Decades ago, in 1993, I was asked about my views on Khushwant Singh as an Indian author during a job interview for the post of Editorial Assistant at the National Book Trust in New Delhi. At the time, I was unable to say much about him. My reading of his work had been limited to his regular newspaper columns—perhaps With Malice Towards One and All or Gossip: Sweet and Sour—and a short story, The Mark of Vishnu, which was part of our college syllabus. Although I was aware of his celebrated novel Train to Pakistan, I had not yet read it.
My response, understandably, was neither encouraging nor befitting the stature of such a towering writer. I failed the interview—inevitably. As I stepped out of the interview room, I learned that one of the panel members was Maya Dayal, Khushwant Singh’s daughter and the editor of the book under discussion. When the other interviewees were exchanging accounts of how their interviews had gone, a staff member casually mentioned her presence on the panel. I felt an overwhelming sense of guilt and shame. The fault was entirely mine.
Over the years, however, I went on to read Khushwant Singh extensively. I came to realise that he was not merely a great journalist and humorist, but a writer par excellence. At times, his prose did strike me as somewhat laboured, but his sincerity, insight, and unflinching straightforwardness were impossible to ignore. He possessed a remarkable memory and was, undeniably, a privileged man—one who had lived in close proximity to people who shaped society and wielded power in its corridors. I admire him deeply as a writer, a chronicler, and a journalist. Today, I feel no remorse for not being selected for that interview, even though I needed the job badly at the time.
The book under discussion—centred on Punjab, the Punjabi people, and the idea of Punjabiyat—is essentially a collection of his diverse writings on the subject. It does not delve into any one issue in great depth. Instead, it offers a bird’s-eye view of a wide range of topics: Punjab and Punjabi identity, the language and its literature, Sikhism, the lives of the Gurus, and a few notable personalities. The treatment is concise and journalistic, much like his newspaper articles. Yet, despite—or perhaps because of—this brevity, the book remains engaging.
However, there is little to almost no sustained writing on Punjabi culture as such. In that sense, the use of the word Punjabiyat in the title—introduced by the editor, Maya Dalal—appears somewhat misleading. The book gestures towards the idea rather than inhabiting it fully.
I finished it in two straight days and savoured every word.