George F Kennan believed that in examining the history of the 20th century, all the lines of inquiry led back to the First World War. Westerners tend to view the First World War through the narrow but compelling lens of the Western Front, but the war was truly global, in part because Britain, France, and other European powers had colonies and allies throughout much of the world. India then was the jewel in the British imperial crown, but as Umej Bhatia shows in his meticulous new book Our Name is Mutiny, the jewel was coming loose due to Indian nationalism and global jihadism, and for a brief moment the Indian revolutionary ferment exploded in Singapore.
Indology—a field of study about India’s history and culture associated with 19th-century British and German figures—had an interesting German-Dutch predecessor, Jacob Haafner (1754-1809). The man reached India as the servant of the VOC (or the Dutch East India Company) after having lived in South Africa and Java for a while. His travel-writing about India, vituperative views on colonialism and writings on missionary activity in India and the East in general made him unpopular among the Dutch elite whose help he desperately needed to be employed as a bureaucrat or to sponsor his writing.
The Code of Civilization might at first seem to be another in the line of books which includes Francis Fukuyama’s The End of History and Samuel P Huntington’s The Clash of Civilizations that attempt an overarching view of world history with an aim to model the present and predict the future. This time, however, the author—Vyacheslav Nikonov—is Russian.
Among the most colorful and characteristic participants in the caravan trade between India and Central Asia were the Afghan horse dealers, pictured here in the Fraser Album at the V&A. They brought horses from Bukhara across the Hindu Kush to livestock fairs in the Punjab. Their caravans carried Indian cloths for the return trip. Jagjeet Lally’s India and the Silk Roads describes the sophistication and persistence of this trade, which has frequently been underestimated by both historians of India and of the early modern commerce.
The “diva” is a common trope when we talk about culture. We normally think of the diva as a Western construction: the opera singer, the Broadway actress, the movie star. A woman of outstanding talent, whose personality and ability are both larger-than-life.
Withdrawal of Kashmir’s autonomous status, legislative restrictions on interreligious matrimony and a new citizenship law marked 2020 as a year of heightened tension between Islam and Hinduism in India. In addition to these political tensions, a cancel culture is sweeping India, aiming to delete centuries of Indo-Muslim culture from public spaces.
The Hindi film industry also known as Bollywood, or B-grade Hollywood, has an interesting history intertwined with economy, much of which remains unknown. The early years of the talkies as they unfolded in Bombay inform Bombay Hustle: Making Movies in a Colonial City, a recent book by Debashree Mukherjee. The author’s first-hand experience in Mumbai as a freelance assistant director makes her well-placed to write about the past of the film and the city.