"There is always an atheism to be extracted from a religion," Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity "secretes" atheism "more than any other religion," however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable "lines of flight." A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal "Islamic theology" that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of "orthodoxy." The discussions in Sufi Deleuze thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular "mainstream" interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome.

"There is always an atheism to be extracted from a religion," Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity "secretes" atheism "more than any other religion," however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze's atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam's historical multiplicity but also betray Deleuze's model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable "lines of flight." A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal "Islamic theology" that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of "orthodoxy." The discussions in Sufi Deleuze thus highlight Islam's extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur'an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular "mainstream" interpretive tradition. To say it in Deleuze's vocabulary, Islam is a rhizome.

With a cast of characters ranging from Malcolm X to 50 Cent, this is the first detailed account of the movement inextricably linked with black empowerment, Islam, New York, and hip-hop. Including coverage of Brooklyn turf gangs, the Attica prison uprising, 1980s crack empires, and the stars of Five Percenter rap, this fast-paced investigation uncovers the Five Percenters' icons and heritage, and examines their growing influence in urban American youth culture.

The Ansaru Allah Community, also known as the Nubian Islamic Hebrews (AAC/NIH) and later the Nuwaubians, is a deeply significant and controversial African American Muslim movement. Founded in Brooklyn in the 1960s, it spread through the prolific production and dissemination of literature and lecture tapes and became famous for continuously reinventing its belief system. In this book, Michael Muhammad Knight studies the development of AAC/NIH discourse over a period of thirty years, tracing a surprising consistency behind a facade of serial reinvention. It is popularly believed that the AAC/NIH community abandoned Islam for Black Israelite religion, UFO religion, and Egyptosophy. However, Knight sees coherence in AAC/NIH media, explaining how, in reality, the community taught that the Prophet Muhammad was a Hebrew who adhered to Israelite law; Muhammad's heavenly ascension took place on a spaceship; and Abraham enlisted the help of a pharaonic regime to genetically engineer pigs as food for white people. Against narratives that treat the AAC/NIH community as a postmodernist deconstruction of religious categories, Knight demonstrates that AAC/NIH discourse is most productively framed within a broader African American metaphysical history in which boundaries between traditions remain quite permeable. Unexpected and engrossing, Metaphysical Africa brings to light points of intersection between communities and traditions often regarded as separate and distinct. In doing so, it helps move the field of religious studies beyond conventional categories of "orthodoxy" and "heterodoxy," challenging assumptions that inform not only the study of this particular religious community but also the field at large.

Muhammad's Body introduces questions of embodiment and materiality to the study of the Prophet Muhammad. Analyzing classical Muslim literary representations of Muhammad's body as they emerge in Sunni hadith and sira from the eighth through the eleventh centuries CE, Michael Muhammad Knight argues that early Muslims' theories and imaginings about Mu ammad's body contributed in significant ways to the construction of prophetic masculinity and authority. Knight approaches hadith and sira as important religiocultural and literary phenomena in their own right. In rich detail, he lays out the variety of ways that early believers imagined Muhammad's relationship to beneficent energy - baraka - and to its boundaries, effects, and limits. Drawing on insights from contemporary theory about the body, Knight shows how changing representations of the Prophet's body helped to legitimatize certain types of people or individuals as religious authorities, while marginalizing or delegitimizing others. For some Sunni Muslims, Knight concludes, claims of religious authority today remain connected to ideas about Muhammad's body.

Combining insights from the best published historical and religious studies scholarship, original research, and rich first-person perspective, this highly readable book offers a comprehensive yet concise introduction to the founder and central figure of the Islamic tradition: the prophet Muhammad. Narrating Muhammad's life story, teachings, and daily practices, and assessing how his legacy is received, interpreted, and applied around the world, Michael Muhammad Knight reveals how the project has become simultaneously one of the most beloved historical figures in the world and also one of the most contested, challenged, and disparaged. Knight argues that there was never a singular Muslim vision of Muhammad but rather always multiple perspectives. While Muslims defend Muhammad's legacy against Islamophobic polemics, they also challenge each other regarding the proper authorities through which Muhammad's life and message become comprehensible and applicable in our world. Thinking across time and place, Knight argues that Muhammad is always contextual and contemporary.

The Salafi movement invests supreme Islamic authority in the precedents of the Salaf, the first three generations of Muslims, who represent a "Golden Age" from which all subsequent eras can only decline. In Why I Am a Salafi, Michael Muhammad Knight confronts the problem of origins, questioning the possibility of accessing pure Islam through its canonical texts. Why I Am a Salafi is also a confrontation of Knight's own origins as a Muslim. Reconsidering Salafism, Knight explores the historical processes that informed Islam as he once knew it, having converted to a Salafi vision of Islam in 1994. In the decades since, he has drifted away from Salafism in favor of an alternative Islam that celebrates the freaks, misfits, and heretical innovators. What happens to Islam when everything's up for grabs, and can an anything-goes Islam allow space for reputedly intolerant Salafism? In Why I Am a Salafi, Knight explores not only Salafism's valorization of the origins, but takes the Salafi project further than its advocates are willing to go, and reflects upon the consequences of surrendering the origins forever.

