Basing itself on the realisation that it is binding on every Muslim to follow the Qur'an and Sunna, it explains the scholars' view that this is best achieved by following great Mujtahids, and that amateur efforts to derive the Shari'a from the revealed sources will lead to distortions of the Revelation.Divided into two sections, one giving the main argument in straightforward terms, and the other providing detailed notes to back up the argument, this book is necessary reading for every Muslim who wishes to follow the Qur'an and the Sunna accurately and completely [From the book cover].

    In this brilliant look at the rise of political Islam, the distinguished political scientist and anthropologist Mahmood Mamdani brings his expertise and insight to bear on a question many Americans have been asking since 9/11: how did this happen? Good Muslim, Bad Muslim is a provocative and important book that will profoundly change our understanding both of Islamist politics and the way America is perceived in the world today.

    For Fauziya Kassindja, an idyllic childhood in Togo, West Africa, sheltered from the tribal practices of polygamy and genital mutilation, ended with her beloved father's sudden death.  Forced into an arranged marriage at age seventeen, Fauziya was told to prepare for kakia, the ritual also known as female genital mutilation.  It is a ritual no woman can refuse.  But Fauziya dared to try.  This is her story--told in her own words--of fleeing Africa just hours before the ritual kakia was to take place, of seeking asylum in America only to be locked up in U.S.  prisons, and of meeting Layli Miller Bashir, a law student who became Fauziya's friend and advocate during her horrifying sixteen months behind bars.  Layli enlisted help from Karen Musalo, an expert in refugee law and acting director of the American University International Human Rights Clinic.  In addition to devoting her own considerable efforts to the case, Musalo assembled a team to fight with her on Fauziya's behalf.  Ultimately, in a landmark decision in immigration history, Fauziya Kassindja was granted asylum on June 13, 1996.  Do They Hear You When You Cry is her unforgettable chronicle of triumph.

    Unlike those organized Islamist activities that seek to seize or transform the state, this is a moral reform movement whose orthodox practices are commonly viewed as inconsequential to Egypt's political landscape. Saba Mahmood's compelling exposition of these practices challenges this assumption by showing how the ethical and the political are indelibly linked within the context of such movements.Not only is this book a sensitive ethnography of a critical but largely ignored dimension of the Islamic revival, it is also an unflinching critique of the secular-liberal principles by which some people hold such movements to account. The book addresses three central questions: How do movements of moral reform help us rethink the normative liberal account of politics? How does the adherence of women to the patriarchal norms at the core of such movements parochialize key assumptions within feminist theory about freedom, agency, authority, and the human subject? How does a consideration of debates about embodied religious rituals among Islamists and their secular critics help us understand the conceptual relationship between bodily form and political imaginaries? Politics of Piety is essential reading for anyone interested in issues at the nexus of ethics and politics, embodiment and gender, and liberalism and postcolonialism.

    Book by John Henrik Clarke

    That is why I have avoided discussion over the minute details and have endeavoured to portray the entire picture of Islam in one perspective. Moreover, I have not confined myself to stating what we Muslims believe in and stand for, but have also tried to explain the rational bases of our beliefs. Similarly I have not only presented the Islamic modes of worship and the outlines of the Islamic way of life but have also tried to unveil the wisdom behind them. I hope this small treatise will go a long way to satisfy the intellectual cravings of the Muslim youth and will help the non-Muslims in understanding our real position.' (from the foreword by Mawdudi)'Ours is an age of anxiety and restlessness. A change is imperceptibly overtaking the world. The old order is disintegrating; the new one is, however, yet to come. And history tells us that such ages of restlessness have also been periods of birth for new movements and cultures. The world is in the grip of a tension and awaits a twentieth-century renaissance of man.A significant feature of the present century is the new and wide-spread trend of Islam revival. After a long period of stagnation the world of Islam is rising from its stupor. A new awakening has appeared on the horizon; a new life is being infused into the community of Islam. This trend is visible in every country and at every place and has within it the possibilities of its becoming the harbinger of a new age' (from the Editor Preface)----------------About the Author Mawlana Mawdudi occupies a pivotal position in the movement for Islamic rebirth in the 20th century. He started his revolutionary mission at a time when the Western civilization was at the height of its intellectual and political power and when almost the entire Muslim world was in the grip of the western colonial rule. The demise of the Ottoman Caliphate had extinguished the last apparent hope of the Muslim Ummah. The clouds of gloom were cast upon the Muslim world. The horizon looked dark and dismal. It was in this background that a young scholar Mawdudi raised a clarion call for Islamic revival and reassertion. He invited the Muslims to the real source of their strength : The Qur'an and Sunnah of the Prophet Muhammad P.B.U.H. He awakened the Muslims to a new goal and mission to live and to die for Islam

    Mernissi recounts the extraordinary stories of fifteen queens and reflects on the implications for the ways in which politics is practiced in Islam today, a world in which women are largely excluded from the political domain.

    When her father told her she was to spend a holiday with relatives in North Yemen, she jumped at the chance. Aged 15 and 13 respectively, Zana and her sister discovered that they had been literally sold into marriage, and that on their arrival they were virtually prisoners. They had to adapt to a completely alien way of life, with no running water, dung-plastered walls, frequent beatings, and the ordeal of childbirth on bare floors with only old women in attendance. After eight years of misery and humiliation Zana succeeded in escaping, but her sister is still there, and it seems likely that she will now never leave the country where she has spent more than half her life. This is an updated edition of Zana's account of her experiences.

