books


I was out with a friend last night, and he asked about the book I’m working on, and I said it was on syntax.  So he asked, reasonably enough, what’s syntax?

Well, how do you answer that for a non-linguist?  This is what I came up with.

Suppose you want to make a machine that spits out English sentences all day long.  There should be no (or very few) repetitions, and each one should be good English.

How would you make that machine in the simplest way possible?

That is, we’re not interested in a set of rules that require the Ultimate Computer from Douglas Adams’s sf. We know that “make a human being” is a possible answer, but we’re looking for the minimum. (We also, of course, don’t want a machine that can’t do it— that misses some sentences, or spits out errors.  We want the dumbest machine that works.)

One more stipulation: we don’t insist that they be meaningful. We’re not conducting a conversation with the machine. It’s fine if the machine outputs John is a ten foot tall bear. That’s a valid sentence— we don’t care whether or not someone named John is nearby, or if he’s a bear, or if he’s a big or a small bear.

That machine is a generative grammar.

The rules of Chomsky’s Syntactic Structures are in fact such a machine— though a partial one.  And along with the book I’m creating a web tool that allows you to define rules and let it generate sentences with the Syntactic Structures rules, or any other set.  It works like a charm.  But the SS rules were not, of course, a full grammar.

Now, besides the amusement value, why do we do this?

  • It’s part of the overall goal of describing language.
  • It puts some interesting lower bounds on any machine that handles language.
  • As a research program, it will uncover a huge store of facts about syntax, most of them never noticed before.  Older styles of grammar were extremely minimal about syntax, because they weren’t asking the right questions.
  • It might help you with computer processing of language.
  • It might tell you something about how the brain works.

I said we wouldn’t worry about semantics, but in practice generative grammar has a lot to say about it. Just as we can’t quite separate syntax from morphology, we can’t quite separate it from semantics and pragmatics.

You might well ask (and in fact you should!), well, how do you make such a machine?  What do the rules look like?  But for that you’ll have to wait for Chapter Two.

At this point I’ve written about 150 pages, plus two web toys.  (One is already available— a Markov text generator.)

I mentioned before that my syntax books didn’t extend much beyond 1990. Now I’ve got up to 2013, kind of. I read a book of that date by Andrew Carnie, which got me up to speed, more or less, on Chomsky’s middle period:  X-bar syntax, government & binding, principles & parameters. The good news is that all this is pretty compatible with what I knew from earlier works, especially James McCawley.

I’m also awaiting two more books, one on Minimalism, one on Construction Grammar.

Fortunately, I’m not training people to write dissertations in Chomskyan (or any other) orthodoxy… so I don’t have to swallow everything in Chomsky.  (But you know, rejecting Chomsky is almost a full time job. He keeps changing his mind, so you have to study quite a lot of Chomsky before you know all the stuff you can reject.)

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I just finished re-reading God: a biography, by Jack Miles. It came out in 1996, and I read and liked it then.  I’m surprised I’ve never written about it; I think it’s my favorite book about God.

meetgod

Illo by Robert Leighton

We often hear about “the Bible as literature”, but we rarely treat it as literature. This is what Miles does; more precisely, he aims to analyze God as a literary character.

This probably wouldn’t work without one further constraint: Miles goes through the Tanakh in order, analyzing what the text says about God without reading ahead, and without reference to later theology, whether Jewish or Christian.  That turns the book from a humdrum Bible-reading plan into a series of shocks and surprises.

Now, eventually this process will result in a portrait of the God most people remember. But it takes surprisingly long to add in all the pieces.  God, at first, makes few demands on humans.  Even when he finds some humans he commits to— Noah, Abram, Joseph— he does not ask for worship or prayer, does not talk about love or law or justice. He has a strange obsession with human fertility.  He does not refer to himself as a father till the story of David; does not present himself as a king until we reach the Prophets.

If you’re a believer, the book is likely to be challenging, yet fascinating. Miles doesn’t assume orthodox theology, so he is constantly asking: what do we know about God so far; what does God think he’s doing? God is always supremely confident, but Miles makes a good case from the text that he is constantly improvising, constantly surprised at the things humans do, surprised too at what he himself does in response. From being the creator of mankind he moves to being a fiery destroyer… seems to repent of that, and concentrates on a single human family, becoming its patron… loses track of them, then rediscovers them as a large population oppressed in Egypt… turns himself into a mighty warrior on behalf of his adopted people, yet becomes murderous when they don’t do what he wants, which is often.