This work was undertaken in order to fulfill, An artistic, enquiring mind and a soul that stands still. It dramatically states in its own unfaltering meaning, And leaps into your soul beyond any logical reasoning. It is really very difficult to finally know myself, And even harder to end-up as a book on a shelf. If you only knew, how really hard it was to begin, A collection of words... describing what is within.

The Ansaru Allah Community, also known as the Nubian Islamic Hebrews (AAC/NIH) and later the Nuwaubians, is a deeply significant and controversial African American Muslim movement. Founded in Brooklyn in the 1960s, it spread through the prolific production and dissemination of literature and lecture tapes and became famous for continuously reinventing its belief system. In this book, Michael Muhammad Knight studies the development of AAC/NIH discourse over a period of thirty years, tracing a surprising consistency behind a facade of serial reinvention. It is popularly believed that the AAC/NIH community abandoned Islam for Black Israelite religion, UFO religion, and Egyptosophy. However, Knight sees coherence in AAC/NIH media, explaining how, in reality, the community taught that the Prophet Muhammad was a Hebrew who adhered to Israelite law; Muhammad's heavenly ascension took place on a spaceship; and Abraham enlisted the help of a pharaonic regime to genetically engineer pigs as food for white people. Against narratives that treat the AAC/NIH community as a postmodernist deconstruction of religious categories, Knight demonstrates that AAC/NIH discourse is most productively framed within a broader African American metaphysical history in which boundaries between traditions remain quite permeable. Unexpected and engrossing, Metaphysical Africa brings to light points of intersection between communities and traditions often regarded as separate and distinct. In doing so, it helps move the field of religious studies beyond conventional categories of "orthodoxy" and "heterodoxy," challenging assumptions that inform not only the study of this particular religious community but also the field at large.

When Michael Muhammad Knight sets out to write the definitive biography of his Anarcho-Sufi hero and mentor, writer Peter Lamborn Wilson (aka Hakim Bey), he makes a startling discovery that changes everything. At the same time that he grows disillusioned with his idol, Knight finds that his own books have led to American Muslim youths making a countercultural idol of him, placing him on the same pedestal that he had given Wilson.
In an attempt to forge his own path, Knight pledges himself to an Iranian Sufi order that Wilson had almost joined, attempts to write the Great American Queer Islamo-Futurist Novel, and even creates his own mosque in the wilderness of West Virginia. He also employs the cut-up writing method of Bey's friend, the late William S. Burroughs, to the Qur'an, subjecting Islam's holiest scripture to literary experimentation.
William S. Burroughs vs. the Qur'an is the struggle of a hero-worshiper without heroes and the meeting of religious and artistic paths, the quest of a writer as spiritual seeker.

Amazing Ayyub, an Iranian Shi'ite skinhead, and Rabeya, a burqa-wearing punk, have kidnapped Matt Damon and are holding him hostage. They demand that Hollywood depict Muslims in a positive light--"just one movie where we're not these two-dimensional al Qaeda stereotypes." But Damon's concerned they're playing into that same terrorist paradigm, thereby furthering the neoconservative perception of Islam.
Meanwhile, Ayyub embarks on a mission to rid the taqwacore scene of a Muslim pop-punk band called Shah 79. Along the way, he makes himself invisible, escapes punk-eating zombies in a mosque off the desert highway, and runs into some psychobilly jinns. Things turn existential when Ayyub finds himself face-to-face with his creator--no, not Allah, but the author.
This riotous journey of enlightenment reads like a religious service for teenagers on Halloween. But it isn't all raucous fun; written into his own novel, the author finds he is at the mercy of his creation.

Recognized by readers of his novel, The Taqwacores, as the godfather of American Muslim punk, Michael Muhammad Knight is a voice for the growing number of teenagers who choose neither side of the "Clash of Civilizations." Knight has now written his personal story, a chronicle of his bizarre and traumatic boyhood and his conversion to Islam during a turbulent adolescence. Impossible Man follows a boy's struggle in coming to terms with his father--a paranoid schizophrenic and white supremacist who had threatened to decapitate Michael when he was a baby--and his father's place in his own identity. It is also the story of a teenager's troubled path to maturity and the influences that steady him along the way. Knight's encounter with Malcolm X's autobiography transforms him from a disturbed teenager engaged in correspondence with Charles Manson to a zealous Muslim convert who travels to Pakistan and studies in a madrassa. Later disillusioned by radical religion, he again faces the crisis of self-definition. For all its extremes, Impossible Man describes a universal journey: a wounded boy in search of a working model of manhood, going to outrageous lengths to find it.

