152 South Asia Research Vol. 40(1): 137–155 Chapter 5 (pp. 97–121) documents how this, of course, gave rise to fierce polemics, focused on two contrasting visions for Shaivism (p. 118). Intriguingly, Ramalinga himself is portrayed as perceiving this struggle as a form of ‘living’ tradition, including texts, rituals and actions such as charitable giving, all of which were ultimately modernised by his interventions and found much popular acceptance. Chapter 6 (pp. 122–47) discusses the modernity of yoga powers in colonial India. The aim here is ‘to advance a more pluralistic understanding of the emergence of Hindu modernity’ (p. 123). Focused on Tamil siddhas, Shaiva yogis and authors who claim extraordinary powers (siddhi), this generates further debate on rationality, modernity and the scope for change. Ramalinga’s contribution here, to democratise siddhis, matches his other disruptive agenda, promoted through religious organisations and societies that also emphasise vegetarianism, and thus respect for all living beings, not just diverse humans. Weiss concludes that overall, Ramalinga was more than just a reformer and characterises him as a revolutionary activist within the fold of Shaiva Hindu traditions. Chapter 7, the conclusion (pp. 148–53), can afford to be short as the whole book has been admirably clear. Weiss reiterates that ‘important projects of modernity were pursued on the periphery by actors deeply embedded in tradition and deploying all its resources as the key means for change’ (p. 148). Such activist involvement used texts and languages not associated with centralised power or national or global discourses. This generated forms of modernity and methods of exercising agency that are traditional and modern at the same time. This allows critical rebels to operate as innovators (p. 153), proposing changes in their own right and on their own terms, not dependent on some conservative majoritarian or ‘civilising’ cosmopolitan impact. This splendid book has a helpful glossary, extensive notes and a rich bibliography. I am sure it will soon be on many reading lists. Werner Menski SOAS University of London London, UK e-mail: wm4@soas.ac.uk Chandak Sengoopta, The Rays Before Satyajit: Creativity and Modernity in Colonial India (New Delhi: Oxford University Press, 2016), ix + 418 pp. DOI: 10.1177/0262728019899187 This book begins with a comprehensive introduction to the Rays, a remarkable family of nineteenth century Bengal, well before Satyajit Ray—one of India’s greatest filmmakers—appears on the scene. Sengoopta argues that this illustration of family history is intrinsically interesting and provides unusual angles, but also illuminates ‘the larger history of Indian modernity’ (p. ix), which was not simply a case of give and take, as propounded by historians such as Jadunath Sarkar and others (p. 11).