Charts the history of South Asian diaspora, weaving together stories of various peoples colonized by the British Empire.

Australian deserts remain dotted with the ruins of old mosques. Beginning with a Bengali poetry collection discovered in a nineteenth-century mosque in the town of Broken Hill, Samia Khatun weaves together the stories of various peoples colonised by the British Empire to chart a history of South Asian diaspora.Australianama (The Book of Australia) composes a history of Muslims in Australia through Sufi poetry, Urdu travel tales, Persian dream texts and Arabic concepts, as well as Wangkangurru song-poetry, Arabunna women's stories and Kuyani histories, leading readers through the rich worlds of non-white peoples that are missing from historical records. Khatun challenges a central idea that powerfully shapes history books across the Anglophone world: that European knowledge traditions are superior to the epistemologies of the colonised. Arguing that Aboriginal and South Asian language sources are keys to the vast, complex libraries that belie colonised geographies, Australianama shows that stories in colonised tongues can transform the very ground from which we view past, present and future.

Australian deserts remain dotted with the ruins of old mosques. Beginning with a Bengali poetry collection discovered in a nineteenth-century mosque in the town of Broken Hill, Samia Khatun weaves together the stories of various peoples colonized by the British Empire to chart a history of South Asian diaspora. Australia has long been an outpost of Anglo empires in the Indian Ocean world, today the site of military infrastructure central to the surveillance of 'Muslim-majority' countries across the region. Imperial knowledges from Australian territories contribute significantly to the Islamic-Western binary of the post- Cold War era. In narrating a history of Indian Ocean connections from the perspectives of those colonized by the British, Khatun highlights alternative contexts against which to consider accounts of non-white people. Australianama challenges a central idea that powerfully shapes history books across the Anglophone world: the colonial myth that European knowledge traditions are superior to the epistemologies of the colonized. Arguing that Aboriginal and South Asian language sources are keys to the vast, complex libraries that belie colonized geographies, Khatun shows that stories in colonized tongues can transform the very ground from which we view past, present and future.

A vivid biography of an African Edwardian chronicler of London, in a time of social upheaval.

Award-winning Arab Australian poet Omar Sakr presents a pulsating collection of poetry that interrogates the bonds and borders of family, faith, queerness, and nationality. Visceral and energetic, Sakr’s poetry confronts the complicated notion of “belonging” when one’s family, culture, and country are at odds with one’s personal identity. Braiding together sexuality and divinity, conflict and redemption, The Lost Arabs is a fierce, urgent collection from a distinct new voice.

From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.

The East India Company, founded in London in 1600, was the world's biggest trading organization until the twentieth century. It was originally a spice trading organization, and its existence was precarious in its early years. But its governors soon began to think bigger. A decade after itsfoundation, they started to plan voyages to more fabulous places, notably Japan. Japan had silver, was cold in winter, and had no sheep, so was a perfect market for England's main export, woollen cloth. The Company planned to add to its spice-runs, sailing back and forth to Japan, exchanging woolfor silver. This could be done quickly and easily, over the top of Russia - or so the maps of the day suggested (these same maps also showed Japan twenty times too large, about the size of India).Knowing the Spanish and Portuguese had got there before them, the Company prepared a special present to impress and win over their Japanese hosts. They chose as their first gift a silver telescope. The expedition carrying the telescope departed in 1611, and the Shogun was finally presented with thetelescope in the name of King James I in 1613. It was the first telescope ever to leave Europe, and the first made as a presentation item. Before this voyage had even returned, the Company had dispatched another with an equally stunning cargo: nearly a hundred oil paintings.This is the story of these two extraordinary cargoes: what they meant for the fortunes of the Company, what the choice of them says about the seventeenth century England from which they came, and what effect they had on the quizzical Asian rulers to whom they were given.