In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n, lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n ,tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music's reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music's encounter with modernity.

The Lineage of Grief is the first book of the series designed to walk readers through various stories derived from various perspectives of grief.Grief resides in every living being with a heartbeat and soul. Grief is a universal language spoken by all regardless of race, creed or color. It is inevitable to live and not know grief in an intimate way. Perhaps it was God's design to balance egos and evil tendencies. Perhaps it is a painful reminder that life, death, and circumstances beyond human control must always yield to a power beyond itself. Perhaps, it is accepting that we own nothing truly, however, we get an opportunity to experience people, places and things. Not one thing belongs to us, even our own lives.

The Anthropocene’s urgent message about imminent disaster invites us to forget about history and to focus on the present as it careens into an unthinkable future. To counter this, Louise Green engages with the theoretical framing of nature in concepts such as the “Anthropocene,” “the great acceleration,” and “rewilding” in order to explore what the philosophy of nature in the era of climate change might look like from postcolonial Africa. Utilizing a practice of reading developed in the Frankfurt school, Green rearranges narrative fragments from the “global nature industry,” which subjugates all aspects of nature to the logic of capitalist production, in order to disrupt preconceived notions and habitual ways of thinking about how we inhabit the Anthropocene. Examining climate change through the details of everyday life, particularly the history of conspicuous consumption and the exploitation of Africa, she surfaces the myths and fantasies that have brought the world to its current ecological crisis and that continue to shape the narratives through which it is understood. Beginning with African rainforest exhibits in New York and Cornwall, Green discusses how these representations of the climate catastrophe fail to acknowledge the unequal pace at which humans consume and continue to replicate imperial narratives about Africa. Examining this history and climate change through the lens of South Africa’s entry into capitalist modernity, Green argues that the Anthropocene redirects attention away from the real problem, which is not human’s relation with nature, but people’s relations with each other. A sophisticated, carefully argued call to rethink how we approach relationships between and among humans and the world in which we live, Fragments from the History of Loss is a challenge to both the current era and the scholarly conversation about the Anthropocene.

In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n , lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n ,tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music’s reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music’s encounter with modernity. Hardcover is un-jacketed.

Explores the forgotten voices and visions of a North Indian musical tradition In the middle of the nineteenth century a new family of hereditary musicians emerged in the royal court of Lucknow and subsequently rose to the heights of renown throughout North India. Today this musical lineage, or ghar n , lives on in the music and memories of only a small handful of descendants and players of the family instrument, the sarod. Drawing on six years of ethnographic and archival research, and fifteen years of musical apprenticeship, Max Katz explores the oral history and written record of the Lucknow ghar n ,tracing its displacement, loss of prestige, and erasure from the collective memory. In doing so he illuminates a hidden history of ideological and social struggle in North Indian music culture, intervenes in ongoing debates over the anti-Muslim agenda of Hindustani music's reform movement, and reanimates a lost vision in which Muslim scholar-artists defined the music of the nation. An interdisciplinary, postmodern counter-history, Lineage of Loss offers a new and unsettling narrative of Hindustani music's encounter with modernity.