What does it mean to be a historian? How do you try to explain the past when sources are lacking? And how do we talk about history when it’s so politicized? In the new book Speaking of History: Conversations about India’s Past and Present (India Allen Lane, 2025), Namit Arora and Romila Thapar discuss some of the challenges facing historians in India today, what it means to be an academic historian, and how ideas around gender, caste and religion may be getting distorted in India’s public history.
South Asia
Jainism, an older contemporary of Buddhism, is rooted in the ideals of austerity. While Buddhism spread outside India, very little is known about Jainism worldwide. Similarly, in terms of art, it is subsumed within the larger Hindu and Buddhist traditions of rock-cut architecture. In terms of painting, the Kalpasutra and Uttaradhyaynasutra are two texts thought to date from at least 2000 years ago, have traditionally come with illustrations. However, beyond these examples, post-medieval Jain art has largely remained off the popular and scholarly radar. A recent set of essays looks at the ways in which this tradition developed new expressions.
Ghosted: Delhi’s Haunted Monuments delves into the often-overlooked monuments of Delhi through the lens of jinns, Sufi saints and the horror tales associated with them, revealing both the brutality and humanity embedded in the collective history of the monuments and those who are tethered to them. Historian Eric Chopra contends that “to make sense of its antiquity is an overwhelming process for it’s a city that has witnessed 100,000 years of presence” and that in the light of the city’s long exposure to invasion and migration it “must be haunted”.
In 1924, the Republic of Turkey voted to abolish the Ottoman caliphate, ending a 400-year-long claim by the Ottomans that they were the leaders of the Islamic world. Abdülmecid II—who had been elected to the position by the Republic of Turkey just two years before—decamped for Europe.
The importance of archaeological developments can take a long time to register in the general public consciousness. This is perhaps because excavations take years, results are often published long after the work begins, the significance is not immediately apparent, or conclusions are denied when they run counter to conventional narratives. Keeladi, near Madurai, is a site discovered a decade ago; its significance was appreciated pretty quickly in Tamil Nadu, where it is located, but has rather flown under the radar internationally.
Although Razia Sajjad Zaheer’s collection Darkness and Other Stories was written following India’s partition in 1947, it simmers with relevance today. Women still confront misogyny and sexism. They continue to be judged for their choices—sometimes by their own kind—and must often accept a lower social status.
Our Madhopur Home is a multigenerational family saga narrated through an unusual and carefully balanced set of perspectives, most strikingly that of Laura, the family’s Labrador who observes: “this is not just my tale but also a narrative of bonds and relationships on a broad canvas,” and that the story of the Madhopur home is “not just the tale of a single house but a reflection of all of society.”
Caste has been a huge topic of conversation in modern India. Yet debates and activism around caste discrimination have spread beyond South Asia. Caste activists looked to African-American literature and leaders to connect their fight with the battle against racism in the U.S. And as Indians moved around the world—to America, to elsewhere in Asia, and to the Middle East—they way they thought about caste changed.
“The story here,” Indian Dalit author Kalyani Thakur Charal writes in the introduction to Andhar Bil, “centres round my village, my childhood, my beloved Andhar Bil which has a close, intimate relationship not only with me but also with numerous boys and girls of my village.” Drawing on her lived experience of loss, uprooting, and resettlement in the aftermath of the Bangladesh Liberation War of 1971, the novella emerges from Charal’s intimate attachment to place and memory.
With A Guardian and a Thief, Megha Majumdar seems to avoid the dreaded “sophomore slump”. Her well-received debut, A Burning, published during the first year of the pandemic, was nominated for a National Book Award. Her second had done even better: a finalist (among other acclaim) in the National Book Awards this year. The novel is short, yet packed with mystery, intrigue, and a warning or two about global warming, income disparity and xenophobia.
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