At the core of every heart it reaches it creates a desire to lift the veil between the human and the Divine, not merely to believe and worship and practice, but to see, know, and be with the One who is greater than all. Sufism is a way of worship of the Divine through such direct knowledge, in the Prophetic phrase, “as though you see Him.”Sea Without Shore describes five remarkable men the author met and knew in his own Sufi path, and what he heard and learned from them first hand while living in the Near East over several decades. It is a Sufi manual taken from hearts, because God looks at them first, and they matter to the work of the Sufis more than books or literature. It offers a window upon a living tradition of experiential knowledge of the highest Reality. It is a handbook as valuable for its inside view of a centuries-old Islamic mystical order, as for its solution to the greatest mysteries at the heart of human existence: you, God, and your fate beyond the grave." -Nuh Ha Mim KellerSea Without Shore is a practical manual for those travelling the path of Sufism or Islamic mysticism, which strives, in Junayd's words, "to separate the Beginninglessly Eternal from that which originates in time," in a word, to be with the Divine without any relation.The Book opens with narratives of Sufis met by the author in Syria, Jordan, and Turkey whose lives exemplified the knowledge and practice of the Sufi path.The second part is a complete handbook of the method and rule of the Shadhili order of Susifm, transmitted to the author by his spiritual mentor, Sheikh 'Abd al-Rahman al-Shaghouri - from devotions, dhikr or 'invocation,' and metaphysical doctrine, to how a Sufi lives, marries, and earns a living in the modern world.A third part treats wider theological questions such as other faiths and mysticisms, universalism and the finality of Islam, the promise of God to Jews and Christians, evolution and religion, and divine Wisdom and Justice in the face of human suffering.The book provides an indelible portrait of a vibrant mystical tradition spanning seven and a half centuries of endeavor to know the Divine without any other.

    

    

    

    In this novel the author takes up the life of the African explorer, H.M.Stanley, and creates an epic novel based on his last dangerous mission into the African interior to rescue the Emin Pasha, the only man holding back the enemy in the outreaches of the British Empire.

    Certainly the focus is not General Musharraf or even the Army. It is a book about human experience of life; the story of a weak man stumbling through his life; pushed by his fears and dragged by his desires; torn apart by love, transcending with time. It is a book for the youth of this nation, to learn from the mistakes I have made, to see how life twists and moulds each one of us. In this endeavour I have laid my life bare, and exposed myself to all forms of criticism. I did not expect any less. And this is the least price I must pay for the suffering that some of my mistakes have caused to this nation."Autobiography of Lt. Gen. (retd) Shahid Aziz, a central character of the 1999 coup by Pakistan Army against the democratically elected government.

    Fast delivery through DHL/FedEx express.

    The story of Husain and Zammarrud fallen in the grip of the Assassins take us back to the last days of Hasan Bin Sabah's merciless followers, at the end of which the sect's stronghold, the famous fort of Alamoot, was destroyed by the even more merciless Mongol hordes. Sharar writes famously in the style of a Walter Scott novel, the novel itself being a new literary form in his day. But there are shades of an earlier indigenous genre - the Dastaan - in his work. Yet although he tells a gripping tale, part Scott and part Dastaan, he is not unaware of character. Husain may be credulous, and smitten silly by his love for Zammarrud, but he can still ask Shaikh Vujoodi intelligent questions which the Shaikh can only parry by the display of great wrath and superhuman knowledge. Husain's credulity in accepting his answers immediately has a lot to do with his fear that he would not be allowed to visit his beloved in 'Paradise.' There is a definite modern streak in Sharar's work. His treatment of Zamarrud is different from the usual portrayal of female characters in his day. Zamarrud has a mind of her own. She is observant and intelligent and capable of rebuffing her lover when he sounds credulous and foolish. No old fashioned perceptions of female 'duty' or the superior status of men holds her back from realizing that she is more clear-headed than Husain. She is moreover not mild of manner or adulatory of her man, as the prototypes of female perfection tend to be in Urdu literature of the day. Yet non of this detracts from her femininity, as she runs around 'like a delicate, fleet-footed doe' but fully determined to have her way. Much has been written about the Assassins in English and other languages. Sharar's novel has its own charm, and given a chance it should become a very popular book. Translated into Tajik, Sharar's works have quite a lot of readers in Tajikistan, where they are also the subject of a Ph.D. dissertation by Vladimir Lanikin.

    He countered that he saw divinity in both gods and humans, and that nudity was the purest form he knew. This is the story of a little boy who grew up making charcoal sketches on freshly whitewashed temple walls and went on to be titled in the court of Thiruvananthapuram as 'Raja' for his artistic prowess. His painting of a Nair woman who worked in his wife's palace brought him wrath and recognition alike. His deep involvement with Sugandha, the Maharastrian lady, who became Menaka, Damayanti and Urvashi in his most acclaimed works caught the fancy of many critics and admirers.

    Sixteen years after graduation, Mitch happens to catch Morrie's appearance on a television news program and learns that his old professor is battling Lou Gehrig's Disease. Mitch is reunited with Morrie, and what starts as a simple visit truns into a weekly pilgrimage and a last class in the meaning of life.

    It speaks for the millions of people all over the world who have lived suspended between their old and new countries, fitting into neither. An account not of the physical hardship and abuse suffered by many refugees, but rather an exploration of the subtler privations of psychological displacement and loss of identity.

    The novel was first published in 7 parts in Khawateen Digest monthly from July 2007 to January 2008. It was later published as a complete novel by Ilm-o-Irfan Publishers. The story revolves around Ashar and Khirad's relationship with their daughter, Hareem, and how she unknowingly bridges the distances that exist between her parents. The novel is written in a retrospective manner and told mostly in flashbacks. The first half of the novel is based on mostly Ashar’s reflections and his point of view while the second part of the novel is told mainly from Khirad’s point of view.The story has been adapted into a drama serial (Humsafar), produced by Momina Duraid and directed by Sarmad Sultan Khoosat. The drama aired on Hum TV from September 2011 to February 2012.

    As Kassem returned home to his family, an Egyptian army sniper shot and killed him, leaving a woman widowed and a child fatherless. A Temporary Gift is a record of journal entries written by Kassem's widow, Asmaa Hussein, during the two years following his departure from this world. This book is about re-learning how to live in the face of immense trauma. It is a reminder that beyond the pain and darkness of loss there is still the potential of light in patience and constancy.

    This is kind of literature which is the link between dastaan and novel. It was written almost 175 years ago but still found attractive and appreciated by critics. Although the language used is obsolete even then reader can find it interesting. There is brief vocabulary given at the end to help reader understand some old terms. Fasan e Ajaib had great influence on other books of its era and writers of that time tried to wrote books in its style. It was originally written in 1824 but published after 19 years in 1843 from Matba e Khusni Lakhnau.

    He calls himself Shunya, the zero. Who is he? A lunatic? A dark magician? A fraud? Or an avadhuta, an enlightened soul? Saami—as they call him—settles into a small cottage in the backyard of the local toddy shop. Here he spins parables, blesses, curses, drinks endless glasses of black tea and lives in total freedom. On rare occasions, he plays soul-stirring melodies on his old, bamboo-reed flute. Then, just as mysteriously as he arrived, Shunya vanishes, setting the path for a new avadhuta, a new era. This first novel by Sri M is a meditation on the void which collapses the wall between reality and make-believe, the limited and the infinite. With its spare storytelling and profound wisdom, it leads us into the realm of ‘shunya’, the nothingness of profound and lasting peace, the beginning and end of all things.