Though he doesn’t use later theology to elucidate any of this, he does use historical criticism— showing how strands of God’s character come from different traditions, related to various Semitic gods. Genesis, for instance, has been knit together from two accounts, one of which calls God ʾElohim (‘god’), the other Yahweh. The patron god of Abraham acts much like other friendly family gods; the warrior god of Exodus has much in common with Baʿal. (The goddesses are largely present as an absence: the compilers made sure God was both extremely male, and devoid of sexuality. Yet feminine points of view do appear later in the book.)

This is given as essential background information, but isn’t allowed to undermine the unity of the text.  The Tanakh was put together as one text, after all, and we read it, not the original sources or myths.  But the seams where it was knit together show, and help explain exactly why God, as a character, is both compelling and unpredictable. He seems conflicted because he was put together out of conflicting elements. We don’t read the text as a story of multiple gods, but of one personality whose conflicts, like ours, are internal.

Miles chooses to read the book in the Jewish order.  Tanakh is an abbreviation: Torah + Nebiʾim (Prophets) + Ketubim (writings). You can compare the Jewish, Protestant, and Catholic orders here. But in short, the Tanakh follows the Christian order through Kings (with the exception of Ruth).  Then it includes all the prophets, major and minor. Then, everything else: Psalms, Proverbs, Job, Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther, Daniel. Ezra, Nehemiah, Chronicles.

The order doesn’t make a difference for the main narrative of the Exodus, the lawgiving, the conquest of Israel, the apogee under Solomon, the centuries of decadence, and the final catastrophe— the destruction of Jerusalem and the exile of the Jews to Babylon.

But it does make a huge difference toward the end: in the last of the Writings, God is increasingly eclipsed. His last words are spoken in Job; after that, for nine books, he is silent. He is frequently discussed and invoked and referred to, of course, but he never speaks, much less acts in the world as he did in the first books.  He’s barely present in Song of Songs and Esther; and in Ezra and Nehemiah the roles of the Jews and God have almost reversed: where once God acted and the Israelites reacted (or disobeyed), now the Jews act, and God is simply their passive inspiration.

It’s often said that God answered and silenced Job, and Job repented.  From the text as written, however, it would be more accurate to say that Job has silenced God. Job is truly a strange book: first, a new character named Satan is introduced; he makes a wager— which God accepts— that Job will renounce God if his worldly goods and his health are removed. Job does not renounce God, but he bitterly complains about his treatment: why should an innocent man be punished?  God appears to reprimand him, but tries to change the subject: his entire discourse is an eloquent poem on his own sovereign power. Job concedes, of course, that God is all-powerful. God does not attribute sin to Job, neither does he explain the very ungodly wager he made.

In most translations Job repents, but Miles makes a good case that this is a pious mistranslation. Rather than “I repent in ashes”, Job says “I feel loathing and sorrow for man’s state.”

God never apologizes in words, but occasionally he changes his course of action, and in this case he quickly restores Job’s fortunes. We hear no more of Satan. And perhaps he goes off to think about what sort of being he’s become, because he offers no more prophesy and no more miraculous interventions in history.

And yet it’s not a defeat— more of a retirement in honor. If anything, the Jews do better— taking the Law and their God more seriously than they ever did when he was constantly and directly involved with them.

Miles is by no mean a hostile observer. Sometimes you need to shake things up to make a text come alive. He is always erudite and charming.  And if you’re not a believer, there’s no better or safer guide to the Tanakh.  He’ll show you what’s there, and introduce you to the striking characters inside it, without prodding you to believe or disbelieve in anything.

In 2002 he came out with a sequel, Christ: a crisis in the life of God. It attempts to apply the same treatment to the New Testament, but I found it far less interesting, because it takes far fewer liberties. It basically goes over the standard idea of the incarnation, but doesn’t bring much that’s new to the story. If you want new ways to think about the NT, I recommend Bart Ehrman’s Lost Christianities, which reconstructs the dizzying array of theological options in the first centuries of Christianity, without assuming the correctness of what became the orthodox faction.

 

 

 

You should, of course, be buying the India Construction Kit. But yes, here at the Zompist Fortressplex new plans are already afoot. Here’s a clue.

syntax books

Your first guess will undoubtedly be a Quechua grammar. And that’s still in the running!

But as the pile of syntax books next to my desk suggests, I’ve actually started on another language book, most probably called The Syntax Construction Kit.

