A sweltering, segregated society. Hadachinou is a lonely boy. His mother shares secrets with her best friend Jamila while his father prays at the mosque. Sneaking through the sun drenched streets of Tripoli, he listens to the whispered stories of the women. He turns into an invisible witness to their repressed desires while becoming aware of his own.

    In his letters the author of The Prophet,The Broken Wings, The Voice of the Master & other 20th-century classics bared his soul completely, & their strange magic inspired in his correspondents a like self-revelation. The letters in this book span 1904 to 1930, & truly constitute a self-portrait of the poet in the time of his greatest productivity. These are Gibran's Boston & New York years, with an interlude in Paris, during which he studied under the sculptor Auguste Rodin. There are touching letters here to his sister Miriana & other members of his family; there are thoughtful letters to such influential men as Ameen Guraieb, rhe editor who introduced the Arabic-American public; & above all, there are impassioned letters to May Ziadeh, the Lebanese writer with whom Gibran had formed an extraordinary "literary & love relationship" entirely through correspondence.

    Set in the ancient city of Ujjayani, Mrichchhakatika is "rife with romance, comedy, intrigue and a political subplot detailing the overthrow of the city's despotic ruler by a shepherd, [and] is notable among extant Sanskrit drama for its focus on a fictional scenario rather than on a classical tale or legend. Mrichchhakatika also departs from the traditions enumerated in the Natyashastra that specify that dramas should focus on the alives of the nobility and instead incorporates a large number of middle and lower-caste characters who speak a wide range of Prakrit dialects." Much celebrated in the West because of its plot structure, following several successful nineteenth century translations and stage adaptations, Mrichchhakatika remains the prominent drama in Sanskrit, widely translated, adapted and performed internationally. This volume includes the text translated by M. R. Kale along with relevant background essays and criticism, to enable students of literature to understand the long tradition of theatre in India on one hand; and on the other, its subsequent negotiations with the West, traversing, accommodating, negotiating and becoming what we call Modern Indian Drama today.

    Brilliantly translated by Tina A. Kover in lively, fluid prose, this is Dumas's most daring work, in which his themes of intrigue and romance are illuminated by the issues of racial prejudice and the profound quest for identity.Georges Munier is a sensitive boy growing up in the nineteenth century on the island of Mauritius. The son of a wealthy mulatto, Pierre Munier, Georges regularly sees how his father's courage is tempered by a sense of inferiority before whites and Georges vows that he will be different. When Georges matures into a man committed to moral superiority mixed with physical strength; the stage is set for a conflict with the island's rich and powerful plantation owner, Monsieur de Malm[;die)I can't connect this to anything], and a forbidden romance with Sara, the beautiful woman engaged to Malm's son. With swordplay, a slave rebellion, a harrowing escape, and a vow of vengeance Georges is unmistakably the work of the master who wrote "The Three Musketeers" and "The Count of Monte Cristo." Yet it stands apart as the only book Dumas ever wrote that confronts the subject of race, a potent topic, since Dumas was of African ancestry himself.This edition also features a captivating Introduction by Jamaica Kincaid and an eloquent Afterword and Notes by Werner Sollors, who addresses key themes such as colonialism, racism, African slavery, and interracial intimacy.Long out of print in America, Georges can now be appreciated as never before and added to the greatest works of this immortal author.

    Seventy years after that event, Harun, who has lived since childhood in the shadow of his sibling’s memory, refuses to let him remain anonymous: he gives his brother a story and a name—Musa—and describes the events that led to Musa’s casual murder on a dazzlingly sunny beach. In a bar in Oran, night after night, he ruminates on his solitude, on his broken heart, on his anger with men desperate for a god, and on his disarray when faced with a country that has so disappointed him. A stranger among his own people, he wants to be granted, finally, the right to die. The Stranger is of course central to Daoud’s story, in which he both endorses and criticizes one of the most famous novels in the world. A worthy complement to its great predecessor, The Meursault Investigation is not only a profound meditation on Arab identity and the disastrous effects of colonialism in Algeria, but also a stunning work of literature in its own right, told in a unique and affecting voice.

    Writing in the intensely lyrical prose style that is his trademark, the man, Jean Cocteau, dubbed France's "Black Prince of Letters" here reconstructs his early adult years - time he spent as a petty criminal and vagabond, traveling through Spain and Antwerp, occasionally border hopping across to the rest of Europe, always trying to stay one step ahead of the authorities.

    Thirty-four-year-old prostitute Jmiaa reflects on the bustling world around her with a brutal honesty, but also a quick wit that cuts through the drudgery. Like many of the women in her working-class Casablanca neighborhood, Jmiaa struggles to earn enough money to support herself and her family—often including the deadbeat husband who walked out on her and their young daughter. While she doesn’t despair about her profession like her roommate, Halima, who reads the Quran between clients, she still has to maintain a delicate balance between her reality and the “respectable” one she paints for her own more conservative mother. This daily grind is interrupted by the arrival of an aspiring young director, Chadlia, whom Jmiaa takes to calling “Horse Mouth.” Chadlia enlists Jmiaa’s help on a film project, initially just to make sure the plot and dialogue are authentic. But when she’s unable to find an actress who’s right for the starring role, she turns again to Jmiaa, giving the latter an incredible opportunity for a better life. In her breakout debut novel, Meryem Alaoui creates a vibrant picture of the day-to-day challenges faced by working people in Casablanca, which they meet head-on with resourcefulness and resilience.

