The World

There have been many histories of the world, but this one adopts a new approach, using the stories of families across time to provide a different, fresh perspective. It is one that appeals to me because it offers a way of connecting great events with individual human drama, from the first hominins to today, from the sharpened stone to the iPhone and the drone. World history is an elixir for troubled times: its advantage is that it offers a sense of perspective; its drawback is that it involves too much distance. World history often has themes, not people; biography has people, not themes.

The family remains the essential unit of human existence – even in the age of AI and galactical warfare. I have woven history together telling the stories of multiple families in every continent and epoch, using them to tether the onward rush of the human story. It is a biography of many people instead of one person. Even if the span of these families is global, their dramas are intimate – birth, death, marriage, love, hate; they rise; they fall; rise again; they migrate; they return. In every family drama, there are many acts. That is what Samuel Johnson meant when he said every kingdom is a family and every family a little kingdom.

Unlike many of the histories that I grew up with, this is a genuine world history, not unbalanced by excessive focus on Britain and Europe but rather giving Asia, Africa and the Americas the attention they deserve. The focus on family also makes it possible to pay more attention to the lives of women and children, both of whom were slighted in the books I read as a schoolboy. Their roles – like the shape of family itself – change through the arc of time. My aim is to show how the fontanelles of history grew together.

The word family has an air of cosiness and affection, but of course in real life families can be webs of struggle and cruelty too. Many of the families that I follow are power families in which the intimacy and warmth of nurture and love are at once infused and distorted by the peculiar and implacable dynamics of politics. In power families, danger comes from intimacy. ‘Calamity,’ as Han Fei Tzu warned his monarch in second-century BC China, ‘will come to you from those you love.’

‘History is something very few people were doing,’ writes Yuval Noah Harari, ‘when everyone else was ploughing fields and carrying water buckets.’ Many of the families I choose are ones that exercise power, but others encompass enslaved persons, doctors, painters, novelists, executioners, generals, historians, priests, charlatans, scientists, tycoons, criminals – and lovers. Even a few gods.

Some will be familiar, many will not: here we follow the dynasties of Mali, Ming, Medici and Mutapa, Dahomey, Oman, Afghanistan, Cambodia, Brazil and Iran, Haiti, Hawaii and Habsburg; we chronicle Genghis Khan, Sundiata Keita, Empress Wu, Ewuare the Great, Ivan the Terrible, Kim Jong-un, Itzcoatl, Andrew Jackson, King Henry of Haiti, Ganga Zumba, Kaiser Wilhelm, Indira Gandhi, Sobhuza, Pachacuti Inca and Hitler alongside Kenyattas, Castros, Assads and Trumps, Cleopatra, de Gaulle, Khomeini, Gorbachev, Marie Antoinette, Jefferson, Nader, Mao, Obama; Mozart, Balzac and Michelangelo; Caesars, Mughals, Saudis, Roosevelts, Rothschilds, Rockefellers, Ottomans.

The lurid coexists with the cosy. There are many loving fathers and mothers but also ‘Fatso’ Ptolemy IV dismembers his son and sends the parts to the child’s mother; Nader Shah and Empress Iris blind their sons; Queen Isabella tortures her daughter; Charlemagne possibly sleeps with his; Ottoman power mother Kösem orders the strangling of her son and in turn is strangled on the orders of her grandson; Valois potentate Catherine de’ Medici orchestrates a massacre at the wedding of her daughter whose rape by her sons she seems to have condoned; Nero sleeps with his mother, then murders her. Shaka kills his mother, then uses it as a pretext to launch a massacre. Saddam Hussein unleashes his sons against his sons-in-law. The killing of brothers is endemic – even now: Kim Jong-un has recently murdered his brother in a very modern way using a reality-show stunt as cover, a nerve agent as poison.