Ali is particularly deft at evoking what life must have been like for those doomed inhabitants, besieged on all sides by intolerant Christendom. "This is a novel that have something to say, and says it well." --"The""Guardian"

    NA

    The novel entwines two equally powerful narratives. A writer named Shahriar—the author’s fictional alter ego—has struggled for years against the all-powerful censor at the Ministry of Culture and Islamic Guidance. Now, on the threshold of fifty, tired of writing dark and bitter stories, he has come to realize that the “world around us has enough death and destruction and sorrow.” He sets out instead to write a bewitching love story, one set in present-day Iran. It may be his greatest challenge yet. Beautiful black-haired Sara and fiercely proud Dara fall in love in the dusty stacks of the library, where they pass secret messages to each other encoded in the pages of their favorite books. But Iran’s Campaign Against Social Corruption forbids their being alone together. Defying the state and their disapproving parents, they meet in secret amid the bustling streets, Internet cafés, and lush private gardens of Tehran. Yet writing freely of Sara and Dara’s encounters, their desires, would put Shahriar in as much peril as his lovers. Thus we read not just the scenes Shahriar has written but also the sentences and words he’s crossed out or merely imagined, knowing they can never be published. Laced with surprising humor and irony, at once provocative and deeply moving, Censoring an Iranian Love Story takes us unforgettably to the heart of one of the world’s most alluring yet least understood cultures. It is an ingenious, wholly original novel—a literary tour de force that is a triumph of art and spirit.

    published by Houghton Mifflin, Boston.

    Together--as tourist and guide--they step into a world hidden in plain sight. In Alexandria, they wait as trains bear down on them at the intersection of several busy lines; they follow a set of stairs down to the edge of the Nile and cross the water on foot; and down south, they sit before a bare cave wall, a cinema of private visions. What begins as a fantastical excursion through a fractured nation quickly winds its way inward, as Seif begins to piece together the mysteries of his own past, including what happened to Alya, his girlfriend with the gift of singing sounds. Seif alone confronts the interconnectedness of his own traumas with Egypt's following the Arab Spring and its hallucinatory days of revolutionary potential.Musical and parabolic, Slipping seeks nothing less than to accept the world in all its mystery. An innovative novel that searches for meaning within the haze of trauma, it generously portrays the overlooked miracles of everyday life, and attempts to reconcile past failures--both personal and societal--with a daunting future. Delicately translated from Arabic by Robin Moger, this is a profound introduction to the imagination of Mohamed Kheir, one of the most exciting writers working in Egypt today.

    This blessed book is not like others that simply contain sections, chapters and themes, but it consists of the elevated thoughts that Allah, Exalted be He, bestows upon some of His servants as He wills. So whenever any of these scattered pearls of wisdom occurred to the Imam, he would immediately record them. I am sure that he did not sit down and write this book in one or two weeks, but surely it was developed over a long period of time. Whenever something came to his mind, he would record it, and whenever he learnt a lesson or anything crucial in his life, he would illuminate the lines of his page with the ink of his pen.

    Lawrence. He went on to write With Lawrence in Arabia, a book that sparked the Lawrence of Arabia legend and was the basis of the celebrated film. With brilliant narrative verve, Lowell recounts the exploits of the young British agent who managed to weld disparate and warring Arab tribes into a formidable mobile fighting force—a guerilla army that would defeat the Turks in the Arab Revolt, sealing the fate of the Ottoman Empire in the Middle East during World War I. On a canvas whose background is the fierce, inhospitable desert and in whose foreground stride the Emir Feisal, King Hussein I of the Hedjaz, the British General Allenby, and the strange, hypnotic figure of Lawrence himself, Thomas paints a vivid portrait of the “modern knight of Arabia.”

    Wayne W. Dyer and co-author Dee Garnes had often talked about how the ones who know the most about God are those who have just recently been wrapped in the arms of the Divine, our infants and toddlers. In fact, Dee had an interaction with her own young son that convinced her of this. Curious about this phenomenon, Wayne and Dee decided to issue an invitation to parents all over the world to share their experiences. The overwhelming response they received prompted them to put together this book, which includes the most interesting and illuminating of these stories in which very young children speak about their remembrances before they were born. It seems that infants and toddlers often arrive here with memories of their lifetimes in the spirit world and frequently provide evidence of this to their immediate families. They tell of dialogues with God, give evidence that they themselves had a hand in picking their own parents, speak about long-deceased family members they knew while in the dimension of Spirit, verify past-life recollections, and speak eloquently and accurately of a kind of Divine love that exists beyond this physical realm—and even of times when telepathic communication took place, as well as the ability to decide just when they would come here to Earth. This fascinating book encourages parents and grandparents to take a much more active role in communicating with their new arrivals . . . and to realize that there is far more to this earthly experience than what we perceive with our five senses.

    Kafka's Czech translator, she was uniquely able to recognize his complex genius and his even more complex character. For the thirty-six-year-old Kafka, she was "a living fire, such as I have never seen." It was to her that he revealed his most intimate self. It was to her that, after the end of the affair, he entrusted the safekeeping of his diaries.Newly translated, revised, and expanded, this edition contains material previously omitted because of its extreme sensitivity. Also included for the first time are letters and essays by Milena Jesenská, herself a talented writer as well as the recipient of these documents of Kafka's love, anxiety, and despair.

    

    Libya, 1979. Nine-year-old Suleiman’s days are circumscribed by the narrow rituals of childhood: outings to the ruins surrounding Tripoli, games with friends played under the burning sun, exotic gifts from his father’s constant business trips abroad. But his nights have come to revolve around his mother’s increasingly disturbing bedside stories full of old family bitterness. And then one day Suleiman sees his father across the square of a busy marketplace, his face wrapped in a pair of dark sunglasses. Wasn’t he supposed to be away on business yet again? Why is he going into that strange building with the green shutters? Why did he lie? Suleiman is soon caught up in a world he cannot hope to understand—where the sound of the telephone ringing becomes a portent of grave danger; where his mother frantically burns his father’s cherished books; where a stranger full of sinister questions sits outside in a parked car all day; where his best friend’s father can disappear overnight, next to be seen publicly interrogated on state television. In the Country of Men is a stunning depiction of a child confronted with the private fallout of a public nightmare. But above all, it is a debut of rare insight and literary grace.

    Mahmoud Darwish vividly recreates the sights and sounds of a city under terrible siege. As fighter jets scream overhead, he explores the war-ravaged streets of Beirut on August 6th (Hiroshima Day).Memory for Forgetfulness is an extended reflection on the invasion and its political and historical dimensions. It is also a journey into personal and collective memory. What is the meaning of exile? What is the role of the writer in time of war? What is the relationship of writing (memory) to history (forgetfulness)? In raising these questions, Darwish implicitly connects writing, homeland, meaning, and resistance in an ironic, condensed work that combines wit with rage.Ibrahim Muhawi's translation beautifully renders Darwish's testament to the heroism of a people under siege, and to Palestinian creativity and continuity.

    Full of invention, they display Bulgakov's breathtaking stylistic range, moving at dizzying speed from grotesque satire to science fiction, from the plainest realism to the most madcap of fantasies. Diaboliad is a wonderful introduction to literature's most uncategorisable and subversive genius.

    To the one who filled life with his wisdom, and hugged the minds, the minds of his companions, and delivered them to the wider upper fields, I mean knowledge. To the one who enriched the Arabic language with his eloquent speech. To the master of eloquent ones and the prince of the wise men. To the prince of believers To him... I raise this little of what was collected from the pearls of his wisdom and the magnificent of his sermons.

    Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.