Translated by Marilyn Booth Longlisted for the 2023 Dublin Literary Award An extraordinary novel from a Man Booker International Prize-winning author that follows one young Omani woman as she builds a life for herself in Britain and reflects on the relationships that have made her from a “remarkable� writer who has “constructed her own novelistic form� (James Wood, The New Yorker). ‘Alharthi makes lyrical shifts between past and present, memory and folklore, oneiric surrealism and grimy realism.’ Guardian [A] stirring tale of a woman who battles every social and religious constraint. The juxtaposition with the narrator’s reflections on modern life and the speed of change is brilliantly judged in Marilyn Booth’s agile translation from Arabic.’ The Observer Zuhour, an Omani student at a British university, is caught between the past and the present. As she attempts to form friendships and assimilate in Britain, she can’t help but ruminate on the relationships that have been central to her life. Most prominent is her strong emotional bond with Bint Aamir, a woman she always thought of as her grandmother, who passed away just after Zuhour left the Arabian Peninsula.   As the historical narrative of Bint Aamir’s challenged circumstances unfurls in captivating fragments, so too does Zuhour’s isolated and unfulfilled present, one narrative segueing into another as time slips, and dreams mingle with memories.   The eagerly awaited new novel by the winner of the Man Booker International Prize, Bitter Orange Tree is a profound exploration of social status, wealth, desire, and female agency. It presents a mosaic portrait of one young woman’s attempt to understand the roots she has grown from, and to envisage an adulthood in which her own power and happiness might find the freedom necessary to bear fruit and flourish.  

The Open Door is a landmark of women's writing in Arabic. Published in 1960, it was very bold for its time in exploring a middle-class Egyptian girl's coming of sexual and political age, in the context of the Egyptian nationalist movement preceding the 1952 revolution. The novel traces the pressures on young women and young men of that time and class as they seek to free themselves of family control and social expectations. Young Layla and her brother become involved in the student activism of the 1940s and early 1950s and in the popular resistance to continued imperialist rule; the story culminates in the 1956 Suez Crisis, when Gamal Abd al-Nasser's nationalization of the Canal led to a British, French, and Israeli invasion. Not only daring in her themes, Latifa al-Zayyat was also bold in her use of colloquial Arabic, and the novel contains some of the liveliest dialogue in modern Arabic literature."Not only a great novel, but a literary landmark that shaped our consciousness."--Abdel Moneim Tallima "A great anticolonialist work in a feminist key."--Ferial Ghazoul "Latifa al-Zayyat greatly helped all of us Egyptian writers in our early writing careers."--Naguib Mahfouz

'Barakat isn't writing about 'the immigrant'. She's writing about the human.' Rumaan Alam, author of Leave the World Behind Shortlisted for the Saif Ghobash Banipal Prize for Arabic Translation * Longlisted for the DUBLIN Literary Award, 2022 Winner of the International Prize for Arabic Fiction, a devastating story of displacement, war, and the unlikely glimmer of hope in the dark In an unnamed country torn apart by war, six strangers are compelled to share their darkest secrets. Taking pen to paper, each attempts to put in writing what they can't bring themselves to say to the person they love - mother, father, brother, lost love. Their words form a chain of dark confessions, none of which reaches the intended recipient. But their consequences will ripple through other lives, affecting strangers in ways the writers could never have anticipated... Luminous and haunting, Voices of the Lost tells the moving story of characters living on the periphery, battling displacement, poverty, and the demons within themselves. From one of today's most talented Arabic writers, this is the story of lives intimately woven together in a society that is tearing itself apart. 'Hoda Barakat is one of Lebanon's greatest gifts to literature' Amy Bloom, author of White Houses

When the imam of a small town in Southern Lebanon is diagnosed with cancer, the illness he fears and has expected for years, he takes the radical decision to abandon the life he inherited from his father. He was persuaded to wear the robe and turban in his youth to preserve the family tradition and entered into an arranged marriage. While his grandfather and father were once powerful imams, he displays no interest in the mosque. The wife, for whom he feels no affection, attends to her chores and nurses his father, now sick and bedridden, in his house. Though he worries about his two sons, who were born deaf and mute, he takes no measures to secure a special education for them.