Didn’t I cover syntax in the LCK?  Oh yes, more or less, but never to the satisfaction of my internal syntactician. I would really like to draw a bunch of syntactic trees, and explain why syntactic trees were so exciting in around 1980, and how to argue about syntax, and why Noam Chomsky is both brilliant and infuriating.

Syntax was my introduction to academic linguistics, and though it’s useful for conlanging, like knowing bones is useful for designing animals, what I want to get across is how much fun syntax was at that time. Generative syntax was a new field, so new things were being discovered— hell, your syntax class, or you yourself writing a paper, could discover a new fact about English syntax pretty much any time you wanted to. You could watch the big names in the field arguing with each other and not infrequently pausing to teach each other philosophy of science.

Now, only one of the books in the picture was published past 1990, and it’s possible that everything I learned is now completely outdated. I will take the opportunity to update my knowledge, but I’m guessing that I won’t have to change that much. The idea isn’t to teach a particular formalism so much as to teach the methods and findings of modern syntax.

You may be wondering, will there be another regional Construction Kit, after China and India? I certainly hope so! A Middle East Construction Kit is an attractive possibility. But the research load for these things is immense, and I need a little break.

Even less likely: you may be clamoring for more fiction, bless your heart. People who’ve bought my novels seem to like them, but unfortunately there’s just not enough of them. One encouraging sign, though: on my Kindle reports, I noticed that some lovely soul bought about fifty copies of Against Peace and Freedom in December, presumably to give to all their friends. That’s more than it usually sells all year. So I will probably dig out the sequel and keep working at it.

 

I’ve always included Olaf Stapledon’s Star Maker on my personal list of best sf books, though I hadn’t re-read it in years. I just re-read it, and it’s still up there, with quibbles. If you have a certain kind of mind, it’ll blow it.

andromeda

Stapledon for some reason seems little talked about these days, and yet he’s held up very well. His first major sf work was Last and First Men (1930), which is about nothing less than the two billion years of humanity, starting from now.  “Oh, he’s an optimist,” you’ll jest.  Not at all.  A lot of that two billion years is taken up with devastation and destruction, and the last of eighteen human species peter outs in a sad twilight on Neptune. (I read it, but long ago, so I don’t recall if he really thinks Neptune has a surface.)  His keen sense of the possible destruction of civilization made him a strange outlier in the gung-ho stage of classic sf, but seems more relevant than ever today.

That two-billion chunk of human history is briefly retold in Star Maker (1937), in about a page and a half: by the standards of Star Maker, that timespan and that story are a trifle. I can’t think of any other book with the scope of this one. Its structure is reminiscent of that amazing film Powers of Ten, in that each chapter takes a wider viewpoint than the last.

A man runs out of his house and up the hill, apparently after a quarrel with his wife, and lies down on a hill looking up at the stars. He starts imagining the Earth in space, and then his imagination becomes real— he finds himself a disembodied viewpoint in space, with the ability to move around at vast speeds, but unable to return to Earth.  He is a little alarmed at this— the quarrel wasn’t that serious— but decides he’d better keep going and see what there is to see.

The best scientific opinion of the 1930s was that planets were created when two stars approached each other, a rare event; thus it takes him a long time to find a star with planets. Fortunately he finds one that’s inhabited.  Later he realizes that this is no coincidence: he was led psychically to a world much like his own.  (I borrowed this idea in my meta-thinking about Almea.)

He sees an alien peasant working in a field, and eventually realizes that he can see through another mind’s senses, and even communicate telepathically.  He explores the planet this way, but the aliens are troubled by his communications.  One of them complains to a philosopher, whose name is Bvalltu.  Bvalltu “cures” the man by inviting the alien visitor to come with him instead, and the narrator gratefully accepts.  They get to know each other, become friends, and then learn to travel telepathically together.

But the characters of the book are not individual people; they’re species. Bvalltu’s planet gets a fairly thorough treatment, but the next planets they discover are covered more briefly.  Stapledon has some fun imagining more and more unusual forms of sapients.  There are avians, intelligent ships, a symbiosis between ichthyoids and arachnids, plant-men, and others. On each planet the group stays for awhile, studies and interacts, and then moves on, often joined by one of the locals.

