VERSATILE ACTRESS HUMA QURESHI REFLECTS ON HER CAREER, BRAVE APPROACH AND HUGE HOLLYWOOD HIT
BY WORKING in different genres, languages and formats, Huma Qureshi has quite comprehensively shown her incredible versatility as an actress.
She has also become one of the most unpredictable Indian stars working today, which was perfectly illustrated recently with her appearing in Hollywood blockbuster Army Of The Dead and powerful Hindi language drama serial Maharani within weeks of one another. The terrific talent received great acclaim for both performances and is looking forward to dropping more surprises with her forthcoming projects.
Eastern Eye caught up with Huma Qureshi to discuss record-breaking film Army Of The Dead, what actually happens to her character at the end, secrets of a great performance, lockdown life lessons and future hopes.
You have had a remarkable rise in the past nine years. Has lockdown given you a chance to look at your acting journey?
During the lockdown, I went down the memory lane and remembered how I started my journey as an actor and realised that I have come a long way. I am proud of the woman I have become after overcoming many personal challenges in the pursuit to become an actor. I had to overcome a lot of things like my own fear of success, the fact that I came to a new city, had to learn how to make friends, how to pay my taxes, run a household, run my career, and nobody was there to teach me. It has made me the woman I am today. I am very proud when I see myself as an independent woman. I have made my own identity and that’s what gives me a lot of joy and pride.
(Photo: Rahul Jhangiani)
You have always been unpredictable with your choices, what is the root of that?
(Thinks) I guess I get bored easily. So, I keep looking for things to keep me excited and inspired.
You are not afraid of challenges. Would say you are fearless?
I don’t know yaar! I can’t think of myself like that. As an actor I am supposed to act, not think about acting. Currently, I am just having a blast. I don’t want to go with lines like, ‘this is my best work’ or ‘I am in the zone’. I am just having fun. I am not restricting myself as an actor, whether it’s in terms of genre, industry or language.
What was the whole experience of working on Army Of The Dead like?
Army Of The Dead was a unique experience. They made a conscientious effort to get actors from all over the world. Working with my cast mates and spending time with them, the process and the journey was pretty much the same. It didn’t matter which part of the world you were from, the process is the same. The fact that I got to work with (director) Zack Snyder, the cinematic value of that is undeniable. I’m glad to get to work with him and to know him as a person. He’s a genius, there’s no two ways about it.
How much does the record-breaking success of it mean to you?
(Smiles) Well, it feels really good doesn’t it! All I can say is that I feel gratitude. Tons of it.
What was the most memorable moment from working on the movie?
That was the day when my agents told me about the auditions happening while I was in America. I remember I was so unprepared. I saw people holding their lines. I didn’t realise I could read them from a sheet and had already learned them. I asked an assistant for a printout because I didn’t want to be left out. They thought I was crazy! I did my scene, and it went ok. That was a Thursday. I came back to India on Saturday and got the call Monday asking me if I wanted to do Army Of The Dead.
The big question everyone has is, what happened to your character at the end, did she survive or not?
(Laughs) That is a question for Zack Snyder. In a horror film if you don’t die on screen, then you are not dead.
Are you now looking to do more film projects in Hollywood?
Right now is the time for successful experimentation, and as an actor, I am trying and doing something which is never done before and it is extremely gratifying. India is home and working here is what made me an actor, so that will always be my priority. But yes, if I get a good meaty role in the West, I’ll grab it with both my hands.
How much does all the praise for your new series Maharani mean to you?
I am super happy! It’s been a beautiful journey. We all knew that it was a good show. At least, we set out to make one. (writer-creator) Subhash (Kapoor) sir and Karan (Sharma), our director, were trying to bring something creative and new. But the response, even I never imagined. I am so grateful to all my fans for giving Rani Bharti so much love and admiration. This is what encourages me to improve myself as an actor.
You put every ounce of emotion into a role. Does that affect you mentally?
I give it my everything. But then I don’t bring my characters or my work home. It’s my job as an actor to put my heart and soul to whichever part I am given. But that’s it. Beyond that, I don’t let it get to me mentally and I happily move on to other roles.
