A Death in the Ganj. The Death of the Dream that was The Ganj.

A Manifesto for McCluskiegunge

A Death in the Ganj, Konkana Sen Sharma’s debut as a director, is on Amazon Prime. It’s worth watching.

Featuring Mukul Sharma's iconic
blue Ambassador

It’s worth the time purely as a 70s nostalgia trip. 

The film is based on a short story by Konkana’s father Mukul Sharma - the the MS behind the Mind Sport column that used to appear in the Illustrated Weekly of India. 

It is about the Anglo-Indian community, like 36 Chowringhee Lane, Konkana’s mother Aparna Sen’s debut as a director (which remains the best movie ever made about Anglo-Indians). 

It prominently features a blue Ambassador, which is based on a blue Ambassador that Mukul Sharma owned during Konkana’s childhood. 

It involves an endless vacation where there is absolutely nothing to do except spend time with family members, and unspecified people who are sort of like family members, whether you want their company or not. Twenty first century vacations somehow don’t have those vast vacant spaces. 

But to me the most interesting thing about the movie is the setting – McCluskieganj – the settlement on the Chota Nagpur plateau which was meant to be a homeland for Anglo-Indians. The narrative arc of Death in the Ganj parallels the death of McCluskieganj itself.

The Anglo-Indians are (roughly) the children of British colonial officers who served in India and their Indian women. They were proud of their British roots, their (relatively) fair skin, and generally adopted their father’s names, religion and language.

Through the Raj, the Anglo-Indians remained a privileged class in Indian society. For example, an Anglo-Indian in the Indian Railways was paid more than a native officer of the same rank, but less than a white Britisher. They remained faithful to the Crown through the tumult of India’s freedom struggle. In their own eyes, they were “domiciled Europeans and 100% British”.

However, as the prospect of Indian independence became ever more plausible, and as the prospect of lakhs of Anglo-Indians being warmly welcomed “home” to England became ever less plausible, some amount of soul searching was perhaps inevitable.

Mr Ernest Timothy McCluskie of Park Street, Calcutta, a successful property broker and a member of the Bengal Legislative Council, responded to this historical moment by dreaming up McCluskiegunge. He found a land parcel of 10,000 acres that was watered by the Damodar and Jagriti Rivers and was connected by train to Calcutta. He leased this land in perpetuity from the Raja of Ratu, named this development after himself, and invited Anglo-Indians from across India to buy property here.

Mr McCluskie’s vision was much bigger than just a property deal.

McCluskiegunge was packaged as a clarion call to heroic adventure (see advert/ manifesto above), an exhortation to vigorous Anglo-Indian youth to shed their lethargy and bring civilization to the virgin forests of Chota Nagpur, sort of like American pioneers or Zionist kibbutzim. This could be read as a sacred duty, as McCluskiegunge was a “mulk” for Anglo-Indians, a promised land of their own.

If “mulk” is a self-consciously Urdu word (Hyderabad was ruled by the Nizam ul Mulk), the McCluskiegunge advert/ manifesto even more explicitly references Pakistan, “We see in McCluskiegunge the beginnings of what the Moslems call Pakistan but we call Anglo-India. A place in India where we can foregather and mix freely.”

And for a while, this dream worked. For a while, the forests of Chota Nagpur became Chota England. Spacious bungalows, tiger hunting, afternoon tea parties, ballroom dancing, piano music – McCluskiegunge had it all, everything the Anglo-Indians wanted, everything except jobs. There never was a reason why the kind of jobs vigorous young Anglo-Indians might want to do would migrate to The Ganj, and in the absence of those vital jobs, the Ganj went into a spiral of decline. Like Salman Rushdie’s Peccavistan, McCluskiegunge was incompletely imagined.

By the 70s it already was a quixotic museum piece, a parable about the dangers of putting ethnic purity above just-rub-along pragmatism. Today, with only twenty odd Anglo-Indian families left in The Ganj, it’s not clear if its unique Anglo-Indian flavour will even live on.

There is something distinctly illiberal about the idea of a “mulk” for Anglo-Indians, a pure ethnically clean homeland for a chosen people, far away from the cheek-by-jowl diversity and chaos of India’s great cities. So why does Konkana Sen Sharma, a strident liberal, show The Ganj in sympathetic light?

It feels a bit like Joan Baez singing “The Night They Drove Old Dixie Down”.

Once an idea is completely defeated, the idea and its champions acquire a sepia-toned sweetness. Liberals respond to the underdog, or the tragic-loser status that the defeated now have, rather than the ideas the underdogs once championed.

This is a dangerous and slippery slope. Ideas have a life of their own. I’m sure Joan Baez never imagined that white supremacists waving the Confederate flag would storm the US Capitol in the twenty first century.

So, is that likely to happen in India? Are the contemporary avatars of Mr Ernest Timothy McCluskie going to rise up and demand the creation/ restoration of their “mulk”?

Probably not. Because so many of them have emigrated.

Frank Anthony (who shares a name with India’s most celebrated Anglo-Indian parliamentarian) estimates that about 50% of the Anglo-Indian population have emigrated to Canada, Australia or England. Compare that to the ~15% emigration rates from Goa and the ~100% emigration rates of the Keralite Jews.

The remaining 50% are still very much here, embedded in every major Indian city, contributing to the tapestry of Indian life, but very far away from The Ganj that hasn’t quite died yet but is clearly fading away.