All cities have histories, but some seem to have histories that attract particular interest, or play an outsized role in shaping their character. Tokyo is, perhaps, one such: there are numerous books examining its past (for example: Tokyo Before Tokyo by Timon Screech or Anna Sherman’s The Bells of Old Tokyo) and even a podcasts-cum-walking tour of what remains of the past in the present city.

Russia came late to Japan, but devoted considerable energies to grappling with one of the world’s great intelligence challenges and penetrating the insular Asian nation once the Japanese shifted in the latter half of the 19th century from a policy of restricted contact with the outside world to one of imperial competition with Moscow and the other great powers.

Ancient India is a new publication and exhibition by the British Museum that explores the shared origins of Hindu, Buddhist and Jain devotional art in figurative imagery of India’s ancient nature spirits. These three of the world’s major religions originated in India and gradually spread to other regions of the world. Between 200 BCE and 600 BCE, representations of their deities and enlightened teachers underwent transformation from symbolic to human form.

Globalization has polarized people into nativists and cosmopolites. Nowhere is that truer than in India. The nativist reaction in India to profound technological, commercial and social changes of today takes refuge in the myth of an unchanging, hermetically sealed, and eternal civilization. Audrey Truschke’s 600-page survey of five millennia of history shows how misguided this myth is, while explaining why it has triumphed politically in recent years.

“Writers on writing” is a genre in itself, one to which readers flock. However, Indian authors, especially those writing in regional Indian languages, are rarely represented in this genre meant for the internationally-acknowledged the-Western-and-the-famous. Therefore, Hindi writer Geet Chaturvedi’s The Master of Unfinished Things, translated into English by Anita Gopalan, will come  as a breath of curious air.

Macau, to its understandable chagrin, often seems an afterthought: to Hong Kong which overtook it, to Canton when it came to China trade, to Manila and the eponymous galleons when it came to being an entrepôt of global status, in the history of Western colonialism and imperialism in East Asia generally and today when it comes to business and tourism. But perhaps Macau owes its continuing uniqueness to just this. It always was, and remains, a distinct anomaly.

A forgery can be a laborious undertaking, requiring resources, labor, and knowledge. A literary forgery or hoax is categorically different from thoughtlessly plagiarized text. Indeed, if a plagiarized work steals the words and ideas of others, a forged work studiously invents words and ideas while misattributing authorship. Both plagiarism and forgery are deceptive, but forgery creates even as it deceives. It is generative. In The Forger’s Creed: Reinventing Art History in Early Modern China, JP Park shows how a 17th-century painting catalogue recording details of a non-existent collection generated further forgeries and misattributions and bolstered apocryphal art historical lineages. The history of Chinese art, Park argues, was never the same.