At this point, they are attracted to planets at a certain stage of crisis. In Stapledon’s terms, the crisis is always whether the species will be destroyed by individualism, or push through to a new form of community. When and where he was writing, in 1937 Britain, the choices were stark and unappetizing: uncompromising communism, reactionary fascism, or a weak and muddled liberal democracy. After WWII, this seemed outdated for awhile; sf futures were almost all a benign future ’50s America.  Today Stapledon (like Orwell) is looking better than ever. There’s no future in reactionary hatred and ecological destruction, and yet it seems to be terribly hard for our species to tear itself away from those paths.

Again, Stapledon is no optimist.  His view is that most species don’t make it; they collapse back into barbarity or destroy themselves. But some figure it out, and create utopias.  He posits that telepathy is used, or created, so that individuals can remain themselves, and yet contribute to a species-wide mind.

Ah, but we’re only halfway through; these are merely the players for later drama.  A species that reaches this stage will spend some happy centuries reorganizing itself, rearranging its genome and its stellar system to its liking, and developing in culture. Eventually it turns to the larger galaxy, and here conflict reappears.  Can it encounter other species as equals, or does it insist on absorbing them into its own system?

This leads to interstellar wars, and eventually the fighting empires merge into a galactic empire— still a utopia for its citizens, but intent on gobbling up every other entity in the galaxy. However, one of the Magellanic clouds has developed another way, advancing further on the way to community.  They are dominated, as it happens, by that symbiotic culture of ichthyoids and arachnids.  The symbionts intervene, telepathically undermining the imperials.  This leads to the emergence of a galactic society and an incipient galactic mind.

A mere side point in Stapledon: this is the first book to mention what were later called Dyson spheres, structures which capture all the output of a star for sapients’ use. (They do not have to be solid spheres.)

The galaxy now begins exploring the rest of the universe, but runs into a serious problem: the stars themselves are alive, and start roasting planets.  The world-minds, you see, had the idea of sending entire star-systems to other galaxies.  Being moved about by their own planets seems baffling and wrong to the sentient stars, who react with confused violence.  By the time this is sorted out, time is running out— the cosmos is growing old, and there is limited time left.  Still, it’s possible to proceed to the next stage, a cosmic soul.

There have been references throughout to the Star Maker, the ultimate creator; the narrator and his companions half expect that once the cosmic soul awakens, it will be able to perceive and respond to the creator, and be accepted as its companion.  That would be a little too dreamy: the cosmic soul does reach out to the Star Maker— but is rebuffed.  The Star Maker, in effect, perceives the soul of the cosmos, analyzes it and appreciates it… then puts it aside.  The cosmic soul persists as long as it can (the suns are going out, but fusion is prolonged in artificial stars; the typical surviving species are now intelligent swarms of worms or bugs living on the surface of these structures).

Finally Stapledon considers the Star Maker itself, from an extra-cosmic perspective, creating one universe after another, moving from simple to more complex creations. Our cosmos is neither early nor late, but is considered the first work of the creator’s mature period.

After all that, the narrator’s vision breaks off, and he finds himself back on the hill looking at the stars.

Whew.  You can probably see why this book has influenced most of the classic sf writers, but not been imitated. It’s not a book you could turn into a blockbuster movie, with a part for Harrison Ford and quips by Joss Whedon. Stapledon by no means forgets about individuals; he is always emphasizing that his world-minds are composed of individuals going about their daily lives, and concerned with their maximum happiness. But his focus is on entire worlds, and on ascending the dizzying scale of astronomical time and space.

On a re-reading, I think that Stapledon’s prose works, but is sometimes too academic. He can write passionately, and insert vivid details, but he doesn’t have the precision of Borges or the wit of Stanisław Lem (perhaps his closest peers). He spends a little too much time talking about how he can hardly describe the concerns of lofty super-intelligences or the cosmic soul… well, sure, who could? Fortunately he goes ahead and does it anyway, and it’s fine. You have to be bold with this sort of thing.

From Wikipedia, I learn that C.S. Lewis didn’t like Stapledon’s philosophy (though he admired his inventiveness), and partly wrote his Space Trilogy in response. More than half a century on, their quarrel seems slim. Lewis of course preferred the personal god of Christianity, who may be awe-inspiring but is still fuzzy and loving. If Lewis was here, however, I’d remind him that he’d written A Grief Observed and wondered if God was “a cosmic sadist”. Stapledon wonders the same thing.  They would disagree on whether “God is Love”, but Stapledon sees the attractiveness of the idea, and Lewis well understood why someone would be troubled by the suffering God permits in the world.

(If you can’t stand the idea of a god at all… well, just take it as a possible advanced cosmology. The cosmic soul has to have something to think about.)

