Britain, Government, India, Society

Britain could send ventilators to virus-stricken India

COVID SURGE

BRITAIN has pledged to support India in its battle against the devastating Covid surge which has brought the country to its knees.

The UK Government said it is “looking at what we can do to help” after India recorded 332,000 new cases in a single day.

Hospitals across the nation are buckling under the strain of a ferocious second wave, with some running out of oxygen and turning away patients due to overcrowding.

Reports have indicated that 2,263 deaths were recorded in India yesterday, although limited testing capacity means this is likely to significantly underestimate the total.

The Prime Minister, Boris Johnson, said: “We’re looking at what we can do to help and support the people of India, possibly with ventilators. Thanks to the ventilator challenge, the huge efforts of British manufacturers, we’re better able now to deliver ventilators to other countries. But also possibly with therapeutics, Dexamethasone, other things, we’ll look at what we can do to help.”

Yesterday, India recorded 332,730 new infections – the highest one-day tally of any country since the beginning of the pandemic. It was the second day running the country of around 1.4billion people broke the record.

India is now recording one in three of all worldwide Covid 19 cases. Ministers declared victory against the virus two months ago when there were around 11,000 cases a day.

The surge has been fuelled by a “double mutant” variant, thought to be more infectious.

So far 132 cases of the Indian variant have been detected in Britain, around half of which are in London. The variant contains two mutations in the virus’s spike protein, which could help it spread more easily and evade vaccines. India has been added to the UK’s travel “red list”, prompting a last minute scramble for flights to Heathrow. The Prime Minister has also cancelled a trip to Delhi which was scheduled to go ahead this weekend where he had hoped to secure millions of vaccine doses.

Government scientists have said that the current border measures in place are not enough to prevent the spread of new variants, but they can delay it. One senior scientist said there were likely to be “many more” cases of the Indian variant in the UK than the 132 detected so far. It is acknowledged that the Indian variant is more transmissible than the base virus although it isn’t known if it’s more transmissible than the Kent variant due to lack of data on vaccine efficacy.

Desperate families in India have been begging for oxygen or medical help on social media, and crowds have gathered outside hospitals with some dying on stretchers as they wait.

Three days ago, 22 patients died at a hospital in Maharashtra when their oxygen supply ran out after a leak in the tank. Yesterday, 13 Covid patients died when a fire broke out at a Mumbai hospital.

Dr Atul Gogia, who works at a hospital in Delhi, said: “We do have oxygen but it’s now on a day-to-day basis. We got some oxygen last night, so we have some oxygen now.” He also added: “We do not have enough oxygen points, patients are coming in with their own oxygen, others without, we want to help them but there are not enough beds or oxygen points, and not enough oxygen to supply them.”

Max Healthcare, which runs hospitals in northern and western India, has appealed on Twitter for oxygen at its facility in Delhi. The company said, “We regret to inform that we are suspending any new patient admissions in all our hospitals in Delhi until oxygen supplies stabilise.”

The government has started shuttling trains containing tanks of oxygen across the country to hotspots. Crematoriums are also overwhelmed, with one in Delhi resorting to building pyres in its car park.

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Arts, Books, Britain, Government, History, India, Politics

Book Reviews: The spectre of Amritsar

Intro: A hundred years ago British soldiers opened fire on a crowd of unarmed Indians. The massacre still haunts the history of empire today.

ON the morning of 10 April 1919, the city of Amritsar in Punjab found itself in the fiery grip of anti-colonial protests. The day had begun peacefully enough, but by early afternoon the town was up in arms as mobs of baying men shouting nationalistic slogans embarked on a spree of pillaging and burning. Britons who actually held power and sway over them were beyond reach, and so anybody with white skin became a target. Officials at the National Bank were severely beaten and stabbed, their bodies badly burned in a heap of office furniture and stationery. At the Alliance Bank, too, the manager was thrown out of the window, his decapitated and mangled corpse set on fire afterwards. While others began to rain blows on a statue of Queen Victoria, this was tempered somewhat as it had been argued that Her late Majesty ought not to be held responsible to the faults of her successors. With only marginal damage, most of her iconic image was spared. Throughout these protests, the air rang with cries of “Gandhi ki jai” (victory to the Mahatma), an irony which had taken a leave of absence at the very first eruption of disorder and violence.

