As a thriving port city, nineteenth-century Bombay attracted migrants from across India and beyond. Nile Green's Bombay Islam traces the ties between industrialization, imperialism and the production of religion to show how Muslim migration fueled demand for a wide range of religious suppliers, as Christian missionaries competed with Muslim religious entrepreneurs for a stake in the new market. Enabled by a colonial policy of non-intervention in religious affairs, and powered by steam travel and vernacular printing, Bombay's Islamic productions were exported as far as South Africa and Iran. Connecting histories of religion, labour and globalization, the book examines the role of ordinary people - mill hands and merchants - in shaping the demand that drove the market. By drawing on hagiographies, travelogues, doctrinal works, and poems in Persian, Urdu and Arabic, Bombay Islam unravels a vernacular modernity that saw people from across the Indian Ocean drawn into Bombay's industrial economy of enchantment.

Drawing together Indian and Iranian Muslims with Christian missionaries, Hindu nationalists and Japanese imperialists, this book brings to life the local sites of globalisation that transformed Muslim religiosity through the long nineteenth century. Nile Green evokes terrains of exchange that range from the Russian empire's borderlands to the Indian princely states and the car factories of Detroit. He casts a microhistorian's eye on the religious productions that spilled from these many sites of contact. Whether looking at imperial evangelicals and Iranian language-workers, or Indian Muslims and Yogi masters of breath control, each chapter unravels local forces of religious contact, competition and exchange. Green draws on a huge range of materials, from Indian magazines for African Americans to Muslim Japanology; from Urdu tales of ocean-going saints to the diaries of German missionaries; from Bibles in Tatar to the first Arabic printed books. Challenging perceptions of an age usually identified with the unifying ideologies of Pan-Islamism and nationalism, his book reveals more muddled human terrains in which Muslims defended, reformed and promoted in an increasingly connected world. Terrains of Exchange presents not only global history from the bottom up but global history as Islamic history.

An engaging account of the history and influence of Muslim cultures on Bombay cinema. Following Marshal Hodgson, the term "Islamicate" is used to distinguish the cultural forms associated with Islam from the religion itself. The term is especially useful in South Asia where Muslim cultures have commingled with other local cultures over a millennium to form a rich vein of syncretic aesthetic expression. Comprised of fourteen essays written by major scholars, this collection presents an engaging account of the history and influence of cultural Islam on Bombay cinema. The book charts the roots of South Asian Muslim cultures and the precursors of Bombay cinema's Islamicate idioms in the Urdu Parsi Theatre; the courtesan cultures of Lucknow; the literary, musical, and performance traditions of north India; the traditions of miniature painting; and various modes of Perso-Arabic story-telling. Published at a time of acute crisis in the perception and understanding of Islam, this book demonstrates how Muslim and Hindu cultures in India are inextricably entwined.

An overwhelmingly Arab-centric perspective dominates the West’s understanding of Islam and leads to a view of this religion as exclusively Middle Eastern and monolithic. Teena Purohit presses for a reorientation that would conceptualize Islam instead as a heterogeneous religion that has found a variety of expressions in local contexts throughout history. The story she tells of an Ismaili community in colonial India illustrates how much more complex Muslim identity is, and always has been, than the media would have us believe. The Aga Khan Case focuses on a nineteenth-century court case in Bombay that influenced how religious identity was defined in India and subsequently the British Empire. The case arose when a group of Indians known as the Khojas refused to pay tithes to the Aga Khan, a Persian nobleman and hereditary spiritual leader of the Ismailis. The Khojas abided by both Hindu and Muslim customs and did not identify with a single religion prior to the court’s ruling in 1866, when the judge declared them to be converts to Ismaili Islam beholden to the Aga Khan. In her analysis of the ginans, the religious texts of the Khojas that formed the basis of the judge’s decision, Purohit reveals that the religious practices they describe are not derivations of a Middle Eastern Islam but manifestations of a local vernacular one. Purohit suggests that only when we understand Islam as inseparable from the specific cultural milieus in which it flourishes do we fully grasp the meaning of this global religion.

Just before dawn one winter's morning, a hijacked jetliner explodes above the English Channel. Through the falling debris, two figures, Gibreel Farishta, the biggest star in India, and Saladin Chamcha, an expatriate returning from his first visit to Bombay in fifteen years, plummet from the sky, washing up on the snow-covered sands of an English beach, and proceed through a series of metamorphoses, dreams, and revelations.

This book explores the Islamicate cultures that richly inform Bombay cinema. These cultures are imagined forms of the past and therefore a contested site of histories and identities. Yet they also form a culturally potent and aesthetically fertile reservoir of images and idioms through which Muslim communities are represented and represent themselves. Islamicate influences inform the language, poetry, music, ideas, and even the characteristic emotional responses elicited by Bombay cinema in general; however, the authors argue that it is in the three genre forms of The Muslim Historical. The Muslim Courtesan Film and The Muslim Social that these cultures are concentrated and distilled into precise iconographic, performative and narrative idioms. Furthermore, the authors argue that it is through these three genres, and their critical re-working by New Wave filmmakers, that social and historical significance is attributed to Muslim cultures for Muslims and non-Muslims alike. Ira Bhaskar is Associate Professor of Cinema Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Richard Allen is Professor and Chair of Cinema Studies at the Tisch School of the Arts, New York University.

They Must Be Stopped is New York Times bestselling author Brigitte Gabriel's warning to the world: We can no longer ignore the growth of radical Islam–we must act soon, and powerfully. Drawing from seventh-century teachings, Gabriel probes into how fundamentalist Islam, under the guise of religious liberty, perpetuates hatred towards western values while exploiting the U.S. legal system. This crucial work takes a hard look at madrassas, flagging their surge in America as part of a rising radical army on U.S. soil. Gabriel fearlessly critiques an overbearing climate of political correctness that often stifles candid discussions about radical Islam. She passionately advocates that America must shed its restraint, questioning its complacency towards this growing internal threat, and demand its representatives to take protective action. Delving into its religious and historical basis, the encroachments across the globe, and systemic abuses of democracy in the name of religion, They Must Be Stopped serves as a clarion call to the world.