Tag: Bhaskar Parichha

Book Review by Bhaskar Parichha

Title: India in the Second World War: An Emotional History

Author: Diya Gupta

Publisher: Rupa Publications

When we think of the Second World War, the images that most often come to mind are those of Europe’s ruin — the Blitz in London, the camps in Poland, the victory parades in Paris. India, though one of the largest contributors of men and material to the Allied cause, usually slips to the margins of that global story.

Diya Gupta’s India in the Second World War: An Emotional History sets out to correct that imbalance — and does so not by recounting battles or strategies, but by uncovering the feelings, memories, and private sufferings that shaped India’s wartime experience.

In this groundbreaking work, Gupta turns away from generals and governments to listen instead to soldiers, families, poets, and activists. Through letters, diaries, photographs, memoirs, and literary texts in both English and Bengali, she reconstructs the emotional life of a country caught in the contradictions of fighting for freedom while serving an empire. Her book is as much about the inner weather of a people at war as it is about history itself.

The story begins with the strange binary of India’s position in the 1940s. The British declared India a participant in the war without consulting its leaders. While nationalist politics in the country were reaching their boiling point, over two million Indian men were dispatched to fight on foreign fronts — from North Africa to Burma — under the Union Jack. They fought for a cause that was not their own, for a government that denied them liberty.

Gupta’s focus on emotion allows her to expose this moral paradox with nuance. The letters of sepoys from the Middle East reveal homesickness, confusion, and occasional pride; families back home are haunted by anxiety, caught between imperial propaganda and the whisper of rebellion. The result is a portrait of divided loyalties — of men and women who inhabited both the empire’s war and the nationalist struggle at once.

But it was the Bengal Famine of 1943 that made the war’s cost most brutally visible. Triggered by colonial economic mismanagement and wartime policies, it claimed nearly three million lives. Gupta’s chapter, ‘Every Day I Witness Nightmares’, captures this catastrophe through eyewitness accounts and literature that tried to make sense of it. Hunger, she suggests, became not only a physical condition but an emotional state — an emblem of the moral starvation of empire.

In poems and essays by writers such as Sukanta Bhattacharya and Mulk Raj Anand, the famine appears as a mirror held up to civilisation’s collapse. Tagore’s haunting late work, ‘Crisis in Civilisation’, forms a central thread in Gupta’s narrative — the poet’s disillusionment with humanity, his grief at the world’s descent into barbarism, and his call for renewal through compassion.

One of Gupta’s greatest achievements lies in her ability to braid together the intimate and the historical. The war years, she shows, were also years of reflection and redefinition. In the chapter named ‘The Thing That Was Lost’, she explores how the idea of “home” was transformed by displacement — whether through the departure of men to distant fronts or through the forced migrations caused by famine and air raids. Home, once a site of safety, became a space of longing and loss.

Another chapter, ‘Close to Me as My Very Own Brother”, turns the spotlight on male friendships in Indian war writing. Here, Gupta uncovers the tenderness that often underpinned comradeship — relationships that blurred the lines between duty and affection, and that offered emotional sustenance amid violence and uncertainty. In these pages, she challenges the stereotypes of stoic masculinity, showing that vulnerability and empathy were also part of the soldier’s story.

While the battlefield has long been the focus of war history, Gupta gives equal weight to those who remained behind. The women who waited, worked, and wrote — often in silence — emerge as witnesses in their own right.

Activists such as Tara Ali Baig, nurses and doctors on the Burma front, and countless unnamed mothers and wives populate the emotional landscape she paints. Through their letters and memoirs, we see how war invaded domestic spaces, transforming everyday life into a theatre of endurance.

Gupta writes of “anguished hearts” not as metaphor but as historical evidence. The fear of air raids, the sight of hungry children, the absence of loved ones — these, too, were the realities of India’s war. By restoring emotion to the historical record, she argues that feelings are not soft data but vital clues to understanding how societies survive crisis.

What makes the book so compelling is its insistence on looking at the global war from the Indian perspective. For Britain, the war was a fight for democracy and civilisation; for India, it was also a confrontation with the hypocrisy of those ideals. As Gupta notes, the same empire that called for liberty in Europe jailed Gandhi and suppressed the Quit India movement at home.

Seen from Calcutta rather than London, the war ceases to be a heroic narrative of Allied victory and becomes instead a story of moral contradictions and human cost. Gupta’s intervention is both historiographical and ethical: she reminds us that global history must include the emotions of those who bore its burdens without sharing in its glory.

A historian with literary sensibility, Gupta writes with precision, empathy, and grace. Her prose balances academic rigour with narrative warmth, allowing the reader to move effortlessly between archival fragments and the larger questions they evoke. Each chapter unfolds like a story, yet the cumulative effect is that of a symphony — voices rising and blending, carrying echoes of pain, pride, and endurance.

Gupta’s work has been widely celebrated for its originality and emotional depth. Shortlisted for the 2024 Gladstone Book Prize, it has drawn praise from scholars and critics alike for its fresh approach to war history. What distinguishes her study is not only its range of sources but its refusal to treat emotion as peripheral. For Gupta, feelings are the connective tissue of history — the invisible threads binding individuals to events, memory to nationhood.

The book is  more than the  war. It is about the human capacity to feel in times of fracture — to love, mourn, and imagine even amid devastation. It shows that the emotional life of a people can illuminate their political choices, their artistic expressions, and their vision of freedom.

By reassembling scattered memories and forgotten emotions, Diya Gupta offers a new way of reading both India and the world in the 1940s. Her India is not a passive colony swept along by imperial tides, but a living, feeling community navigating grief and hope in equal measure. The war, as she reminds us, did not just redraw maps; it reshaped minds and hearts.

In giving voice to those who seldom found one in history books — the sepoy writing from the desert, the poet confronting famine, the mother waiting for news — Gupta transforms statistics into stories, and stories into testimony. Her book stands as a reminder that history is not only written in treaties or timelines but in tears, silences, and the fragile language of feeling.

It ensures that those emotional histories, too long buried under the dust of archives, are heard again — quietly, insistently, and with the full weight of their truth.

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Bhaskar Parichha is a journalist and author of Cyclones in Odisha: Landfall, Wreckage and Resilience, Unbiased, No Strings Attached: Writings on Odisha and Biju Patnaik – A Political Biography. He lives in Bhubaneswar and writes bilingually. Besides writing for newspapers, he also reviews books on various media platforms.

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