The Louvre Museum’s recent major exhibition on the Mamluk Sultanate explores the dynasty’s rich legacy in terms of the art and architecture of Egypt and Syria. The exhibition—a first for Europe—comes more than forty years after a touring exhibition in the United States curated by Dr Esin Atil. “Mamluks (1250-1517)” brings together 260 works from the Louvre’s own collections, alongside national and international loans.

A fluent Arabic speaker, Justin Marozzi has spent much of his career as a journalist and author trying to understand the Middle East through an historical lens. His earlier books include Islamic Empires, a history of Islamic civilisation told through some of its greatest cities, and Baghdad: City of Peace, City of Blood, which won the 2015 Royal Society of Literature’s Ondaatje Prize.

The new exhibit at Hong Kong’s Palace Museum is somewhat undersold by its title: “Wonders of Imperial Carpets”. There are indeed carpets—marvelous and quite extraordinary carpets—but the lesson of the exhibition—that of the two-way artistic and cultural influence between China and Islamic world—is mostly carried in the other exhibits, the bronzes, pottery, books, drawings and paintings drawn (with a few exceptions) from the collections of the Museum of Islamic Art in Doha, Qatar.

It can come as a surprise that the largest Muslim (or perhaps more accurately, Muslim-majority) country is Indonesia, far from the religion’s origins in the Middle East. It is—probably as a result—not always included, or at least not centrally, in discourse about Islam. James M Dorsey, on the other hand, puts the country front and center in his new book The Battle for the Soul of Islam.

It was common during the years of the U.S. invasion of Iraq to talk about the Sunni-Shia split—and how the sectarian violence was the result of a “centuries-long hatred” between the two different religious schools. But seeing this divide as the result of a longstanding feud—or to see it in the model of other religious schisms, like the Catholic-Protestant split and the centuries of war that followed—would be a mistake, argues Toby Matthiesen.

When meeting an expatriate friend on my first trip to Dubai, the host at the restaurant where we were meeting quickly ushered me up to the second floor. For foreigners, he said—before handing me a wine list. Dubai’s tolerance of alcohol is a more formalized version of Muslim tolerance—and clandestine drinking—of alcohol that dates back to its very inception, despite religious commands to the contrary. Professor Rudi Matthee tells that story in Angels Tapping at the Wine-shop’s Door: A History of Alcohol in the Islamic World.