Fenelon, Offenbach and the Iliad in Arabic, Robinson Crusoe in Turkish, the Bible in Greek-alphabet Turkish, excoriated French novels circulating through the Ottoman Empire in Greek, Arabic and Turkish - literary translation at the eastern end of the Mediterranean offered worldly vistas and new, hybrid genres to emerging literate audiences in the nineteenth and early twentieth centuries. Whether to propagate 'national' language reform, circulate the Bible, help audiences understand European opera, argue for girls' education, institute pan-Islamic conversations, introduce political concepts, share the Persian Gulistan with Anglophone readers in Bengal, or provide racy fiction to schooled adolescents in Cairo and Istanbul, translation was an essential tool. But as these essays show, translators were inventors. And their efforts might yield surprising results.

sA vigorous translation scene across the 19th-century Ottoman Empire government and private, official and amateur, acknowledged and anonymous saw many texts from European languages rewritten into the multiple tongues that Ottoman subjects spoke, read and wrote. Just as lively, however, was translation among Ottoman languages, and between those and the languages of neighbours to the east. The proliferation and circulation of texts in translation and adaptation leads us to ask: What is an 'Ottoman language'? This volume challenges earlier scholarship that has highlighted translation and adaptation from European languages to the neglect of alternative translations, re-centring translation as an Ottoman 'hub'. Through 8 collaboratively written case studies, stretching linguistically and geographically from Bengal to London, Istanbul to Paris, Andalusia to Bosnia, it peers over the shoulders of working translators to ask how they creatively transported texts between as well as beyond Ottoman languages. In doing so, it also ponders broader issues of cultural transfer and culture production in the Ottoman Empire, its European and Arabophone territories and south Asia in a period of emerging nationalist ferment.

Zaynab Fawwaz (d. 1914) emerged from an obscure childhood in the Shi'I community of Jabal 'Amil (now Lebanon) to become a recognized writer on women's and girls' aspirations and rights in 1890s Egypt. This book insists on the centrality of gender as a marker of social difference to the Arabic knowledge movement then, or Nahda. Fawwaz published essays and engaged in debates in the Egyptian and Ottoman-Arabic press, published two novels, and the first play known to have been composed in Arabic by a female writer. This book assesses her unusual life history and political engagements-including her work late in life as an informant for the Egyptian khedive. A series of thematically focused chapters takes up her views on social justice, marriage, divorce and polygyny, the 'gender-nature' debate in the context of local understandings of Darwinism, education, and imperialism and Islamophobia, attending also to works by those to whom Fawwaz was responding. Her role in the first Arabic women's magazine, and her contributions to later women's magazines, are part of the story, too. Further chapters consider her uses of history in fiction to criticize patriarchal control of young women's lives, and her play as an intervention into reformist theatre, and the question of women's access to public culture in 1890s Egypt. Questions of desirable masculinities are central to all of these. Fawwaz was also known for her massive biographical dictionary of world women. In that work as in her essays, Fawwaz articulated an ethics of social belonging and sociality predicated on Islamic precepts of gender justice, and critical of the ways male intellectuals had used 'tradition' to silence women and deny their aspirations.

In 1981, the celebrated author and activist Nawal el Saadawi was imprisoned by the Sadat regime in her native Egypt, for 'crimes against the state'. Through haunting and evocative prose, Saadawi here recounts how she and her fellow prisoners continued to resist even in captivity, and to form a community which transcended divisions between secular and religious activists. She reveals both the harrowing detail and the everyday mundanity of prison life, as well as the bravery and resolve of all women resisting oppression - and of political prisoners around the world. Memoirs from the Women's Prison is an unforgettable, landmark work of prison writing that offers a rare insight into the indomitable, soaring literary mind of the Arab world's leading feminist.

Fenelon, Offenbach and the Iliad in Arabic, Robinson Crusoe in Turkish, the Bible in Greek-alphabet Turkish, excoriated French novels circulating through the Ottoman Empire in Greek, Arabic and Turkish - literary translation at the eastern end of the Mediterranean offered worldly vistas and new, hybrid genres to emerging literate audiences in the nineteenth and early twentieth centuries. Whether to propagate 'national' language reform, circulate the Bible, help audiences understand European opera, argue for girls' education, institute pan-Islamic conversations, introduce political concepts, share the Persian Gulistan with Anglophone readers in Bengal, or provide racy fiction to schooled adolescents in Cairo and Istanbul, translation was an essential tool. But as these essays show, translators were inventors. And their efforts might yield surprising results.

