Dilip da Cunha integrates history, art, cultural studies, hydrology, and geography to tell the story of how rivers have been culturally constructed as lines granted a special role in defining human habitation and everyday practice. What we take to be natural features of the earth's surface, according to da Cunha, are products of human design and a particular way of seeing that has roots stretching as far back as ancient Greek cartography. Although Alexander the Great never saw the Ganges, he conceived of it as a flowing body of water, with sources, destinations, and banks that marked the separation of land from water. This Alexandrine view of the river, da Cunha argues, has been pursued and adopted across time and around the world. With ever more sophisticated mappings of its form and characteristics, the river's essential features are refined and standardized: its source identified by a point; its course depicted as a stroke; and its propensity to flood imagined as the erasure of the