A new book by William Dalrymple is always something of an event. The Anarchy doesn’t disappoint: readable, informative, full of color. Dalrymple lets the protagonists speak for themselves as much as possible, protagonists which thankfully, but not surprisingly given the author, include Indians as much as Europeans.
Manu S Pillai, the acclaimed author of a monumental historical study, The Ivory Throne: Chronicles of the House of Travancore (2015), presents himself here in a somewhat lighter vein, with a series of essays on interesting personalities, known and unknown, from Indian history both before and during British rule.
Frank Dikötter, author of the acclaimed People’s Trilogy, focuses his latest book on the special role personality cults have played in eight eerily effective 20th-century dictatorships. The wryly titled How to Be a Dictator reminds readers of the depressingly similar tactics tyrants have used throughout history to destroy rivals and win acquiescence, if not exactly adulation, of the people.
130 Years of Medicine in Hong Kong places particular focus on medical and financial factors. Each chapter begins with an abstract in the style of an academic paper and frequent subtitles help with the location of specific information. As Hong Kong has been heavily involved in a number of pandemic scares in the 21st century, a look at the history of the Hong Kong University Faculty of Medicine that has tackled SARS and various Avian influenzas reveals how historical factors can shape an institution.
The term samurai brings to mind disciplined, well-trained warrior-soldiers, skillfully wielding swords and following a strict military-ethical code of honor and sacrifice. Michael Wert, an associate professor at Marquette University who specializes in Japanese history, seeks to dispel this popular depiction in his fascinating short history of the samurai.
Author and memoirist Fatima Bhutto’s slender but potent volume for Columbia Global Reports (an imprint from Columbia University devoted to long-form journalism), surveys a shift in global popular culture in which America’s soft-power dominance is facing challenges from local art forms.
The golden era of Hong Kong cinema—1980 through the mid-1990s—coincided with the peak of the Hong Kong horror genre. At first glance, Hong Kong horror movies might seem to reflect the industry’s—and territory’s—desire to make money at any cost. But the collection of a dozen essays in Hong Kong Horror Cinema show that this was far from the case.