“From his high pedestal, Prof. Sharma could afford to disregard the 'very few authors whose work effectively addresses the feudalism thesis in a critical manner', and he 'appears to have been in no mood to take heed of criticism levelled at his work'. This disregarding and ignoring of counter-evidence is tactically the best way to prolong your dominant position (which is why this tactic was adopted by most secularists in the Ayodhya debate): it denies publicity and respectability to the critic's alternative thesis. But to the progress of science, this upholding of dogma and suppression of debate is detrimental. According to Prof. Wink, the effect has been this : 'Under the impact of the feudalism thesis the historiography of the period is still in utter disarray.”

— Koenraad Elst

1990s, Ayodhya and After: Issues Before Hindu Society (1991)

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Koenraad Elst 144

orientalist, writer 1959

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“The Dutch historian and indologist Andre Wink writes, referring to Prof. Sharma's chief claim to fame, his book on Indian Feudalism in the early medieval period : 'R. S. Sharma's Indian Feudalism has misguided virtually all historians of the period… Sharma's thesis essentially involves an obstinate attempt to find 'elements' which fit a preconceived picture of what should have happened in India because it happened in Europe (or is alleged to have happened in Europe by Sharma and his school of historians whose knowledge of European history is rudimentary and completely outdated)… The methodological underpinnings of Sharma's work are in fact so thin that one wonders why, for so long, Sharma's colleagues have called his work 'pioneering.”

Koenraad Elst (1959) orientalist, writer

1990s, Ayodhya and After: Issues Before Hindu Society (1991)

“While a scrutiny of the individual record of the big-mouth secularists may be useful as long as this debate remains as nasty as it is now, it is the issue- centered criticism which will blow the secularists' authority away very soon.”

Koenraad Elst (1959) orientalist, writer

1990s, Ayodhya and After: Issues Before Hindu Society (1991)

“Either criticism is no good at all (a very defensible position) or else criticism means saying about an author the very things that would have made him jump out of his boots.”

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“The media wants overnight successes (so they have someone to tear down). Ignore them. Ignore the early adopter critics that never have enough to play with. Ignore your investors that want proven tactics and predictable instant results. Listen instead to your real customers, to your vision and make something for the long haul. Because that's how long it's going to take, guys.”

Seth Godin (1960) American entrepreneur, author and public speaker

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“If you think for a moment that your McCarthy-era tactics will suppress the voices of criticism, you are sadly mistaken.”

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“In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so.”

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"Anton Ego" in Ratatouille (2007)
Context: In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talents, new creations. The new needs friends. Last night, I experienced something new; an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking, is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau's famous motto, "Anyone can cook". But I realize — only now do I truly understand what he meant. Not everyone can become a great artist, but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau's, who is, in this critic's opinion, nothing less than the finest chef in France. I will be returning to Gusteau's soon, hungry for more.

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