As it happens, this is one of the many striking scenes that emerges from Kim Wagner’s excellent new book on the Amritsar Massacre of 1919. It is, undoubtedly, an intelligent and unsentimental insight into one of the most horrifying moments in the history of the Raj.

The events at Jallianwala Bagh on 13 April are well documented. Brigadier-General Dyer of the British Indian Army, one of the great villains of India’s colonial experience, had his soldiers open fire on a gathering of between 5,000 and 10,000 unarmed civilians in a confined garden. Hundreds were killed, while a thousand more lay wounded, unable even to seek aid due to curfew orders. As Wagner writes, the episode became “one of the best-known items on the imperial butcher’s bill” – not least because Dyer and his superiors showed little remorse. But while they were quick to telegram support, “Your action correct and Lieutenant Governor approves”, Dyer was lambasted in the House of Commons although he was lauded as a good soldier in the Lords. And as late as 1978, a subordinate defended him: he “killed, yes”, but “massacred, no”. The number of fatalities remains uncertain: Dyer claimed 200-300, estimated loosely from the 1,650 rounds fired, while the Indian National Congress suggested 1,000 people perished. An official commission into the massacre settled for 379, including a six-week-old baby.

A principle intention of Wagner’s study is to make historical and scholarly sense of this tragedy (as opposed to political or emotional). Some might suggest that both parties thought their actions legitimate. But, how did a massacre of this scale resemble justifiable military action for the Raj’s officials? Despite the atrocity he authored and approved, how did Dyer become the man who “Saved India”? To any neutral observer or reader of the situation this is a perfectly reasonable question to ask. He will be perceived in some quarters as butcher rather than saviour. And, how was it that thousands of people who set out with Gandhi’s name on their lips, could burn and loot, assaulting a middle-aged white woman and leave her for dead?

The nuanced approach applied by Wagner attempts to explain the inner workings of both sides. The Indians were certainly the victims, that there is no doubt: despite their violence on the eve of Jallianwala Bagh. Bricks and sticks ought never to have provoked any government to prepare air power against the people it governed. In the end, Amritsar narrowly escaped being bombed, but at nearby Gujranwala gunfire was indeed opened from above, with as many as eight bombs dropped on villagers. It was a disastrous overreaction, but one borne-out of paranoia that was as old as the empire itself.

Wagner scrutinises this paranoia with careful deliberation. Too often, he notes, Amritsar is viewed in isolation or as a catalyst for the concluding chapter in India’s struggle for freedom: it was in response to Jallianwala Bagh that Gandhi launched his movement of non-cooperation. He turns the focus on the decades that preceded Dyer, casting his actions as the culmination of a previous chapter. It is a compelling argument, and it helps us understand the gap between ruler and ruled more fully. The British were, it should be remembered, aliens in a large and complicated country, conscious that their power was never secure. Confidence where it did not exist was feigned. Confronted by bewildering diversity, the British introduced rigid one-size-fits-all rules and a cumbersome bureaucracy that eschewed face-to-face interactions with its people. Racial fallacies and misconceptions, missionary polemics and changes at home all affected India, but instead of bridging gaps, distances were exacerbated by a ruling class that remained perpetually aloof.

Sporadic small-scale mutinies occurred, but in 1857 northern India rose in revolt in the Great Rebellion, when Hindus joined with Muslims under the banner of an emasculated Mughal emperor. Whilst British power had clearly been rattled, instances of violence against British women and children were deliberately exaggerated. Such rumours led to horrified reactions at home and a brutal military response. The debacle saw power transferred from the East India Company to the Crown, and Queen Victoria issued a proclamation with several guarantees to her Indian subjects (later innovations such as income tax were resisted by citing the proclamation). The essential preoccupation of the British in India – of “the men on the ground” – was to maintain control and resist any challenge to what they feared was a tenuous authority.

A great deal came to depend on the attitude of the viceroys appointed by the Crown. Some won popularity among Indians – Lord Ripon’s progressive reforms, for example, alarmed his own countrymen – but, for nearly all of them, concessions would not be traded for control – which, in effect, limited their actions to tokenisms and kind words. Theoretically, rule under the Crown was meant to be more liberal than during the East India Company era. In reality, it soon became business as usual.