For me more than a star, you are a great actor. What is the secret of a good performance?
Thank you, for the compliment. But as an actor I feel that good performances come from roles given to you. I have been part of big films as well as small. I make sure that whatever role is offered I give it my best shot. That’s what an actor’s job is, according to me. For me, cinema is my passion.
What inspires you today?
My desire to be better than I was yesterday. I have taught myself to be ‘less critical’ of my work. All of us are trying to do our best and all of us are struggling a lot. In fact, I was harsher on myself a few years ago. I was in a different mindset but now, because of the pandemic, I’m in another mindset. Let’s be kinder. Not just to other people but to your own self as well. I have achieved a lot and don’t have to compare myself to other people. You are doing your best and trusting yourself.
What do you enjoy watching as an audience?
(Laughs) Everything!
If you could master something new what would it be?
Technology is the future. It has enabled us to stay connected and allowed us to communicate with our friends, families and colleagues through some challenging times. Video calling and virtual meetings are now the norm. So, I think I would like to master and perfect myself in making technology my biggest strength and with promoting Army of the Dead and Maharani virtually, I believe I have mastered myself in that area. (laughs).
What is the biggest life lesson lockdown has taught you?
There’s no doubt that the pandemic has taken a huge toll on all of us, mentally, financially and economically. However, there are plenty of lessons learnt that will allow us to improve our ways of working, lifestyles and our personal wellbeing going forward. I am not suggesting the lockdown was a positive experience; however, I am a believer in looking for positives in every situation and cannot deny the lockdownhas helped us learn several lessons. But for me the biggest lesson was putting our health first.
You have played an impressive range of characters already. What kind of roles do you want to play in the future?
The Louvre Museum in Paris, the world’s most-visited art institution, was forced to shut its doors to the public for most of Monday, 17 June, as workers staged a spontaneous strike in protest over chronic overcrowding and deteriorating working conditions.
Thousands of ticket-holding visitors were left waiting in long queues beneath the museum’s iconic glass pyramid, with no clear explanation provided on-site. Many expressed frustration over the lack of communication and the disruption to their plans.
Staff protest against 'untenable' conditions
The walkout took place during a scheduled internal meeting, during which gallery attendants, security staff and ticket agents decided to withdraw their services. According to the CGT-Culture union, the protest was triggered by “unmanageable crowds”, insufficient staffing and unsafe working conditions.
Sarah Sefian of CGT-Culture said, “We can’t wait six years for help. Our teams are under pressure now. It’s not just about the art – it’s about the people protecting it.”
The strike highlights long-standing concerns among Louvre staff, including inadequate facilities for both visitors and employees. These include limited restrooms, a shortage of rest areas, and extreme temperature swings within the museum that also pose a risk to the artworks.
Louvre’s overtourism problem
Over 8.7 million people visited the Louvre in 2023 – more than double the capacity the building was designed to handle. Despite a daily visitor cap of 30,000, staff say that the volume, combined with inadequate infrastructure, turns the museum experience into a daily “physical ordeal”.
Central to the issue is the popularity of the Mona Lisa, which draws around 20,000 people a day to the Salle des États. The crowding in this room often prevents visitors from appreciating the surrounding Renaissance masterpieces. Some tourists describe the experience as overwhelming, with little chance to enjoy the art amid the noise, heat, and crowding.
Renovation plans and funding concerns
In January 2025, President Emmanuel Macron unveiled a €700–800 million “Louvre New Renaissance” plan to address the museum’s pressing issues. Under the plan, the Mona Lisa will be relocated to a purpose-built gallery with timed entry. A new entrance near the Seine River is also expected to be completed by 2031 to alleviate congestion at the existing pyramid entrance.
However, Louvre staff remain sceptical about the project’s impact. While the plan promises improved display conditions and a modernised visitor experience, unions have criticised the government for allowing annual state subsidies to fall by over 20 per cent in the past decade, despite increasing footfall.
“We take it very badly that Monsieur Le President makes his speeches here in our museum,” said Sefian. “But when you scratch the surface, the financial investment of the state is getting worse with each passing year.”