Stapledon tries to stay true to astronomy (e.g., he does not posit faster-than-light travel, though he does allow telepathy); but of course astronomy has changed since he wrote. His account of the stellar life cycle is wrong, for instance— he thinks that our star started as a “red giant” and cooled into a dwarf, whereas today’s prediction is that the sun will become a red giant in about 8 billion years.

He also places the formation of the universe 200 billion years ago, though he acknowledges that this might be an overestimate. It is; the current estimate is that the cosmos is 13.7 billion years old. On the other side, modern science allows far grander expanses of future time than Stapledon: he expects the stars to last for about 75 billion more years, while we now expect star formation to continue for between 1 and 100 trillion years. It’s interesting to speculate what Stapledon would have made of black holes, dark matter, and the possibility that our universe could generate new universes via quantum tunneling.

If this sounds like your cup of tea, it probably is.  It’s sf for geeks who like their sense of wonder expertly, scientifically frobbed. And these days it’s refreshing to find a classic sf work which veers purposefully away from Imperialism or Capitalism In Space.

 

The India Construction Kit is available on Kindle. It’s only $6.25. Here’s my page explaining the book.

India-Cover-Front

The paperback edition is coming soon. I’ve just ordered the second proof copy, and expect to fix final typos and send it to bed in the middle of next week.

I can’t think of much else to write that I didn’t already put on the other page, except that it’s ideal for everyone on your list for holiday shopping.

Oh, if you do buy the Kindle version, you will probably want to look on the web resources page (see the intro) for bigger maps.  They will be up in a day or two.

Edit: if you were waiting on tenterhooks… get off those tenterhooks, you could hurt yourself. Paperback is here.

The most important thing is done, I think: the cover!

India-Cover-Front

Who are these people?  Once you read the book, you will know!  Also the answer is on the back cover, but you won’t even need that clue.

The text is about done— I have at least one more book I want to read, but it’s about time to order the proof copy. I’m hoping to make the book available by the end of November. Make your family buy you a copy!

I could probably use another couple of readers for this draft. E-mail me if  you’re interested and you are pretty sure you can read it and make comments within the next 3-4 weeks. (Sorry for the rush… some other stuff has needed dealing with.)

By the way, does anyone know what that big tree in the center is?  The fruits look like mangos, but the leaves are nothing like mango leaves. Perhaps an Indian tulip tree?

I just finished Massacre at the Palace, by Jonathan Gregson, which focuses on the 2001 massacre of the royal family of Nepal by the crown prince, but retells the entire history of the Shah dynasty.  And good lord, the massacre is only of a piece with Nepali royal history.

The story starts in 1742 with the accession of Prithvi Narayan Shah to the kingdom of Gorkha. This was only one of sixty independent kingdoms in what is now Nepal, and by no means one of the major ones. Yet over the next quarter century, Prithvi ran a remarkable campaign of conquest, culminating in his overrunning the much more powerful kingdoms of the Kathmandu Valley in 1768. He and his successors kept on till they controlled the present-day territory of Nepal and quite a bit more.

In 1814-16, Gorkha ran afoul of the British, who defeated it and required it to take a British ambassador, and no others. Other than that, Gorkha retained its independence, and took on the role of Enthusiastic Ally. The British were impressed by the fighting spirit of the kingdom’s warriors, and recruited “Gurkhas” (their version of the name of the country) into their army. They were instrumental in putting down the 1857 revolt and served in large numbers in both world wars.

After that, the Shah dynasty had a big problem: minor kings.  For half a century after Prithvi’s death in 1775, there was almost never an adult king. That left regents in charge, and invited the family to indulge in some intense Game of Thrones style intrigue. The queens were particularly involved– not least because if their children didn’t win the throne, they could be forced to commit suicide.

By the 1830s, power was divided between king Rajendra, crown prince Surendra, and Rajya Laxmi, one of the king’s wives (not Surendra’s mother). Surendra was not popular, as he had a cruel streak: he liked to order subjects to jump down a well or ride a horse off a cliff, just to see if they’d die.

One relatively minor incident: the chief minister, a supporter of the queen, decided to switch his support to Surendra. Laxmi ordered a retainer, Jung Bahadur Konwar, to kill him– which he did, intensifying the palace intrigue. The next move was the king’s: he had his wife’s lover (another state minister) killed.