Wagner offers an explanation for the unyielding attitude of the Raj’s officials. In 1857 British power had come close to being extinguished: it was reasserted only with spectacular violence. The Mughal emperor was packed off to Burma on a bullock cart and violent punishments were designed for the rebels. In the 1870s, it was proposed that “blowing from a gun is an impressive and merciful manner of execution,” for it was “well-calculated to strike terror into the bystanders.” Or, in other words, for the British to control an unpredictable people, the colonial state had to be prepared to deploy violence – and to make it a public affair. When some openly criticised such methods, there was the press to ramp up support. “The truth is we want omelettes without the breaking of eggs,” declared the Anglo-Indian newspaper the Pioneer. In the years and decades preceding the Amritsar Massacre, these fears played in the minds of colonial officials: as Wagner writes, “In the British colonial imagination, the ‘Mutiny’ [of 1857] never ended.” In the circumstances, it was not surprising that mass gatherings began to look like founts of sedition.

In 1907, for instance, the government imagined local leaders in Punjab as being part of a Russian-Afghan conspiracy – and, in 1915, an unlikely revolt organised by Indian expatriates in America reinforced such fears. The Rowlatt Act of 1919 set the stage for crisis as political liberties were curtailed: people could be arrested without warrant and detained without trial, and the press was gagged, all in the name of security.

Public meetings were planned in Amritsar by prominent figures, but on the 10 April, they were taken into custody. The crowds gathered and protested and demanded a meeting with the authorities. The sheer size caused such concern to British officials that shots were fired. Several Indians were killed: the riots, in which bank officials were lynched and the banks looted, was the response. “Just as the British misread the nature of the protests,” writes Wagner, “so too did the population of Amritsar fail to grasp the extent to which their mass protests sent the authorities into paroxysms of panic.” Officials were hardened by seeing a “fanatical” mob; the masses saw nothing but arrogant officialdom. Add to this mix “the brute reality of popular politics” and the “dynamics of crowd violence”, and the stage was set for Dyer.

Dyer, the head of the 45th Brigade at Jalandhar, some 50 miles away, was not summoned to Amritsar, he appeared uninvited. He told his son: “There is a big show coming.” Martial law was imposed, and all public gatherings banned, but the men sent out to announce this did a hopeless and poorly executed job of the orders. Most people remained oblivious as to what was happening. A meeting previously planned went ahead, with Dyer promptly decreeing this as undisguised provocation. “I was conscious of a great offensive movement gathering against me,” he later wrote, “and knew that to sit still… would be fatal… I knew a military crisis had come and that to view the assembly as a mere political gathering…was wholly remote from the facts.”

For Dyer, Amritsar was “the storm centre of a rebellion”. Other officials, too, interpreted every hint of discontent as the rumblings of a treacherous conspiracy. “My mind was made up… If my orders were not obeyed, I would fire immediately.” To not act would entail the military losing face, and this would embolden refractory “natives”. Dyer insisted that he was simply doing his “horrible, dirty duty”.

There was another figure, aside from the synonymity of Dyer with Amritsar, whose views shaped British responses at that time: the man who telegrammed Dyer his words of approval, Sir Michael O’Dwyer, Lieutenant Governor of Punjab. Born and raised in Ireland to dislike nationalists in his own country, O’Dwyer brought his imperious style to India. As Anita Anand writes in her new book on Amritsar, ever since his arrival, “the new Lieutenant Governor had been categorising Indians like a botanist documenting interesting but potentially dangerous specimens”. The Mahratta Brahmin was “intelligent… but often treacherous”. O’Dwyer’s language was often putrid and unseemly labelling many in India as “virile” and, unless firmly and tactfully handed, “obstinate to the point of fanaticism.” When legal obstacles were raised, the trenchant O’Dwyer dismissed the courts as taking “too technical and narrow” a view of evidence. It should come as no surprise that he and Dyer got along just fine.

The Patient Assassin by Anand is primarily the story of Udham Singh, the revolutionary who would assassinate O’Dwyer in 1940 in belated retaliation for Jallianwala Bagh. The narrative is dramatic and fast-paced, with the protagonist bringing everyone together from the Soviets to the Americans. Very little is known about Udham’s early life, and what is known is enveloped in myth and misconception. When Udham claimed he was in Jallianwala Bagh on that fateful day in 1919, it was unclear whether he was even in the city. Either way, as he put it after shooting O’Dwyer, “For full 21 years [sic] I have been trying to wreak vengeance.” For him “the real culprit” who wanted to “crush the spirit of my people” was not Dyer but the ex-Lieutenant Governor.