    Constructed through hip hop and the performance of Blackness, Muslim Cool is a way of engaging with the Black American experience by both Black and non-Black young Muslims that challenges racist norms in the U.S. as well as dominant ethnic and religious structures within American Muslim communities.Drawing on over two years of ethnographic research, Su'ad Abdul Khabeer illuminates the ways in which young and multiethnic US Muslims draw on Blackness to construct their identities as Muslims. This is a form of critical Muslim self-making that builds on interconnections and intersections, rather than divisions between "Black" and "Muslim." Thus, by countering the notion that Blackness and the Muslim experience are fundamentally different, Muslim Cool poses a critical challenge to dominant ideas that Muslims are "foreign" to the United States and puts Blackness at the center of the study of American Islam. Yet Muslim Cool also demonstrates that connections to Blackness made through hip hop are critical and contested--critical because they push back against the pervasive phenomenon of anti-Blackness and contested because questions of race, class, gender, and nationality continue to complicate self-making in the United States.

    Widely praised for its balanced and comprehensive account, Ira Lapidus' work has been fully revised in its coverage of each country and region of the Muslim world through 2001. It incorporates the origins and evolution of Islamic societies and brings into focus the historical processes that gave shape to the manifold varieties of contemporary Islam. The concluding chapters survey the growing influence of the Islamist movements within national states and in their transnational or global dimensions, including the Islamic revival, Islamist politics and terrorism. An updated discussion of the roles of women in Islamic societies is added, with new sections about Afghanistan and Muslims in Europe, America, and the Philippines. Ira M. Lapidus is Professor Emeritus of History at the University of California at Berkeley. His many books and articles include Islam, Politics and Social Movements (University of California Press, 1988) and Muslim Cities in the Later Middle Ages (Cambridge, 1984).

    From the sci-fi literature of Samuel Delany, Octavia Butler, and N. K. Jemisin to the musical cosmos of Sun Ra, George Clinton, and the Black Eyed Peas’ will.i.am, to the visual and multimedia artists inspired by African Dogon myths and Egyptian deities, the book’s topics range from the “alien” experience of blacks in America to the “wake up” cry that peppers sci-fi literature, sermons, and activism. With a twofold aim to entertain and enlighten, Afrofuturists strive to break down racial, ethnic, and social limitations to empower and free individuals to be themselves.

    “A sweeping, poetic homage to Africa, a continent made vivid by Hartley’s capable, stunning prose” (Publishers Weekly). In his final days, Aidan Hartley’s father said to him, “We should have never come here.” Those words spoke of a colonial legacy that stretched back through four generations of one British family. From a great-great-grandfather who defended British settlements in nineteenth-century New Zealand, to his father, a colonial officer sent to Africa in the 1920s and who later returned to raise a family there—these were intrepid men who traveled to exotic lands to conquer, build, and bear witness. And there was Aidan, who became a journalist covering Africa in the 1990s, a decade marked by terror and genocide. After encountering the violence in Somalia, Uganda, and Rwanda, Aidan retreated to his family’s house in Kenya where he discovered the Zanzibar chest his father left him. Intricately hand-carved, the chest contained the diaries of his father’s best friend, Peter Davey, an Englishman who had died under obscure circumstances five decades before. With the papers as his guide, Hartley embarked on a journey not only to unlock the secrets of Davey’s life, but his own. “The finest account of a war correspondent’s psychic wracking since Michael Herr’s Dispatches.” —Rian Malan, author of My Traitor’s Heart

    Even though apartheid itself had no virtue, the author, himself a young black man who spent his childhood under apartheid, insists that it was not a vast moral desert in the lives of those living in townships. In this deep meditation on the experiences of those who lived through apartheid, it points out that despite the poverty and crime, there was still art, literature, music, and morals that, when combined, determined the shape of black life during that era of repression.

    Using Joseph Conrad's Heart of Darkness as his point of departure, Sven Lindqvist takes us on a haunting tour through the colonial past, interwoven with a modern-day travelogue. Retracing the steps of European explorers, missionaries, politicians, and historians in Africa from the late eighteenth century onward, the author exposes the roots of genocide in Africa via his own journey through the Saharan desert. As Lindqvist shows, fantasies not merely of white superiority but of actual extermination--"cleansing" the earth of the so-called lesser races--deeply informed European colonialism and racist ideology that ultimately culminated in Europe's own Holocaust.Chosen as one of the Best Books of 1998 by the New Internationalist, which called it "a beautifully written integration of criticism, cultural history, and travel writing, underpinned by a passion for social justice," "Exterminate All the Brutes" is a powerful reckoning with the past and an indispensable contribution to the literature of colonial Africa and European genocide.

    The dogged determination that secured victory against Ethiopia, its giant neighbor, is woven into the national psyche, the product of cynical foreign interventions. Fascist Italy wanted Eritrea as the springboard for a new, racially pure Roman empire; Britain sold off its industry for scrap; the United States needed a base for its state-of-the-art spy station; and the Soviet Union used it as a pawn in a proxy war.In I Didn't Do It for You, Michela Wrong reveals the breathtaking abuses this tiny nation has suffered and, with a sharp eye for detail and a taste for the incongruous, tells the story of colonialism itself and how international power politics can play havoc with a country's destiny.