Thomas Brennan knew his first hunt would be special, but when a two-colored stag appears in the forest by his home, he quickly realizes he cannot shoot the beautiful animal. Instead, the buck is killed by Mr. Williams, the cruel landowner that employs Tom's family. The piebald buck's death bothers Tom more than it should, and soon bizarre things begin to happen: songbirds vanish, the forest grows menacing, and Tom suddenly finds himself the sole caretaker of a mysterious white fawn ...Clarisse Williams isn't especially surprised when her father brings home a dead piebald deer; as an avid hunter, he has exhibited a fondness for the bizarre and unusual. However, Clarisse can't explain her own fascination with the poor stag, or why nightmares wake her and lead her outdoors in the middle of winter, or why her neighbor Tom snoops around her barn at midnight ...Together, the children attempt to protect their precious charge while hunting for information. What links the piebald stag so closely to the forest? What force stopped Tom from killing the buck? What draws Clarisse to the piebald's smooth, straight antlers?What is the white fawn?

It is not only the holy cities of Mecca and Karbala to which Muslim pilgrims travel, but a wide variety of sacred sites around the world. Journeys are undertaken to visit graves of important historical and religious individuals, the tombs of saints, and natural sites such as mountaintops and springs. Exploring the richness and diversity of traditions practiced by the 1.5 billion Muslims across the world, Sophia Rose Arjana provides a rigorous theoretical discussion of pilgrimage, ritual practice and the nature of sacred space in Islam, both historically and in the present day. This all-encompassing survey covers issues such as time, space, tourism, virtual pilgrimages and the use of computers and smartphone apps. Lucidly written, informative and accessible, it is perfectly suited to students, scholars and the general reader seeking a comprehensive picture of the defining ritual of religious pilgrimage in Islam.

From jewellery to meditation pillows to tourist retreats, religious traditions – especially those of the East – are being commodified as never before. Imitated and rebranded as ‘New Age’ or ‘spiritual’, they are marketed to secular Westerners as an answer to suffering in the modern world, the ‘mystical’ and ‘exotic’ East promising a path to enlightenment and inner peace. In Buying Buddha, Selling Rumi, Sophia Rose Arjana examines the appropriation and sale of Buddhism, Hinduism and Islam in the West today, the role of mysticism and Orientalism in the religious marketplace, and how the commodification of religion impacts people’s lives.

Muslims in the Western Imagination explores the ways in which Muslim men are depicted as monsters throughout history. Monsters help a society delineate who belongs in a social group and who, or what, is excluded. Even when Muslim monsters are symbolic, as in post-9/11 zombie films, they still function to define Muslims as non-human entities. These are not portrayals of Muslim men as malevolent human characters, but rather as creatures that occupy the imagination-non-humans that exhibit their wickedness outwardly on the skin. They populate medieval tales, Renaissance paintings, Shakespearean dramas, Gothic horror novels, and Hollywood films. Through an exhaustive survey of medieval, early modern, and contemporary literature, art, and cinema, Sophia Rose Arjana examines the dehumanizing ways in which Muslim men have been constructed and represented as monsters, and the impact such representations have on perceptions of Muslims. The study is the first to present a Foucauldian genealogy of these creatures, from the demons and giants of the Middle Ages to the hunchbacks with filed teeth that appeared in the 2006 film 300. The book argues that constructions of Muslim monsters constitute a recurring theme, first formulated in medieval Christian anti-Semitism. Arjana shows how Muslim monsters are often related to Jewish monsters, and more broadly to Christian anti-Semitism, which involves both religious bigotry and fears surrounding bodily differences. Like the Jewish monster, the Muslim monster is not simply a product of religious bigotry, but of anxiety surrounding bodily difference. Overall, Arjana argues persuasively, these dehumanizing constructions deeply embedded in Western consciousness are internalized beliefs and practices that contribute to the culture of violence-both rhetorical and bodily- against Muslims.

Thomas Brennan knew his first hunt would be special, but when a two-colored stag appears in the forest by his home, he quickly realizes he cannot shoot the beautiful animal. Instead, the buck is killed by Mr. Williams, the cruel landowner that employs Tom's family. The piebald buck's death bothers Tom more than it should, and soon bizarre things begin to happen: songbirds vanish, the forest grows menacing, and Tom suddenly finds himself the sole caretaker of a mysterious white fawn ...Clarisse Williams isn't especially surprised when her father brings home a dead piebald deer; as an avid hunter, he has exhibited a fondness for the bizarre and unusual. However, Clarisse can't explain her own fascination with the poor stag, or why nightmares wake her and lead her outdoors in the middle of winter, or why her neighbor Tom snoops around her barn at midnight ...Together, the children attempt to protect their precious charge while hunting for information. What links the piebald stag so closely to the forest? What force stopped Tom from killing the buck? What draws Clarisse to the piebald's smooth, straight antlers?What is the white fawn?

This groundbreaking study examines Muslim female superheroes within a matrix of Islamic theology, feminism, and contemporary political discourse. Through a close reading of texts including Ms. Marvel, Qahera, and The 99, Sophia Rose Arjana argues that these powerful and iconic characters reflect independence and agency, reflecting the diverse lives of Muslim girls and women in the world today.