Udham Singh began life as Sher Singh – and, in his lifetime, would also become Ude Singh, Frank Brazil, Mahomed Singh Azad, and finally Prisoner 1010. He had lost both his parents and his brother by the age of 16. Raised in an orphanage, he acquired carpentry as his only skill. Towards the end of 1917, he enlisted into the British Army, serving briefly in Basra before being deemed unfit for service. There was an impetuosity and impulsiveness about him, a yearning for greatness, a confused but determined love for his country, and a charm that often got him out of tricky corners.

It was thanks to his powers of persuasion that in 1918 he managed to re-enlist in the army, before retiring to Amritsar in more honourable circumstances after the war, in 1919. He was attracted to the politics of the Ghadar Party – that network of expatriates who sought unsuccessfully and often amateurishly, to liberate India by force – and became a pamphlet mule, spreading their message around Amritsar and in the wider Punjab. The urge to make a difference, though, had to be carried alongside that other urge to feed himself, so that by 1920 in was in Africa working for a railway line like thousands of “coolies”.

Anand does a meticulous and determined job of tracing his steps and is able to debunk more than one theory about him. Surprisingly, given that the Ghadars are integral to Udham Singh’s tale, Anand doesn’t offer anywhere near as a complete treatment of the political party as one would reasonably expect. He encountered them again in Africa: later sailing back to India with more sedition in his suitcase. By 1922, he embarked to the United States, where he rose in their underground ranks while working as a mechanic. Whenever immigration caught up with him, Udham moved, until 1927 when he quit the country. Returning to Amritsar, he was apprehended, and, after confessing to his political activism with the Ghadars, was imprisoned.

In another mystifying twist, he had acquired a fresh passport by 1933, and set out for London. In the years that followed, he found himself a mysterious English girlfriend, working as a peddler of clothing and household goods, sang the praises of the revolutionary hero Bhagat Singh, appeared as an extra in the 1937 movie Elephant Boy, and in 1940 finally accomplished what he had pledged to do: by assassinating Michael O’Dwyer.

On the afternoon of 13 March, O’Dwyer attended Caxton Hall in Westminster to hear a lecture on Afghanistan. His assassin was waiting in the audience. When at the end of the event, the 75-year-old rose to talk to the speakers, Udham approached and shot him twice through the heart at close range, before turning his revolver on three other senior Raj officials, who were injured but not killed. One of the first things Udham did after being taken into custody was to ask police for a cigarette.

After he was hanged in an English prison, Udham laid for decades buried under English soil. In 1974, his remains were handed over to the Indian government, and in 2018, a statute was installed at Jallianwala Bagh. But Udham Singh remains an enigma: he was resident in London in the 1920s when he could easily have achieved his goal – why he didn’t we cannot say. Despite the almost impossible task of truly understanding Udham’s motivations, Anand does produce an engaging account of the times and of this unlikely hero. And though she is gripped by her subject, the author does not shirk away from his human failings. His legend now has it as picking up the bloodied earth from Jallianwala Bagh and vowing revenge for his murdered “brothers and sisters”. That his how his new statue depicts him. A century on, understanding the events of 1919 in a dispassionate historical sense, is essential. Anand achieves that in diligent and studious literary style.

 

HOW these two remarkable books will be received in India is uncertain. A hundred years later, Amritsar is still a deep wound that has still not healed. There are portions in Wagner’s book which will sit especially uneasily with hyper-nationalists. Visiting British dignitaries, from Queen Elizabeth to David Cameron, have expressed regret about 1919 – the former called it “distressing” while the latter saw it as “deeply shameful” – but an outright apology has never been offered.

Perhaps this year the British government might be inspired to say the words it has so far avoided. So central has Amritsar become in collective memory that a sincere expression of remorse would not only offer closure for relatives of those who suffered from the orders issued by Dyer but could encapsulate all other acts of injustice sponsored by the Raj. Surely this is something worth the British government’s attention, 100 years after one of its own instigated a massacre against unarmed civilians.

Appendage:

Amritsar 1919: An Empire of Fear & the Making of a Massacre, by Kim A Wagner, is published by Yale University Press, for £20, 360pp

 

The Patient Assassin: A True Tale of Massacre, Revenge and the Raj, by Anita Anand, is published by Simon & Schuster, for £20, 384pp

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Arts, Britain, Education, History, India, Literature, Poetry

Snowflake students censor ‘racist’ Kipling

RUDYARD KIPLING

Intro: Students at Manchester University have painted over classic verses of Kipling’s IF poem that was put on the wall of the university to inspire hard work.

