Delhi's prominent citizens famously need no introduction these being the words prefacing elaborate introductions at every public function. Khushwant Singh, who passed away on Thursday at the age of 99, did one better he needed no obituary.
He had written one for himself well in advance: Here lies one who spared neither man nor God/ Waste not your tears on him, he was a sod/ Writing nasty things he regarded as great fun/ Thank the Lord he is dead, this son of a gun. (Death at my Doorstep, Roli Books).
Until he stopped his column With Malice to One and All two years ago, Khushwant Singh had served as the obituarist of his generation too. Notices and personal reminiscences about the good, the bad and the ridiculous who were departing this world sat unselfconsciously among the regular fare of pointed political and social criticism, engaging trivia, plugs for Indias wandering bands of artists and writers on the make and the latest thigh-slapping, hand-shaking ethnic humour from Delhis clubs and bars.
Widely syndicated, collected in book form and read by lakhs of people, the column was perhaps more influential than Khushwant Singhs other work. He will certainly be remembered for academic and creative writing like a History of the Sikhs (OUP, 1963) and Train to Pakistan (Chatto & Windus, 1956), but he loved the reach of media and used jokes to soften up the reader for a dose of subversive commentary.
But Khushwant Singh is now identified as a writer first and a journalist afterwards. Perhaps because the Illustrated Weekly of India is long defunct and his contribution to the remaking of Indian media forgotten.
During Khushwant Singhs tenure at the helm of the magazine, its circulation is said to have increased seven times over to 400,000 and it became prominently visible in English-reading homes. Among Khushwant Singhs innovations was a page of jokes, cartoons and a glamour photograph which looked like it belonged in The Sun. Paradoxically, in the same period, the Weekly remained a venue noted for publishing quality contemporary poetry, fiction, essays and photography. Khushwant Singh clearly saw no conflict in this paradox. Neither did readers, and they voted with their subscriptions.
In 1981, Singh wrote of the change wrought in his