It has been more than three decades since the passing of the great French economic historian, Fernand Braudel, but his adventurous influence runs deep in Angus Forsyth’s remarkable illustrated essay on the Silk Road—the lanes of transport between East and West that linked China, India, Africa and the Mediterranean before the era of motor vehicles. Braudel’s genius was in his ability to highlight the intimate detail against the grand canvas of history, and his approach to storytelling fundamentally shifted the way history is presented, whether in the curating of museum exhibitions or histories of leaders and transformative events. It’s the detail that counts.
The number of books incorporating “the Idea of India” into their title in recent times is indicative that this idea has been in a crisis for a while. Siddhartha Sarma’s Carpenters and Kings is one more response to this crisis of India, dealing with an oft-ignored population group. In an environment where the Hindu Right suggests that Christianity and Islam are foreign to India, this book seeks to “set the record straight” and demonstrate that the history of Christianity in India is a nearly two-millennia-long story of great complexity.
In August 1954, the United States revised its revenue code to allow the accelerated depreciation of fixed asset investments. The move was designed to encourage American manufacturers to invest in new plant and equipment. Its actual effect was to fuel an explosion in shopping center construction.
Oba Yozo, the central character and anti-hero of Dazai Osamu’s Ningen Shikkaku, is as familiar to Japanese readers as Holden Caulfield is to English readers. The Catcher in the Rye still sells a million copies per year, in dozens of languages, while in Japanese only a few novels, notably Natsume Soseki’s Kokoro, routinely outsell Ningen Shikkaku. Catcher, however, pales beside Ningen as a literary achievement.
The vast majority of silverware in Thailand does not possess any reign or maker’s mark or other indicator as to date or place of manufacture. Most of the marks found are Chinese “chop marks”, stamped onto the underside of the silver object, perhaps with the aim of validating authenticity. Sometimes, the Chinese characters were transliterated into Thai from the Chaozhou dialect although this never became common practice.
The first time I set foot in the war zone, a Ukrainian soldier chastely kissed my cheek before confiding he was excited to tell his mother that he had kissed a Frenchwoman. A few minutes later, just beside me, his fellow soldiers were perched on a tank, firing shots in the air to disperse residents who were opposed to their presence. The ringing from the shots caused me to lose hearing in one ear for a full 24 hours.
Madama Butterfly, like Giacomo Puccini’s previous blockbuster Tosca, was born out a visit to the theatre. In 1900, the composer was in London for six weeks to oversee the opening of Tosca at Covent Garden on 12 July, when he was persuaded to go to the Duke of York’s Theatre for a double-bill of one act plays, including one called “Madam Butterfly”.