Whereas most studies of Islamism focus on politics and religious ideology, this book analyses the ways in which Islamism in the Arab world is defined, reflected, transmitted and contested in a variety of creative and other cultural forms. It covers a range of contexts of production and reception, from the early twentieth century to the present, and with reference to cultural production in and/or about Morocco, Algeria, Tunisia, Egypt, Yemen, the Gulf, Lebanon and Israel/Palestine. The material engaged with is produced in Arabic, English and French and includes fiction, autobiography, feature films, television series, television reportage, the press, rap music and video games. Throughout, the book highlights the multiple forms and contested interpretations of Islamism in the Arab world, exploring trends and tensions in the ways Islamism is represented to (primarily) Arab audiences and complicating simplistic perspectives on this phenomenon. The book considers repeated and idiosyncratic themes, modes of characterisation, motifs, structures of feeling and forms of engagement, in the context of an ongoing struggle for symbolic power in the region.

Whereas most studies of Islamism focus on politics and religious ideology, this book analyses the ways in which Islamism in the Arab world is defined, reflected, transmitted and contested in a variety of creative and other cultural forms. It covers a range of contexts of production and reception, from the early twentieth century to the present, and with reference to cultural production in and/or about Morocco, Algeria, Tunisia, Egypt, Yemen, the Gulf, Lebanon and Israel/Palestine. The material engaged with is produced in Arabic, English and French and includes fiction, autobiography, feature films, television series, television reportage, the press, rap music and video games. Throughout, the book highlights the multiple forms and contested interpretations of Islamism in the Arab world, exploring trends and tensions in the ways Islamism is represented to (primarily) Arab audiences and complicating simplistic perspectives on this phenomenon. The book considers repeated and idiosyncratic themes, modes of characterisation, motifs, structures of feeling and forms of engagement, in the context of an ongoing struggle for symbolic power in the region.

Given a long history of representation by others, what themes and techniques do Arab Muslim women writers, filmmakers and visual artists foreground in their presentation of postcolonial experience? Lindsey Moore's groundbreaking book demonstrates ways in which women appropriate textual and visual modes of representation, often in cross-fertilizing ways, in challenges to Orientalist/colonialist, nationalist, Islamist, and 'multicultural' paradigms. She provides an accessible but theoretically-informed analysis by foregrounding tropes of vision, visibility and voice; post-nationalist melancholia and mother/daughter narratives; transformations of 'homes and harems'; and border crossings in time, space, language, and media. In doing so, Moore moves beyond notions of speaking or looking 'back' to encompass a diverse feminist poetics and politics and to emphasize ethical forms of representation and reception. Aran, Muslim, Woman is distinctive in the eclectic body of work that it brings together. Discussing Algeria, Egypt, Jordan, Lebanon, Morocco, the Palestinian territories, and Tunisia, as well as postcolonial Europe, Moore argues for better integration of Arab Muslim contexts in the postcolonial canon. In a book for readers interested in women's studies, history, literature, and visual media, we encounter work by Assia Djebar, Mona Hatoum, Fatima Mernissi, Ahlam Mosteghanemi, Nawal el Saadawi, Leila Sebbar, Zineb Sedira, Ahdaf Soueif, Moufida Tlatli, Fadwa Tuqan, and many other women.

Narrating Postcolonial Arab Nations significantly enhances the interface between postcolonial literary studies and the hitherto under-studied Arab world. Lindsey Moore brings together canonical and less familiar Arab novels and memoirs from the last half century to consider colonial continuities and consequences. Literary narratives are shown to oppose repressive versions of nationalism and to track desire lines toward more hospitable nations. The literatures discussed in this book enable a deeper historical understanding of twenty-first century Arab uprisings and their aftermaths. The book analyzes four rich sites of literary production: Egypt, Algeria, Lebanon, and Palestine. Moore explores ways in which authors critique particular nation-state formations and decolonizing histories, engage the general problematic of 'the nation', and redefine, repurpose, and transcend national literary canons. Chapter One contrasts Egyptian literary representations of popular revolt with official revolutionary discourse. Chapter Two addresses the enduring legacy of anti-colonial violence in Algeria and the place of Albert Camus in its literature. Chapter Three uses narratives of gender violence on the Beirut front line to reveal the divisibility and intersectional identity politics of postcolonial nation-states. Chapter Four emphasizes ways in which Palestinian memoirs insist upon remembering towards a postcolonial future. The book provides detailed analysis of literary narratives by Etel Adnan, Rabih Alameddine, Alaa al-Aswany, Rachid Boudjedra, Albert Camus, Rashid al-Daif, Assia Djebar, Ghada Karmi, Naguib Mahfouz, Jean Said Makdisi, Edward Said, Boualem Sansal, Raja Shehadeh, Miral al-Tahawy, and Latifa al-Zayyat. It is an indispensable volume for students and scholars of Postcolonial, Arab, and World literatures.

Given a long history of representation by others, what themes and techniques do Arab Muslim women writers, filmmakers and visual artists foreground in their presentation of postcolonial experience?

Lindsey Moore s groundbreaking book demonstrates ways in which women appropriate textual and visual modes of representation, often in cross-fertilizing ways, in challenges to Orientalist/colonialist, nationalist, Islamist, and multicultural paradigms. She provides an accessible but theoretically-informed analysis by foregrounding tropes of vision, visibility and voice; post-nationalist melancholia and mother/daughter narratives; transformations of homes and harems; and border crossings in time, space, language, and media. In doing so, Moore moves beyond notions of speaking or looking back to encompass a diverse feminist poetics and politics and to emphasize ethical forms of representation and reception.

Aran, Muslim, Woman is distinctive in the eclectic body of work that it brings together. Discussing Algeria, Egypt, Jordan, Lebanon, Morocco, the Palestinian territories, and Tunisia, as well as postcolonial Europe, Moore argues for better integration of Arab Muslim contexts in the postcolonial canon. In a book for readers interested in women's studies, history, literature, and visual media, we encounter work by Assia Djebar, Mona Hatoum, Fatima Mernissi, Ahlam Mosteghanemi, Nawal el Saadawi, Leila Sebbar, Zineb Sedira, Ahdaf Soueif, Moufida Tlatli, Fadwa Tuqan, and many other women.

Artisanal Mezcal follows a delicate underground baking process that has existed for hundreds of years, but it is only now that it's experiencing a Renaissance in craft cocktail bars and homes around the country. Made from agave, but so much more than tequila, Mezcal's smoky flavor and smooth finish--as well as its artisanal, farm-to-table background--has made it the new "spirit du jour." This book contains 50 cocktail recipes you can make at home with delicious, versatile out-of-this world Mezcal, containing information about how this small-batch liquor is made by Oaxacan families, and will include tasting notes on almost every brand available in the US.