A leaked internal memo from Louvre President Laurence des Cars echoed many of these concerns. The document described failing infrastructure, including leaks and temperature fluctuations, as well as poor basic visitor services such as signage, food and restrooms.
Limited reopening possible, full closure expected Tuesday
Some striking staff indicated they might briefly reopen a limited “masterpiece route” on Monday evening to allow access to key artworks, including the Mona Lisa and Venus de Milo. However, the museum is officially closed on Tuesdays and is expected to resume normal operations on Wednesday.
Visitors affected by the strike may be allowed to reuse Monday’s tickets on another day, subject to availability.
Financial outlook and restoration timeline
The Louvre’s full renovation is expected to be financed through a mix of ticket revenue, government contributions, private donations, and proceeds from international partnerships, including licensing from the Louvre Abu Dhabi. Ticket prices for non-EU visitors are expected to increase later in 2025.
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Unlike other major Parisian sites, such as Notre Dame Cathedral and the Centre Pompidou – both of which are undergoing state-funded restorations – the Louvre remains underfunded and overstretched. Staff argue that without immediate action, both the museum’s collection and its workforce are at risk.
President Macron, who delivered his 2017 election victory speech at the Louvre and used it prominently during the 2024 Paris Olympics, has promised a revitalised museum by the end of the decade.
For now, however, the Louvre remains emblematic of the broader overtourism challenges facing cultural landmarks across Europe. With no short-term solutions in place, both staff and visitors remain caught between ambition and reality.
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Father’s Day reflects a wide range of traditions shaped by history, culture and emotion
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
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The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan
The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan, as he starred in the two biggest films of that year, and also his career, Deewaar and Sholay.
These blockbusters cemented his position at the top. In between their releases came Mili, Hrishikesh Mukherjee’s decidedly different tearjerker.
Known for his non-starry social dramas, the acclaimed producer-director delivered a message-driven story about Mili (Jaya Bhaduri), a terminally ill but bubbly young woman, and the profound impact she has on those around her – including depressed alcoholic Shekhar, played by Bachchan. The real-life couple headlined a multi-layered film anchored by subtle, deeply emotive performances.
Eastern Eye marks 50 years of the underrated classic on June 20 by presenting the 10 best scenes from this story of hope, anguish and learning how to live.
Enter the grouch: Known for her pranks and cheerful attitude, Mili is taken aback by new neighbour Shekhar’s aloofness. His introduction, during the haunting Badi Sooni Sooni Hai song, shows him as a tormented alcoholic. It establishes the contrast between the two main characters – she smiles through life’s challenges, while he seeks refuge in alcohol.
Visual highlights from MiliRotten Tomatoes
Confrontation: Unable to understand Shekhar’s solitude and unfriendliness, Mili ropes in the children from their building to disturb his peace in protest. What begins as an immature territorial clash soon reveals Mili’s intuitive response to the darkness surrounding him. Her inner child recognises and challenges the negativity threatening their otherwise pleasant environment.
Their innocence and kindness melt his hardened exteriorIMDb
Compassion: After provoking Shekhar, the children apologise sincerely. Their innocence and kindness melt his hardened exterior, and he invites them, along with Mili, to play on his terrace. In the song Maine Kaha Phoolon Se, Shekhar, glass still in hand, watches them dance and smiles for the first time. The warmth of this moment even leads him to request tea instead of whisky in the next scene, to his servant’s delight.
Visual highlights from Mili
In the song Maine Kaha Phoolon SeIMDb
Crossroads: In a drunken breakdown, Shekhar slashes his wrist and is saved by Mili. For the first time, she shows visible anger and tears. Her outburst marks a new level of closeness in their friendship and signals the beginning of something deeper. In his vulnerable state, Shekhar is moved by Mili’s scolding – a sign of care he desperately craves.
The raw emotions of every characterInstagram/ hindifilimography
Romance: Shekhar’s growing vulnerability draws him closer to Mili. He begins confiding in her about childhood trauma, his mother, and the root of his pain. He is receptive of her solace and outlook on life. Their bond strengthens as they exchange notes when Mili falls ill. He experiences joy for the first time, unaware of the seriousness of her condition.
