![]() ![]() ![]() One of the most striking hallmarks of Mehtas 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. He could rework a single article more than a hundred times, he often said. His literary style derived partly from his singular way of working: Blind from the age of 3, 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. He writes about serious matters without solemnity, about scholarly matters without pedantry, about abstruse matters without obscurity. Ved Mehta has established himself as one of the magazines most imposing figures, The New Yorkers 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 Parkinsons 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. ![]() 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. ![]()
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