end when Anand dies. The last scene of Anand which news channels have been playing nonstop since yesterday is probably the most powerful last scene ever shot in Hindi cinema. I can’t think of anything else that comes a close second.
All these ingredients went into making what has truly become Rajesh Khanna’s crossover movie. A movie that has stood the test of time. And can still be watched. That also explains why it is played on television almost every week.
The timelessness of Anand also tells us is that good cinema isn’t about shooting in Switzerland or having item numbers. It’s all about a story which is well told and the different ingredients coming together just in the right way. Rajesh Khanna was brilliant in Anand. But so were Hrishikesh Mukherjee, Salil Chowhdury, Gulzar, Yogesh and Johnny Walker. And yes Amitabh Bachchan.
Khanna may have given bigger hits like Aradhana and Haathi Mera Saathi. But can you really sit and watch these movies now?
Anand was his truly standout performance. His swansong. His tour de force.
If there is one Rajesh Khanna movie that you should be watching it has to be Anand.
And that’s what I plan to do when the clock strikes nine pm today, for one last time. What about you?
(The article originally appeared on on July 19,2012.
(Vivek Kaul is a writer and can be reached at [email protected])