The cover art for Vagabond Princess by Ruby Lal; Gulbadan Begum smoking on a terrace
Lal is an award-winning historian of India and professor of South Asian history at Emory University whose works restore erased female figures and their histories. Her latest book is
The book that was produced was unparalleled in form and content. A Mughal Jane Austen, she broke from the traditional male-dominated focus and instead, narrated jaw-dropping events of her own life, and of the women she had come to know. The result is the only account of abundant female Mughal life from that time: filled with quotidian, playful, daring, and eccentric occurrences. I can only assume that Akbar was not pleased with the result. He wanted a document of grand male undertakings.
The unique and unprecedented work of Gulbadan, a chronicler of untold histories of movement and migration, could have contributed unusual feminine perspectives to decades of scholarship. Since 1902, even though it had been in the public domain in the form of Beveridge’s English translation, nonetheless, it was ignored. Like many historians, Mughal scholarsas the key human subject. The big man elicits histories: emperors, bureaucrats, warriors, sages.
“There are no sources” and “Isn’t this representation?” are underpinned by a fear of asking questions and a fundamental male disbelief in the veracity of feminine encounters and thinking. This is true not only of Mughal history, my area of study, but of much of women and queer-oriented histories across the world.
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