Released last year, Jarod Kimber’s The Art of Batting is not merely a cricket book; it is a forensic yet poetic examination of what makes a batsman great. It dissects technique with the precision of a scientist while celebrating strokeplay with the sensibility of an artist, spanning generations and continents with equal authority.
Meticulously researched and vividly written, the book balances statistical rigour with rich anecdotal detail—Tendulkar inspecting pitches, Chanderpaul honing his craft on beaches, Dravid dissecting fast bowling. Across fifteen thematically sharp chapters, Kimber explores evolution, vision, handling pace, footwork against spin, and the psychological battles that define elite batting. The statistical depth is impressive, including data such as Virat Kohli’s average of 63.6 against deliveries over 87 mph outside India.
Kimber’s ranking of the fifty greatest Test batsmen is bold and methodical, using seven normalised parameters alongside qualitative judgment. He places Bradman, Tendulkar, and Hobbs in the top tier, and gives due recognition to figures like Rohan Kanhai and Martin Crowe. Yet he openly admits the list is subjective, and it is this very admission that invites robust debate.
However, the book has notable gaps. It underplays the aesthetic dimension of batting, neglecting stylists like Zaheer Abbas, David Gower, and Mark Waugh. It overlooks several masters of pace bowling—Mohinder Amarnath, Majid Khan, and Wasim Raja—and fails to acknowledge Sunil Gavaskar’s heroic feats against express pace without a helmet. Hanif Mohammad’s omission from technical discussions is another oversight.
The ranking system itself draws strong criticism. Denis Compton’s exclusion from the top fifty seems unjust, while Everton Weekes, Graeme Pollock, and Victor Trumper are ranked too low. Brian Lara, given his monumental contributions to a weak batting side, deserves a place alongside Bradman and Tendulkar. Similarly, Gary Sobers and Viv Richards should feature in the top tier for their match-changing impact. The review also questions the overrating of Jacques Kallis, Gordon Greenidge, and Virender Sehwag, citing inconsistency or lack of dynamism.
Kimber neglects unofficial World Series Cricket records and first-class performances of pre-war players, which are vital for context. He insufficiently accounts for modern advantages like flatter pitches, heavier bats, and helmets, while underestimating the challenges faced by earlier batsmen on unprepared tracks without protection. The absence of statistical analysis on bowling attack strength, pitch conditions, and match impact further weakens the ranking model.
Despite these flaws, The Art of Batting remains a thought-provoking and valuable contribution to cricket literature, sure to spark passionate debate among fans and analysts alike.
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*Freelance journalist
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