Anti-imperialism in Gunga Din, however, remains a subtext because the film simultaneously glorifies the British Raj and operates primarily as an adventure tale, not a political-message movie, even though it has fallen prey to scholars of political cinema since then, most of whom have viewed empire cinema before World War II as an apologia for the white man's burden. Harold Isaac's Images in Asia (1958) criticized all the flag waving in both the poem and the film. Gary Hess, in America Encounters India (1971), and Jeffrey Richards, in his pioneering Visions of Yesterday (1973), the most comprehensive survey of the imperial film, castigated the entire genre, not just the movie and its hero. These sentiments were echoed in Rudy Behlmer's Behind the Scenes (1982) and in Prem Chowdhry's Colonial India and the making of the empire cinema [sic] (2000). Edward Said's Orientalism (1978), the bible of "postmodern" and "postcolonial" chastisement of imperialism, presented Kipling as the iconic bard of western, white dominion over the Orient. (2)
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DESERT RISING was released in April to a Publishers Weekly starred review. It is epic fantasy and follows twins Sulis and Kadar as they emerge from their desert home and navigate politics and intrigue in the northern territory. Sulis pledges to the capricious northern deities and bonds with a giant temple cat and Kadar falls in love with a woman of the Forsaken caste in this first book of a trilogy. The second book, THE OBSIDIAN TEMPLE has also been released. 2ff7e9595c
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