The heart-rending scene between father and daughterInstagram/ hindifilimography
Tragedy: The film reaches its most emotional point when Mili’s father (Ashok Kumar) learns that she has only days to live. The harrowing scenes that follow reveal the raw emotions of every character, from shock to grief to quiet acceptance. The heart-rending scene between father and daughter, with Kumar and Bhaduri in each other’s arms, delivers an emotional poignancy audiences can relate to.
The woman who taught him how to liveRotten Tomatoes
Role reversal: Initially unable to process the truth about Mili’s illness, Shekhar has a change of heart about leaving after confronting some hard realities. The woman who taught him how to live is dying, and he feels betrayed by fate. Determined not to give up, he sets out to explore every possible option that might offer her a chance of recovery.
He sets out to explore every possible option Rotten Tomatoes
Selfless love: Unaware that Shekhar already knows the truth, Mili urges her father not to tell him about her illness. Having changed him for the better, she fears that the news will undo his progress and send him back into despair. In that moment, she puts his well-being above her own.
Having changed him for the betterInstagram/ hindifilimography
Proposal: In the film’s penultimate scene, its message becomes clear – the purpose of life is happiness. Shekhar realises he can fulfil one of Mili’s dreams by marrying her. He proposes not out of pity or obligation, but love. Their decision to embrace a short but meaningful life together speaks volumes.
Fifty years later, those sentiments still ring trueInstagram/ hindifilimography
Farewell: The story, told in flashback, returns to its starting point as the newlyweds leave for Switzerland in search of a cure. Mili’s father waves to their aircraft, perhaps knowing she may never return. As the plane takes off, the audience is left with a lasting message – that hope should never die. Fifty years later, those sentiments still ring true.
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William Dalrymple with his artist wife Olivia Fraser
EASTERN EYE is supporting this year’s Jaipur Literature Festival (JLF) at the British Library next Friday (13) to Sunday (15) as its media partner.
“We are happy to do so as we aim to be ‘the voice of British Asians’, as we say on our masthead,” said Shailesh Solanki, executive editor of the newspaper.
JLF also seeks to attract all sections of the community in the UK.
Many of the speakers in this year’s event have featured in Eastern Eye in recent years.
For example, Sheela Banerjee won Eastern Eye’s Arts, Culture & Theatre Award (ACTA) in the non-fiction category last year for What’s in a Name: Friendship, Identity and History in Multicultural Britain.
Vaseem Khan, the first Asian chairman of the Crime Writers’ Association in 70 years, won an ACTA in the fiction category in 2018 for The Strange Disappearance of a Bollywood Star.
The BBC’s Reeta Chakrabarti was named best presenter in ACTA this year. She was also shortlisted in the fiction category for her debut novel featuring schizophrenia, Finding Belle.
In the newly introduced category for crime fiction, the winner was Ram Murali, author of Death in the Air, which has been described as “a love letter to Agatha Christie”.
Eastern Eye has also written about Sushma Jansari, who has curated the British Museum’s new exhibition, Ancient India: Living traditions.
Among the headline speakers this year is Banu Mushtaq, whose book Heart Lamp, translated from Kannada by Deepa Bhasthi, is the first short-story collection to win the International Booker Prize.
Ram Murali
Hanif Kureishi will be discussing his book, Shattered: “After a devastating fall in Rome, Hanif Kureishi was left immobile. From his hospital bed, he began to dictate powerful reflections on illness, identity, love, and writing. Shattered is the result: an odyssey of survival.”
JLF 2025 is bringing together some established authors from India, such as the MP Shashi Tharoor. His latest book, Our Living Constitution, “offers a masterful analysis of India’s constitutional framework, highlighting how it transcends political rhetoric to reflect the nation’s core ideals”, according to the festival organisers.
Although Tharoor belongs to the opposition Congress party in the Lok Sabha, India’s lower house of parliament, he expressed strong support for Narendra Modi’s Operation Sindoor military action against Pakistan. He was picked to lead one of seven Indian government delegations explaining New Delhi’s foreign policy in countries around the world, including Panama, Guyana, Colombia, Brazil and the US.
Other authors from India include William Dalrymple, whose Eastern Eye lecture on The Golden Road: How Ancient India Transformed the World at the Bhavan in London last October was attended by nearly 250 people.
