![ved mehta new yorker ved mehta new yorker](https://www.dailyexcelsior.com/wp-content/uploads/2021/01/ved-mehta.jpg)
“He writes about serious matters without solemnity, about scholarly matters without pedantry, about abstruse matters without obscurity.”
![ved mehta new yorker ved mehta new yorker](https://www.alscan.dk/CustomerData/Files/Images/Gallery/specialstaldvinduer_1000/special4_(1)_77.jpg)
“Ved Mehta has established himself as one of the magazine’s most imposing figures,” The New Yorker’s storied editor William Shawn, who hired him as a staff writer in 1961, told The New York Times in 1982. The cause was complications of Parkinson’s disease, his wife, Linn Cary Mehta, said.Īssociated with the magazine for more than three decades - much of his magnum opus began as articles in its pages - Mehta was widely considered the 20th-century writer most responsible for introducing American readers to India.īesides his multivolume memoir, published in book form between 19, his more than two dozen books included volumes of reportage on India, among them Walking the Indian Streets (1960), Portrait of India (1970) and Mahatma Gandhi and His Apostles (1977), as well as explorations of philosophy, theology and linguistics. He wrote about Oxford dons, theology, Indian politics, and many other subjects.Ved Mehta, a longtime writer for The New Yorker whose best-known work, spanning a dozen volumes, explored the vast, turbulent history of modern India through the intimate lens of his own autobiography, died Saturday at his home in Manhattan. He joined the magazine when he was 26 and, for more than three decades, wrote a stream of pieces, many of them appearing in multipart series. After studying at Pomona College and Oxford University, he began to flourish in his working life as a writer. Mehta came to the United States when he was 15 years old, and attended the Arkansas School for the Blind, in Little Rock. Mehta walked the streets of the city without a cane or a seeing-eye dog, and he bristled when someone dared try to assist him. One of the most striking hallmarks of Mehta's prose was its profusion of visual description: of the rich and varied landscapes he encountered, of the people he interviewed, of the cities he visited, the NYT report said.
![ved mehta new yorker ved mehta new yorker](https://static01.nyt.com/images/2021/01/11/multimedia/10mehta_ved/10mehta_ved-videoSixteenByNineJumbo1600-v3.jpg)
![ved mehta new yorker ved mehta new yorker](https://images.firstpost.com/wp-content/uploads/2021/01/ved640.jpg)
He could rework a single article more than a hundred times, he often said, the report said. Mehta composed all of his work orally, dictating long swaths to an assistant, who read them back again and again for him to polish until the work shone like a mirror. The recipient of a MacArthur Foundation genius grant in 1982, Mehta was long praised by critics for his forthright, luminous prose with its informal elegance, diamond clarity and hypnotic power, as The Sunday Herald of Glasgow put it in a 2005 profile, the New York Times reported on Sunday. "He writes about serious matters without solemnity, about scholarly matters without pedantry, about abstruse matters without obscurity, Shawn had said. "Ved Mehta has established himself as one of the magazine's most imposing figures, The New Yorker's storied editor William Shawn, who hired him as a staff writer in 1961, told The New York Times in 1982.
VED MEHTA NEW YORKER SERIES
"Daddyji" was the first installment in what was to become a 12-volume series of autobiographical works, known collectively as Continents of Exile.