Drawing on a series of remarkable meetings that explore the attitudes, lives, hopes and dreams of this new class, a Commonwealth Prize-winning author examines the growth of the global elite since the economic liberalization of 1991, which has transformed Delhi into a mecca of capitalism and excess. ANA DASGUPTA is the author of Solo, which won the Commonwealth Writers? Prize, and Tokyo Cancelled, which was shortlisted for the John Llewellyn Rhys Prize. He lives in Delhi, India.

Salman Rushdie: "Rana Dasgupta's Capital is a terrific portrait of Delhi right now and hits a lot of nails on the head." The New Yorker : [An] unsparing portrait of moneyed Delhi, no telling detail seems to escape Dasgupta's notice. His novelistic talents are matched by his skill at eliciting astonishing candor from his subjects. The best passages are incisive summaries of the human and environmental costs of the elite's wealth and privilege and his persuasive predictions of crises yet to come. Dasgupta constantly seeks to upend conventional wisdom about Delhi, the murky circulation of its money, and the roots of its periodic outbursts of violence, making this one of the most worthwhile in a strong field of recent books about India's free-market revolution and its unintended consequences. Ramachandra Guha, The New Republic : Dasgupta [uses] his profiles to reflect more broadly on the beauty and savagery of capitalism, its zest and drive, its haste and amorality Capital is principally a book about the wealthy and the well-connected of Delhi. Yet there are some telling pages on the Anglophone middle class, and on the generational changes within it The excerpts from interviews with businessmen and fixers[are] revealing as well as chilling[Dasgupta's] analysis is often original and the writing always outstanding. Library Journal (starred): A grim picture of a city run by oligarchs and the 'new black-money elite,' where success depends on 'influence, assets, and connections.' This book is highly recommended for anyone looking for background information on DelhiThe author's account of the downside of the post-1991 free market economy and the pursuit of self-interest above all serves as a cautionary tale, doing for Delhi what Suketu Mehta's Maximum City accomplished for Mumbai. Kirkus Reviews : A sincere, troubling look at India's wrenching social and cultural changes. The Guardian (UK): A vivid and haunting accountDasgupta's combination of reportage, political critique and oral history is mordant rather than dyspeptic, sorrowful rather than castigatory. But what makes it more than a local study, what makes it so haunting, is that its textured, tart accounts of the privatisation of public space, of the incestuous relationship between the political and business classes, of the precarity that renders daily life so fraught all apply as much to Britain and the west as they do to the Indian capital. The Times (UK): In his portrait of this hubris and its aftermath, Rana Dasgupta peels back the layers of denial with insight, humanity and, at times, exquisitely beautiful writing. He exposes some festering wounds but succeeds in fascinating rather than repelling [Dasgupta] brings insights that flow from compassion and understanding along with access to the clique nexus of politics and money. The Observer (UK): Intense, lyrical, erudite, and powerful. Financial Times : [Dasgupta] mostly lets his subjects speak for themselvesThe interviews at the core of the book are a cleverly tangential way to investigate a city that is among the world's largestabout 22m people live in and around Delhiand has been made a microcosm of India by the hundreds of thousands who arrive each year as migrants. As we read of Delhi's frantic modernisationfrom, among others, an outsourcing entrepreneur, a gay fashion designer, a property speculator, assorted tycoons and the victims of medical scams that extra Informationen zum Autor RANA DASGUPTA is the author of Solo , which won the Commonwealth Writers' Prize, and Tokyo Cancelled , which was shortlisted for the John Llewellyn Rhys Prize. He lives in Delhi, India. Klappe...

Salman Rushdie:
"Rana Dasgupta's Capital is a terrific portrait of Delhi right now and hits a lot of nails on the head."

The New Yorker**:**
“[An] unsparing portrait of moneyed Delhi, no telling detail seems to escape Dasgupta’s notice. His novelistic talents are matched by his skill at eliciting astonishing candor from his subjects. The best passages are incisive summaries of the human and environmental costs of the elite’s wealth and privilege and his persuasive predictions of crises yet to come. Dasgupta constantly seeks to upend conventional wisdom about Delhi, the murky circulation of its money, and the roots of its periodic outbursts of violence, making this one of the most worthwhile in a strong field of recent books about India’s free-market revolution and its unintended consequences.”

Ramachandra Guha, The New Republic:
“Dasgupta [uses] his profiles to reflect more broadly on the beauty and savagery of capitalism, its zest and drive, its haste and amorality…Capital is principally a book about the wealthy and the well-connected of Delhi. Yet there are some telling pages on the Anglophone middle class, and on the generational changes within it… The excerpts from interviews with businessmen and fixers…[are] revealing as well as chilling…[Dasgupta’s] analysis is often original and the writing always outstanding.”

Library Journal (starred): 
“A grim picture of a city run by oligarchs and the ‘new black-money elite,’ where success depends on ‘influence, assets, and connections.’ This book is highly recommended for anyone looking for background information on Delhi…The author’s account of the downside of the post-1991 free market economy and the pursuit of self-interest above all serves as a cautionary tale, doing for Delhi what Suketu Mehta’s Maximum City accomplished for Mumbai.”

Kirkus Reviews:
“A sincere, troubling look at India’s wrenching social and cultural changes.”

The Guardian (UK):
“A vivid and haunting account…Dasgupta’s combination of reportage, political critique and oral history is mordant rather than dyspeptic, sorrowful rather than castigatory. But what makes it more than a local study, what makes it so haunting, is that its textured, tart accounts of the privatisation of public space, of the incestuous relationship between the political and business classes, of the precarity that renders daily life so fraught all apply as much to Britain and the west as they do to the Indian capital.” 

The Times (UK):
“In his portrait of this hubris and its aftermath, Rana Dasgupta peels back the layers of denial with insight, humanity and, at times, exquisitely beautiful writing. He exposes some festering wounds but succeeds in fascinating rather than repelling… [Dasgupta] brings insights that flow from compassion and understanding along with access to the clique nexus of politics and money.”

The Observer (UK):
“Intense, lyrical, erudite, and powerful.”

Financial Times:
“[Dasgupta] mostly lets his subjects speak for themselves…The interviews at the core of the book are a cleverly tangential way to investigate a city that is among the world’s largest—about 22m people live in and around Delhi—and has been made a microcosm of India by the hundreds of thousands who arrive each year as migrants. As we read of Delhi’s frantic modernisation—from, among others, an outsourcing entrepreneur, a gay fashion designer, a property speculator, assorted tycoons and the victims of medical scams that extract cash from the relatives of the dying…