Banaras

Citations

• Eck, Diana (2013) [1981], Banaras, the City of Light, Alfred Knopf Inc, [Columbia University Press], p. 324, –No other city on earth is as famous for death as is Banāras. More than for her temples and magnificent ghāts, more than for her silks and brocades, Banāras, the Great Cremation Ground, is known for death. At the centre of the city along the riverfront is Manikarnikā, the sanctuary of death, with its ceaselessly smoking cremation pyres. The burning ghāt extends its influence and the sense of its presence throughout the city.
• Parry, Jonathan P. (2000) [1994], Death in Banaras, Lewis Henry Morgan Lectures, Cambridge University Press, p. 1, ISBN , As a place to die, to dispose of the physical remains of the deceased and to perform the rites which ensure that the departed attains a 'good state' after death, the north Indian city of Banaras attracts pilgrims and mourners from all over the Hindu world.
• Singh, Ravi Nandan (2022). Dead in Banaras: An Ethnography of Funeral Travelling. Oxford, UK: Oxford University Press. The present-day Banaras, at first sign, is a new place. Rightly so, the baton must then pass on to an all new chronicling of the place. Yet, a connecting link, as always, may come into play, between the book's time and other times of Banaras. Let me give an example of what such a connection might look like. Jonathan Parry (1994) in his classic Death in Banaras laments in the preface to the book that he could not incorporate the coming in of the electric crematorium in his descriptions of the funerary organization in Banaras. Two decades later into my fieldwork, I found that it is in part, the efficiency of the open-air, manual cremation that Parry so effectively captures in his book that explains how a promising symbol of industrial modernity, the electric crematorium, falls short of the typecast. In the years between his book and my fieldwork, the electric crematorium sat lonely and was sparingly used against the cheer of the always-on, busy, manual pyres whose flames continue to dot the scene of the ghats in a contrasting relief. In this above sense, I believe, Parry already provides us a portrait of the electric crematorium's social imaginary in Banaras. The question of the shift from wooden pyres to the electric crematorium is then not about competing technologies but that of ethics with which the dead are tended to amidst the assemblies of funeral travellers.