When Rajaa Alsanea boldly chose to open up the hidden world of Saudi womenatheir private lives and their conflicts with the traditions of their cultureashe caused a sensation across the Arab world. Now in English, Alsaneaas tale of the personal struggles of four young upper-class women offers Westerners an unprecedented glimpse into a society often veiled from view. Living in restrictive Riyadh but traveling all over the globe, these modern Saudi women literally and figuratively shed traditional garb as they search for love, fulfillment, and their place somewhere in between Western society and their Islamic home.

Ibtihal Salem's writing provides an excellent forum for studying both everyday life in Egypt and current literary experimentation in the Middle East. Her poignant pieces hover between the structure of story-telling, the visuality of vignettes, and the compression of poetry. They both record and evoke a literary ferment going on in Egypt today.

Salem's writing of the last thirty years is lauded for its social messages also. Finding the expression of sexuality necessary to explicate problems of Egyptian identity, Salem often links poverty to gender marginality. Her heroines, however, celebrate the heritages that have shaped them, even as they resist certain aspects of them. Like many writers in Egypt, Salem honors traditional folktales, even as she deals with contemporary problems from class and economic perspectives.

Marilyn Booth, one of the best translators of Arabic fiction working today, has dealt in her introduction to this collection with the unusual experimental form by examining Salem's craft as well as the contextual history surrounding the stories. Since Salem is writing "across genres," Booth helps the reader also by opening each piece with an explanatory comment, often quoting the author, and thus further illuminating Salem's portrayals of lives bounded by Egypt's waters--the Canal, the Nile, and the Mediterranean.

Harem Histories is an interdisciplinary collection of essays exploring the harem as it was imagined, represented, and experienced in Middle Eastern and North African societies, and by visitors to those societies. One theme that threads through the collection is the intimate interrelatedness of West and East evident in encounters within and around the harem, whether in the elite socializing of precolonial Tunis or the popular historical novels published in Istanbul and Cairo from the late nineteenth century onward. Several of the contributors focus on European culture as a repository of harem representations, but most of them tackle indigenous representations of home spaces and their significance for how the bodies of men and women, and girls and boys, were distributed in social space, from early Islamic Mecca to early-twentieth-century Cairo.Contributors. Asma Afsaruddin, Orit Bashkin, Marilyn Booth, Nadia Maria El Cheikh, Julia Clancy-Smith, Joan DelPlato, Jateen Lad, Nancy Micklewright, Yaseen Noorani, Leslie Peirce, Irvin Cemil Schick, A. Holly Schissler, Heghnar Zeitlian Watenpaugh

Marilyn Booth's elegantly conceived study reveals the Arabic tradition of life-writing in an entirely new light. Though biography had long been male-authored, in the late nineteenth century short sketches by and about women began to appear in biographical dictionaries and women's journals. By 1940, hundreds of such biographies had been published, featuring Arabs, Turks, Indians, Europeans, North Americans, and ancient Greeks and Persians. Booth uses over five hundred "famous women" biographies--which include subjects as diverse as Joan of Arc, Jane Austen, Aisha bt. Abi Bakr, Sarojini Naidu, and Lucy Stone--to demonstrate how these narratives prescribed complex role models for middle-class girls, in a context where nationalist programs and emerging feminisms made defining the ideal female citizen an urgent matter.
Booth begins by asking how cultural traditions shaped women's biography, and to whom the Egyptian biographies were directed. The biographies were published at a time of great cultural awakening in Egypt, when social and political institutions were in upheaval. The stories suggested that Islam could be flexible on social practice and gender, holding out the possibility for women to make their own lives. Yet ultimately they indicate that women would find it extremely difficult to escape the nationalist ideal: the nuclear family with "woman" at its center. This conflict remains central to Egyptian politics today, and in her final chapter Booth examines Islamic biographies of women's lives that have been published in more recent years.