front cover of East-West Divan
East-West Divan
In Memory of Werner Mark Linz
Edited by Aran Byrne
Gingko, 2014
This collection of scholarly essays on Egyptian culture, history, society, archeology, literature, art, and conservation is published in memory of Werner Mark Linz, who spent much of the latter part of his professional life as the Director of the American University in Cairo Press. East-West Divan is the first volume of the Gingko Library, a publishing project that embraces scholarship from both East and West, conceived by Werner Mark Linz to foster greater cross-cultural understanding. Among the contributors to this collection are the Egyptian novelist Alaa Al Aswany, author of The Yacoubian Building; Egyptian archaeologist Zahi Hawass; the renowned Swiss theologian, Hans Küng; the author of the acclaimed A Fort of Nine Towers, Qais Akbar Omar; and Prince El Hassan bin Talal of Jordan.
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front cover of Embodiments of Evil
Embodiments of Evil
Gog and Magog: Interdisciplinary Studies of the "Other" in Literature & Internet Texts
Edited by A. A. Seyed-Gohrab, F. Doufikar-Aerts, and S. McGlinn
Leiden University Press, 2011
One Word – Yak Kaleme was one of the first treatises in the Middle East to demonstrate that Islam is compatible with the introduction of modern western forms of government, and specifically that the principles of the sharia can be incorporated in a codified law comparable to that found in European countries. This was a daring argument in the late 19th century, when it was extremely difficult to convince the rulers and religious class that a civil code of law was needed: would it not diminish the status of the ruler, and would it not be an admission that the religious law, the sharia, was deficient? The author, Mirza Yu¯suf Kha¯n Mustashar al-Dawla (d. 1895), was a liberal-minded bureaucrat campaigning for reform of the absolutist system and the creation of one based on European principles of government. He held several posts abroad including St Petersburg (1854-62), and Paris (1867-71), as well as carrying out administrative duties in Iran itself. In One Word he argues that the principles underlying constitutional government can be found in Islamic sources, particularly in the Quran and traditions of the Prophet. Unlike some Oriental travellers to Europe at that time, he observed that European dominance was not derived from a few technological advances, but primarily from the organisation of society, on the basis of codified law. One Word was a significant text in the lead-up to the Iranian Constitutional Revolution of 1906, but its message is relevant today.
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front cover of Essays of the Sadat Era
Essays of the Sadat Era
The Non-fiction Writing of Naguib Mahfouz: Volume II
Naguib Mahfouz
Gingko, 2015
When Naguib Mahfouz quit his job as a civil servant in 1971, a Nobel Prize in literature was still off on the horizon, as was his global recognition as the central figure of Arab literature. He was just beginning his post on the editorial staff of the Egyptian newspaper Al-Ahram, and elsewhere in Cairo, Anwar Sadat was just beginning his hugely transformative Egyptian presidency, which would span eleven years and come to be known as the Sadat era. This book offers English-language readers the first glimpse of the Sadat era through Mahfouz’s eyes, a collection of pieces that captures one of Egypt’s most important decades in the prose of one of the Middle East’s most important writers. 
            This volume stitches together a fascinating and vivid account of the dramatic events of Sadat’s era, from his break with the Soviet Union to the Yom Kippur War with Israel and eventual peace accord and up to his assassination by Islamic extremists in 1981. Through this tumultuous history, Mahfouz takes on a diverse array of political topics—including socioeconomic stratification, democracy and dictatorship, and Islam and extremism—which are still of crucial relevance to Egypt today. Clear-eyed and direct, the works illuminate Mahfouz’s personal and political convictions that were more often hidden in his novels, enriching his better-known corpus with social, political, and ideological context.
            These writings are a rare treasure, a story of a time of tremendous social and political change in the Middle East told by one if its most iconic authors. 
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front cover of Eurasia without Borders
Eurasia without Borders
The Dream of a Leftist Literary Commons, 1919–1943
Katerina Clark
Harvard University Press, 2021

A long-awaited corrective to the controversial idea of world literature, from a major voice in the field.

Katerina Clark charts interwar efforts by Soviet, European, and Asian leftist writers to create a Eurasian commons: a single cultural space that would overcome national, cultural, and linguistic differences in the name of an anticapitalist, anti-imperialist, and later antifascist aesthetic. At the heart of this story stands the literary arm of the Communist International, or Comintern, anchored in Moscow but reaching Baku, Beijing, London, and parts in between. Its mission attracted diverse networks of writers who hailed from Turkey, Iran, India, and China, as well as the Soviet Union and Europe. Between 1919 and 1943, they sought to establish a new world literature to rival the capitalist republic of Western letters.

Eurasia without Borders revises standard accounts of global twentieth-century literary movements. The Eurocentric discourse of world literature focuses on transatlantic interactions, largely omitting the international left and its Asian members. Meanwhile, postcolonial studies have overlooked the socialist-aligned world in favor of the clash between Western European imperialism and subaltern resistance. Clark provides the missing pieces, illuminating a distinctive literature that sought to fuse European and vernacular Asian traditions in the name of a post-imperialist culture.

Socialist literary internationalism was not without serious problems, and at times it succumbed to an orientalist aesthetic that rivaled any coming from Europe. Its history is marked by both promise and tragedy. With clear-eyed honesty, Clark traces the limits, compromises, and achievements of an ambitious cultural collaboration whose resonances in later movements can no longer be ignored.

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