This up-dated and significantly expanded edition of Thapar’s most widely read book, Early India, is now available in paperback. Incorporating the essentials of new data and fresh explanations besides retaining the relevant among older arguments, the book is yet structured mostly within the original edition’s framework of worldwide recognition.
Alvin Toffler, Bucky Fuller, Ivan Illich, Sham Lai, Edward Goldsmith and Orville Freeman are some of the names dropped at the com¬mencement of Kapur’s book. Strange bed-fellows, politically disharmonious, intellectually at variance: put together at a tea party they would scratch one another’s eyes out. Ima¬gine, for example, Illich and Freeman strolling side by side in soulful chat.
The book under review, as the author states in the Epilo¬gue, was completed in mid-1979 and therefore could not take into account ‘governmen¬tal lawlessness’, for instance, the Bhagalpur blindings of undertrials, the revival of sati in certain parts of India, the scandalous and barbaric treatment of inmates of the Protective Home for Women in Agra, the harrowing tales of inhuman exploitation of bonded labour in Punjab and Haryana, and the count¬less more recent examples of custodial brutality and violence within the Indian Police and some ‘correctional organizations’.
The international press has not taken kindly to the debate regarding itself which has been rumbling in the genteel con¬ference rooms of UNESCO, off and on, since 1972. It was in 1972 that the General Conference of UNESCO first aired the possibility that the media of the richer nations might be a means towards ‘the domination of world public opinion or a source of moral and cultural pollution’.
1836, Paris: Louis Daguerre invented the camera. Immedi¬ately, enthusiasts of the inven¬tion hailed the birth of an era of objectivity. Later, a new proverb was born: ‘the camera doesn’t lie’. In the course of organizing some 100 exhibi¬tions of diverse cultural and geographical origin (the latest being Through Indian Eyes), the International Center of Photography discovered again and again that the camera has been, in fact, a very subjective instrument of observation and documentation and that it can be made to lie.
What a piece of work is a man! How noble in reason! how infinite in faculties! in form and moving, how ex¬press and admirable! in action how like an angel! in apprehension, how like a god! the beauty of the world! the paragon of animals! And yet, to me, what is this quintessence of dust?