In his quest for an indigenous American Islam, Michael Muhammad Knight embarks on a series of interstate odysseys. Traveling 20,000 miles by Greyhound in sixty days, he squats in run-down mosques, pursues Muslim romance, is detained at the U.S.-Canadian border with a trunkload of Shia literature, crashes Islamic Society of North America (ISNA) conventions, stink-palms Cat Stevens, limps across Chicago to find the grave of Noble Drew Ali, and hunts down the truth of the Nation of Islam mystery-man, W.D. Fard filling dozens of notebooks along the way. The result is this semi-autobiographical book, with multiple histories of Fard and the landscape of American Islam woven into Knights own story.

In the course of his adventures Knight sorts out his own relationship to Islam as he journeys from punk provocateur to a recognized voice in the community, and watches first-hand the collapse of a liberal Islamic dream. The books extensive cast of characters includes anarcho-Sufi heretics, vegan kung-fu punks, tattoo-sleeved converts in hardcore bands, spiritual drug dealers, Islamic feminists, slick media entrepreneurs, sages of the street, the grandsons of Elijah Muhammad and Malcolm X, and a group called Muslims for Bush.

With its journalistic approach to Islams intersection with race, gender, and Americanization, "Blue-Eyed Devil" offers a brutally honest but ultimately compassionate look at the marginal underground of Islamic America.

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Combining insights from the best published historical and religious studies scholarship, original research, and rich first-person perspective, this highly readable book offers a comprehensive yet concise introduction to the founder and central figure of the Islamic tradition: the prophet Muhammad. Narrating Muhammad's life story, teachings, and daily practices, and assessing how his legacy is received, interpreted, and applied around the world, Michael Muhammad Knight reveals how the project has become simultaneously one of the most beloved historical figures in the world and also one of the most contested, challenged, and disparaged. Knight argues that there was never a singular Muslim vision of Muhammad but rather always multiple perspectives. While Muslims defend Muhammad's legacy against Islamophobic polemics, they also challenge each other regarding the proper authorities through which Muhammad's life and message become comprehensible and applicable in our world. Thinking across time and place, Knight argues that Muhammad is always contextual and contemporary.

Muhammad's Body introduces questions of embodiment and materiality to the study of the Prophet Muhammad. Analyzing classical Muslim literary representations of Muhammad's body as they emerge in Sunni hadith and sira from the eighth through the eleventh centuries CE, Michael Muhammad Knight argues that early Muslims' theories and imaginings about Mu ammad's body contributed in significant ways to the construction of prophetic masculinity and authority. Knight approaches hadith and sira as important religiocultural and literary phenomena in their own right. In rich detail, he lays out the variety of ways that early believers imagined Muhammad's relationship to beneficent energy - baraka - and to its boundaries, effects, and limits. Drawing on insights from contemporary theory about the body, Knight shows how changing representations of the Prophet's body helped to legitimatize certain types of people or individuals as religious authorities, while marginalizing or delegitimizing others. For some Sunni Muslims, Knight concludes, claims of religious authority today remain connected to ideas about Muhammad's body.

A thoughtful, insider view of The Five Percenters-a deeply complex and misunderstood community whose ideas and symbols influenced the rise of hip-hop.

Misrepresented in the media as a black parallel to the Hell's Angels, portrayed as everything from a vicious street gang to quasi- Islamic revolutionaries, The Five Percenters are a movement that began as a breakaway sect from the Nation of Islam (NOI) in 1960s Harlem and went on to impact the formation of hip-hop. References to Five Percent language and ideas are found in the lyrics of wide-ranging artists, such as Nas, Rakim, the Wu-Tang Clan, and even Jay-Z.

The Five Percenters are denounced by white America as racists, and orthodox Islam as heretics, for teaching that the black man is Allah. Michael Muhammad Knight ("the Hunter S. Thompson of Islamic literature" -The Guardian) has engaged this culture as both white and Muslim; and over the course of his relationship with The Five Percenters, his personal position changed from that of an outsider to an accepted participant with his own initiatory name (Azreal Wisdom). This has given him an intimate perch from which to understand and examine the controversial doctrines of this influential movement. In "Why I Am a Five Percenter," Knight strips away years of sensationalism to offer a serious encounter with Five Percenter thought.

Encoded within Five Percent culture is a profound critique of organized religion, from which the movement derives its name: Only Five Percent can act as "poor righteous teachers" against the evil Ten Percent, the power structure which uses religion to deceive the Eighty- Five Percent, the "deaf, dumb, and blind" masses. Questioning his own relationship to the Five Percent, Knight directly confronts the community's most difficult teachings. In "Why I Am a Five Percenter," Knight not only illuminates a thought system that must appear bizarre to outsiders, but he also brilliantly dissects the very issues of"insiders" and "outsiders," territory and ownership, as they relate to religion and privilege, and to our conditioned ideas about race.