STUDENTS have been branded “snowflakes” after removing a poem by the Victorian writer Rudyard Kipling from a university wall over claims that he was “racist”.

Undergraduates at the University of Manchester painted over a mural featuring the celebrated poem “IF” in their students’ union. Students feared it would upset ethnic minorities.

The 1895 work contains no reference to race, but the students said it was still offensive because some of Kipling’s other works are about colonialism.

His 1899 poem The White Man’s Burden has been criticised in modern times for advocating colonialism and portraying other races as inferior.

It is the latest in a string of similar incidents involving students trying to remove references to controversial historical figures at universities.

Kipling’s IF gives advice about how to be a strong and resilient man and has often been used to inspire young people, because it advocates self-discipline and hard work.

Staff at the students’ union commissioned a local artist to paint it to motivate undergraduates in their studies.

But the union’s student representatives complained that they had not been consulted and decided to have it removed.

They replaced it with the 1978 poem “Still I Rise” by American civil rights activist Maya Angelou, which was read by Nelson Mandela at his presidential inauguration in 1994.

A Welfare officer from the university told The Tab website: “We noticed an artist had painted a Rudyard Kipling poem in the students’ union. This was done without our consultation or approval.

“This was especially problematic given the poet’s imperialistic and racist work such as The White Man’s Burden, where Kipling explains how it is the responsibility of white men to ‘civilise’ black and Asian people through colonialism.

“We decided to paint over that poem and replace it with Still I Rise by Maya Angelou, a poem about resilience and overcoming our history by a brilliant black woman.”

A spokesperson for the union said: “We understand that we made a mistake in our approach to a recent piece of artwork by failing to garner student opinion at the start of a new project. We accept that the result was inappropriate and for that we apologise.”

It was added that the union would make changes to “guarantee that student voices are heard and considered properly” so that “every outcome is representative of our membership”.

“We’re working closely with the union’s elected officers to learn all we can from this situation and are looking forward to introducing powerful, relevant and meaningful art installations across the student’s union building over the coming months.”

Chris McGovern, of the Campaign for Real Education, criticised the Manchester students, saying: “This is outrageous cultural vandalism. Kipling is a much beloved poet.

“These students are closing off access to one of our most popular poems and it is Liberal Fascism.

“They are snowflakes who should not be indulged. Forcing your views on other people should have no place in British society.”

The University of Manchester said it would not be appropriate to comment because the students’ union is an independent body.

It comes after Oxford University students led an unsuccessful campaign to tear down a statue of the 19th century imperialist Cecil Rhodes. They also forced the university authorities to move a portrait of Theresa May by putting up signs saying she was “hostile” to immigrants.

At Bristol, students tried to force the authorities to change the name of a building named after benefactor Henry Overton Wills III, a cigarette maker whose family company was said to have benefitted from slavery.

Critics have said it is wrong for students to try to censor the past and that they should instead view writers and figures in their historical context.

 

ONCE revered as the Bard of Empire, Rudyard Kipling has often been viewed as something of an embarrassment in the post-colonial world.

Critics often point to his poem Gunga Din (1890), which is written from the point of view of an English soldier in India about an Indian water-bearer, and lines from his novel Kim (1901) such as “My experience is that one can never fathom the Oriental mind” as examples of how he was a racist. But academics also say that he had a deep infinity with India and was often affectionate towards the Indian subjects of his work.

Rana Mitter, professor of the history and politics of modern China at Oxford University, who has a Bengali family background, describes Kipling as “very respectful of India as a culture and society”.

Professor Mitter said: “Kipling understood India better than his British contemporaries. If you read a poem like Gunga Din you’ll see that it isn’t contemptuous of India at all, but is respectful.

“However, Kipling was a product of late-Victorian Britain and had prejudices that were commonplace at that time.”

The Oxford University professor has also said that Kipling’s “The Ballad Of East And West”, which contains the famous line “East is East and West is West and never the twain shall meet”, is more problematic.

Born in Bombay in 1865, Kipling was sent away to school in England when he was five.

In 1882 he returned to India, where he worked for newspapers. Aside from his poetry, among his best-known work is The Jungle Book from 1894, which became a children’s classic and inspired a film produced by Walt Disney in 1967. He died in 1936.

. Appendage

IF

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