His son, Sam Dalrymple, will be speaking at JLF on his book, Shattered Lands: Five Partitions and the Making of Modern Asia. This was shortlisted for an ACTA this year in the history category.
JLF describes his book as “a sweeping narrative of how the once-unified Indian empire splintered into 12 modern nations. Drawing on rare archives, untranslated memoirs, and interviews across multiple languages, Dalrymple excavates five key partitions that reshaped the political, cultural, and emotional geography of the region. From boardroom deals and battlefield lines to personal stories of loss, resistance, and reinvention, the session reflects on how borders are drawn and the human cost they carry.”
His father, William, one of the founding directors of the festival, said: ”At JLF London at the British Library, we bring together some of the finest minds from across the world to explore the great questions of our time – from the rise of AI to the legacies of empire, from the pleasures of food and art to the complexities of geopolitics.
“This year’s edition reflects the festival’s commitment to rich, nuanced discourse, bridging cultures and offering a truly global literary experience.”
Namita Gokhale, a festival co-director – she will be talking about the re-publication of her novel, Paro, which came out in 1984 – commented: “At this volatile moment of change and transformation, we seek to make sense of our fractured world, and to explore and understand it through our shared stories.”
The éminence grise behind JLF is Sanjoy K Roy, managing director of Teamwork Arts, which describes itself as “a highly versatile production company with roots in the performing arts, social action and the corporate world”.
Sanjoy K Roy
He said: “We celebrate the power of literary thought to foster meaningful conversations and build bridges between cultures through our sessions at JLF London. The 12th edition of JLF London hosts diverse themes ranging from history and artificial intelligence to culture and geopolitics, food and art.”
Incidentally, Roy will be speaking to Bafta-winning playwright David Hare, celebrated as “the finest living British dramatist”.
Hare will provide “a peek into his remarkable career that has redefined contemporary theatre. Renowned for iconic works such as Skylight, Plenty and Racing Demon, Hare’s plays explore the intricacies of politics, power, and human relationships with unflinching honesty and wit. His innovative storytelling, blending sharp dialogue with profound moral inquiry, has left an indelible mark on stage and screen.”
Support for the festival was expressed by Jamie Andrews, the British Library’s director of public engagement: “The British Library looks after one of the world’s most significant south Asian collections, and international collaboration is at the heart of our mission as a library.”
The British Library had a message for Asians in the UK and typically Eastern Eye readers:
“We are the national library of the UK and we are here for everyone. Our shelves hold over 170 million items – a living collection that gets bigger every day. Although our roots extend back centuries, we aim to collect everything published in the UK today, tomorrow and far into the future.
“Our trusted experts care for this collection and open it up for everyone to spark new discoveries, ideas and to help people do incredible things.
Sheela Banerjee’s award-winning book
“We have millions of books, and much more besides. Our London and Yorkshire sites hold collections ranging from newspapers and maps to sound recordings, patents, academic journals, as well as a copy of every UK domain website and blog.
“Our public spaces provide a place to research, to meet friends, to start up a new business or simply to get inspired by visiting our galleries and events. We work with partners and libraries across the UK and the world to make sure that as many people as possible have the chance to use and explore our collections, events and expertise. And we’re always open online, along with more and more of our digitised collection.”
After this year’s London Book Fair, Eastern Eye reported that the British Library republishes crime novels, which first came out decades ago.
This year, Shobaa De is likely to prove a big draw at JLF, which says that the celebrity writer and columnist “is unapologetically bold, fiercely candid, and never afraid to stir the pot. Her popular column, Politically Incorrect, and her bestseller novels like Socialite Evenings and the more recent Insatiable, have won her global acclaim. She has spent decades challenging conventions with her sharp wit and candid observations. Her upcoming book, The Sensualist, is a provocative look at passion, power, and the private lives of modern Indians. In an unfiltered conversation with Yasser Usman, De talks about writing, relationships, and the art of being unapologetically herself.”
Dr Deborah Swallow, an expert on Indian art, will take part in a session on “libraries, museums and archives”, and Asma Khan, founder of the restaurant Darjeeling Express, will talk about food.