Offering a fresh new perspective on the history of the end of Empire, with the Irish and Indian independence movements as its focus, this book details how each country’s nationalist agitators engaged with each other and exchanged ideas. Using previously unpublished sources from the Indian Political Intelligence collection, it chronicles the rise and fall of movements such as the Indian-Irish Independence League and the League Against Imperialism, whose histories have, until now, remained deeply hidden in the archives. O’Malley also highlights opaque aspects of the careers of popular figures from both Irish and Indian history including Subhas Chandra Bose, Jawaharlal Nehru, Eamon de Valera and Maud Gonne McBride at points when their paths crossed. This book encompasses aspects of Irish, Indian, British, Imperial and intelligence history and will be of interest to students, teachers and general history enthusiasts alike.

India in Art in Ireland is the first book to address how the relationship between these two ends of the British Empire played out in the visual arts. It demonstrates that Irish ambivalence about British imperialism in India complicates the assumption that colonialism precluded identifying with an exotic other. Examining a wide range of media, including manuscript illuminations, paintings, prints, architecture, stained glass, and photography, its authors demonstrate the complex nature of empire in India, compare these empires to British imperialism in Ireland, and explore the contemporary relationship between what are now two independent countries through a consideration of works of art in Irish collections, supplemented by a consideration of Irish architecture and of contemporary Irish visual culture. The collection features essays on Rajput and Mughal miniatures, on a portrait of an Indian woman by the Irish painter Thomas Hickey, on the gate lodge to the Dromana estate in County Waterford, and a consideration of the intellectual context of Harry Clarke's Eve of St. Agnes window. This book should appeal not only to those seeking to learn more about some of Ireland's most cherished works of art, but to all those curious about the complex interplay between empire, anti-colonialism, and the visual arts.

Through a consideration of historical memory, commemoration and the 'imagined communities' of nationalism, Ireland and India examines three aspects of Ireland's imperial history: relationships between Irish and Indian nationalists, the construction of Irishmen as imperial heroes, and the commemoration of an Irish regiment's mutiny in India.

Dervla Murphy's epic journey began during the coldest winter in living memory, and took her through Europe, Persia (Iran), Afghanistan, over the Himalayas to Pakistan and into India. A woman travelling alone in these countries was the unusual focus of interest and, even when the weather improved, there were difficulties and dangers enough to satisfy the most dedicated traveller. But although, in a world of vanishing tracks and political chaos, the solitary cyclist was grateful for the revolver in her saddle bag, her journey was enriched by acts of unexpected kindness. Full Tilt was Dervla Murphy's first journey and first book, starting a long and celebrated life of travel writing in the most remote and wildest parts of the world. So for someone who has read one of her books and enjoyed it, or for anyone who would like to get to know the work of one of our greatest and most intrepid travel writers, this is the book to take you back to where it all started.

In this innovative study Julia M. Wright addresses rarely asked questions: how and why does one colonized nation write about another? Wright focuses on the way nineteenth-century Irish writers wrote about India, showing how their own experience of colonial subjection and unfulfilled national aspirations informed their work. Their writings express sympathy with the colonised or oppressed people of India in order to unsettle nineteenth-century imperialist stereotypes, and demonstrate their own opposition to the idea and reality of empire. Drawing on Enlightenment philosophy, studies of nationalism, and postcolonial theory, Wright examines fiction by Maria Edgeworth and Lady Morgan, gothic tales by Bram Stoker and Oscar Wilde, poetry by Thomas Moore and others, as well as a wide array of non-fiction prose. In doing so she opens up new avenues in Irish studies and nineteenth-century literature.

Inglorious Empire' tells the real story of the British in India from the arrival of the East India Company to the end of the Raj, revealing how Britain's rise was built upon its plunder of India. In the eighteenth century, India's share of the world economy was as large as Europe's. By 1947, after two centuries of British rule, it had decreased six-fold. Beyond conquest and deception, the Empire blew rebels from cannon, massacred unarmed protesters, entrenched institutionalised racism, and caused millions to die from starvation. British imperialism justified itself as enlightened despotism for the benefit of the governed, but Shashi Tharoor takes on and demolishes this position, demonstrating how every supposed imperial "gift" - from the railways to the rule of law -was designed in Britain's interests alone. He goes on to show how Britain's Industrial Revolution was founded on India's deindustrialisation, and the destruction of its textile industry.

This book includes essays on a number of distinguished civil servants as well as chapters on such topics as law, religion, education, folk tale collecting, and literary connections between India and Ireland.