    Using diaries, letters, travel notes, and the evidence of Flaubert’s traveling companion, Maxime Du Camp, Francis Steegmuller reconstructs his journey through the bazaars and brothels of Cairo and down the Nile to the Red Sea.

    Yet the literary landscape of this dynamic part of the world has been bound together not by borders and nationalities, but by a common experience of Western imperialism. Keenly aware of the collected scars left by a legacy of colonial rule, the acclaimed writer Reza Aslan, with a team of four regional editors and seventy-seven translators, cogently demonstrates with Tablet and Pen how literature can, in fact, be used to form identity and serve as an extraordinary chronicle of the disrupted histories of the region.Acting with Words Without Borders, which fosters international exchange through translation and publication of the world’s finest literature, Aslan has purposefully situated this volume in the twentieth century, beyond the familiar confines of the Ottoman past, believing that the writers who have emerged in the last hundred years have not received their full due. This monumental collection, therefore, of nearly two hundred pieces, including short stories, novels, memoirs, essays and works of drama—many of them presented in English for the first time—features translated works from Arabic, Persian, Urdu, and Turkish. Organized chronologically, the volume spans a century of literature—from the famed Arab poet Khalil Gibran to the Nobel laureates Naguib Mahfouz and Orhan Pamuk, from the great Syrian-Lebanese poet Adonis to the grand dame of Urdu fiction, Ismat Chughtai—connected by the extraordinarily rich tradition of resplendent cultures that have been all too often ignored by the Western canon.By shifting America’s perception of the Middle Eastern world away from religion and politics, Tablet and Pen evokes the splendors of a region through the voices of its writers and poets, whose literature tells an urgent and liberating story. With a wealth of contextual information that places the writing within the historical, political, and cultural breadth of the region, Tablet Pen is transcendent, a book to be devoured as a single sustained narrative, from the first page to the last. Creating a vital bridge between two estranged cultures, "this is that rare anthology: cohesive, affecting, and informing" (Publishers Weekly).

    رواية***الشمس ما علمتنى و القمر جاحد

    As the Roman Empire fights for its life and emerging Christianity fights for our souls, Hypatia is the last great voice of reason. A woman of sublime intelligence, Hypatia ranks above not only all women, but all men. Hypatia dazzled the world with her brilliance, was courted by men of every persuasion and was considered the leading philosopher and mathematician of her age ... yet her mathematics, her inventions, the very story of her life in all its epic and dramatic intensity, has gone untold. A heart-breaking love story, an heroic struggle against intolerance, a tragedy and a triumph, Hypatia walks through these pages fully realized while all around her Egypt's Alexandria, the New York City of its day, strives to remain a beacon of light in a darkening world.

    But while this epic struggle forms the core of his work, Herodotus' natural curiosity frequently gives rise to colorful digressions - a description of the natural wonders of Egypt; an account of European lake-dwellers; and far-fetched accounts of dog-headed men and gold-digging ants. With its kaleidoscopic blend of fact and legend, the "Histories" offers a compelling Greek view of the world of the fifth century BC.

    The powerful story of a shepherd and petty trafficker struggling to maintain hope as he wrestles with the grim realities of daily life, it is the first novel ever written in the Arabic dialect Moghrebi, faithfully recorded and translated into English by Bowles. Straightforward yet rich in complex emotions, it is a fascinating inside look at an unfamiliar culture—harsh and startling, yet interwoven with a poignant, poetic beauty.

    and the empire of the Pharaohs is dying, crushed by the weight of its own antiquity. Decay riddles its cities, infects its aristocracy, and weakens its armies. While across the expanse of Sinai, like jackals drawn to carrion, the forces of the King of Persia watch and wait. Leading the fight to preserve the soul of Egypt is Hasdrabal Barca, Pharaoh’s deadliest killer. Possessed of a rage few men can fathom and fewer can withstand, Barca struggles each day to preserve the last sliver of his humanity. But, when one of Egypt’s most celebrated generals, a Greek mercenary called Phanes, defects to the Persians, it triggers a savage war that will tax Barca’s skills, and his humanity, to the limit. From the political wasteland of Palestine, to the searing deserts east of the Nile, to the streets of ancient Memphis, Barca and Phanes play a desperate game of cat-and-mouse — a game culminating in the bloodiest battle of Egypt’s history. Caught in the midst of this violence is Jauharah, a slave in the House of Life. She is Arabian, dark-haired and proud — a healer with gifts her blood, her station, and her gender overshadow. Though her hands tend to Barca’s countless wounds, it is her spirit that heals and changes him. Once a fearsome demigod of war, Hasdrabal Barca becomes human again. A man now motivated as much by love as anger. Nevertheless honor and duty have bound Barca to the fate of Egypt. A final conflict remains, a reckoning set to unfold in the dusty hills east of Pelusium. There, over the dead of two nations, Hasdrabal Barca will face the same choice as the heroes of old: Death and eternal fame or obscurity and long life.

    Its method is two-fold. First it presents five important lectures on Persian poetry given by Pir-o-Murshid Inayat Khan, who brought Sufis to the West. Then it offers fresh translations by the poet Coleman Barks of some of the poetry Inayat Khan discusses, designed to provide readers with ready access to at least a sample of this wondrous literature, still not easy to find in English. Thus the book presents a brief, but reasonably comprehensive, introduction to one of the great literatures of the world, until recently ignored in the West.