Laxmi was incensed, and summoned all the senior officers of the realm to an assembly ground known as the Kot, one night in 1846.  Konwar took the precaution of arriving with his brothers as well as a backup force.  Laxmi demanded to know who had been responsible for killing her minister; when no one replied she accused some wretch of doing it and ordered him immediately executed.  When people balked at this, she ran at him herself with a sword, but Konwar restrained her and escorted her back to the balcony. (The king slipped out and escaped the country.)

Once she was safely there, Konwar’s men opened fire on the assembled nobles.  Over thirty were killed, and an unknown number of soldiers and retainers.

The queen rewarded him with the position of chief minister and commander in chief. She expected that in return her own son would be named crown prince, but Konwar refused. She attempted to have him assassinated, but the plot was discovered; Konwar killed another couple dozen of her supporters and exiled her.  With both Laxmi and Rajendra out of the country, he could have the incapable Surendra proclaimed king.  More importantly, he could assume absolute power himself. He was granted a semi-royal title, Rana, and made the prime ministership hereditary.  The Ranas governed for the next century… not without an intra-dynastic shakeup or two of their own. The Shah family was essentially confined as prisoners in their own palace.

So things stood till 1950.  (The country began to be called Nepal in the 1930s, by the way. Previously this had been a name for the Kathmandu Valley only.)  Nepal remained one of the most regressive and poorest countries in Asia, but there was a new factor: there were now three embassies in Kathmandu: the UK, the US, and newly independent India.

King Tribhuvan saw an opportunity, and it was carefully negotiated by his sons, who had more freedom of movement. He requested from the Rana prime minister permission to hold an outdoor picnic. This was granted– as the army would accompany him, it seemed harmless.  The king and his sons each drove their own cars. As the motorcade passed the Indian Embassy, the doors opened and they drove in. It happened so fast that the army escort had no chance to react.  Immediately the king applied for political asylum.

In brief, the Rana ministers were now put in an impossible position, and had to negotiate a return to royal rule.  This was supposed to be democratic, but the Shah kings rarely had much patience for parliamentary rule, and things were only slightly better than under the Ranas. In the 1990s, a Maoist insurgency rose up in the countryside and soon controlled a quarter of the country.

The 2001 massacre was dramatic, but seems more an instance of insanity than power politics. The crown prince, Dipendra, wanted to get married; in a typical instance of arrogant royal interference, his mother refused to let him marry his chosen partner. That, at least, seems to be the underlying grievance.  Dipendra also enjoyed guns and had quite a collection of automatic rifles; he also had an alcohol and drug problem.

In June 2001 he snapped– or saw his opportunity. He was host for the royal family’s weekly dinner together.   He behaved strangely throughout the evening, at one point passing out.  He returned with a gun and shot up his family: his parents, his siblings, some aunts and uncles.  One wonders if he had some idea of bullshitting his way through to the throne– but if so, he reconsidered it, and instead shot himself.

One uncle survived, and became the new king. But he was never very popular, and the public seems to have finally had enough of royal rule. He was forced to return to parliamentary rule, and then, in 2008, parliament declared an end to the monarchy. Since then Nepal has had one of the most unusual political landscapes in the world: power has alternated between two communist parties (one Maoist, one Marxist-Leninist) and a center-left one.

All this makes a great story, but I should emphasize, the moral of the story is that kings suck. I’m reminded of a terrible passage in C.S. Lewis’s The Horse and His Boy, where a king explains that the lot of a king is one of service and hardship and is nothing to be envied… bullshit, C.S.  Where kings have real power, they are absolute bastards… not least because if they aren’t, they will be the puppets of someone who is.

The usual (bare) justification for monarchy is that it avoid succession struggles: you don’t have a civil war upon the death of each leader.  Even this low standard is violated in large swaths of history (see: the Roman Empire).  Though reflecting on Nepal’s history, perhaps a modified version of this claim could be defended: monarchy doesn’t avoid succession disputes, but it does make it a little more likely that they will be handled by nasty and murderous political intrigue, rather than by civil war. Even the Kot massacre was better than all-out war.

Still, the tradeoff is pretty terrible. The Ranas and the Shahs made out well, but the country remained miserably poor and undeveloped, and unequipped to deal with modern problems. (And the British deserve some share of the blame as well.  They were perfectly happy with Nepal as a backwards buffer state on their border, and they implicitly supported Rana misrule for over a century.)

Oh, I guess I should say something about Gregson’s book, eh?  Well, it’s really good, not least because he has such rich material to work with.  It’s well told, and it’s not a bad introduction to recent Nepalese history as well.

 

 

 

 

 

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