According to Shamsur Rahman Faruqi, as written in the foreword of City of my Heart, the Urdu text ably translated here by Rana Safvi are key documents to understanding the social and cultural life and the political imperatives of the Exalted Fort during the first half of the nineteenth century. Faruqi further writes, “This translation performs a much needed service and corrects the perspective by which the first half of the nineteenth century has so far been viewed.” In the Translator’s Note, Safvi explains the historical background of Bahadur Shah Zafar’s ascension to the throne in 1837. Safvi adds that the British were exercising their writ over Mughal India and that it was a clash of ideologies as the last sun was setting over the empire. Safvi explains the fall of Delhi and its aftermath. “The culmination of the siege of Delhi wasn’t merely the destruction of the city, but also the annihilation of a unique way of life,” writes Safvi. Interestingly, throughout the translations, Safvi has retained the Urdu words and phrases. This has kept alive the context and precise meaning of the texts. The Preface shares Delhi’s holistic view. It begins with this sentence, “Since Delhi is the main character in these books, it is only right that we first learn about it first and understand its transitions over time.” Safvi explains that Delhi’s first reference appeared in Mahabharat while its historical reference is found in 250 BCE. Safvi brings to the fore intricate details and facts to explain the origins, development, and evolution of Delhi. The storytelling style blended with historical facts makes the translations glowing with inspiring specifics. For instance, Safvi writes that Delhi has been referred to as Hazrat-e-Dilli by Amir Khusrau because of the Sufi saints who had settled in Delhi under the Delhi sultans. It was commonly known as baais khwaja ki chaukhat or ‘the threshold of 22 saints’. The Preface shares Delhi’s holistic view. It begins with this sentence, ‘Since Delhi is the main character in these books, it is only right that we first learn about it first and understand its transitions over time.’ Safvi explains that Delhi’s first reference appeared in Mahabharat while its historical reference is found in 250 BCE. Safvi brings to the fore intricate details and facts to explain the origins, development and evolution of Delhi. The storytelling style blended with historical facts makes the translations glowing with inspiring specifics. For instance, Safvi writes that Delhi has been referred to as Hazrat-e-Dilli by Amir Khusrau because of the Sufi saints who had settled in Delhi under the Delhi sultans The four books Safvi chose to translate are Dilli ka Aakhiri Deedar by Syed Wazir Hasan Dehlvi; Bazm-e-Aakhir by Munshi Faizuddin; Qila-e-Mu’alla ki Jhalkiya’n by Mirza Ahmad Salim ‘Arsh’ Taimuri; and a few selected stories from Begamat ke Aansu (Tears of the Begums), stories collected and retold by Khwaja Hasan Nizami. The narrative explicates the rise of Delhi along with its sights and sounds, culture and tradition, food and recreation, people and hospitality among others. The translations attract the readers’ attention – especially the South Asian reader having an interest or proximity with Delhi. It also sends the readers into a state of sorrow, especially when the downfall of Delhi is explained. Dilli ka Aakhiri Deedar ends with these emotional lines, “The colourful soul of the past has disappeared like a rainbow and left behind nothing but tears and anguish. All I can do is to stare helplessly at the dark sky where the sun has set, just as it has on the Mughal Empire.” Bazm-e-Aakhir was first published in 1885 and traces the Mughal Empire’s last days. The book was written 28-years after the Mughal dynasty’s end. It discusses Delhi after its dissolution. Each chapter gives readers an inside look into the working of the Empire and its connection with Delhi. The life of the royals and their subjects provide hints about the lifestyle and governance. The City of My Heart is an account of a mighty empire slowly moving into oblivion. “This is a valuable contribution to India’s cultural history,” Faruqi ends the forward with these lines that explain the book’s authenticity. The writer is an independent researcher, author and columnist. He can be reached at omariftikhar@hotmail.com and Tweets at @omariftikhar