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At the end of the nineteenth century in Libya, eleven-year-old Malika simultaneously enjoys and feels constricted by the narrow world of women, but an injured stranger enters her home and disrupts the traditional order of things.

Fiction by writers of Muslim background forms one of the most diverse, vibrant and high-profile corpora of work being produced today - from the trail-blazing writing of Salman Rushdie and Hanif Kureishi, which challenged political and racial orthodoxies in the 1980s, to that of a new generation including Mohsin Hamid, Nadeem Aslam and Kamila Shamsie. This collection reflects the variety of those fictions. Experts in English, South Asian, and postcolonial literatures address the nature of Muslim identity: its response to political realignments since the 1980s, its tensions between religious and secular models of citizenship, and its manifestation of these tensions as conflict between generations. In considering the perceptions of Muslims, contributors also explore the roles of immigration, class, gender, and national identity, as well as the impact of 9/11. This volume includes essays on contemporary fiction by writers of Muslim origin and non-Muslims writing about Muslims. It aims to push beyond the habitual populist 'framing' of Muslims as strangers or interlopers whose ways and beliefs are at odds with those of modernity, exposing the hide-bound, conservative assumptions that underpin such perspectives. While returning to themes that are of particular significance to diasporic Muslim cultures, such as secularism, modernity, multiculturalism and citizenship, the essays reveal that 'Muslim writing' grapples with the same big questions as serve to exercise all writers and intellectuals at the present time: How does one reconcile the impulses of the individual with the requirements of community? How can one 'belong' in the modern world? What is the role of art in making sense of chaotic contemporary experience? Rehana Ahmed is Lecturer in English Studies at the University of Teesside, UK. Peter Morey is Reader in English Literature, School of Social Sciences, Media and Cultural Studies, University of East London, UK. Amina Yaqin is Lecturer in Urdu and Postcolonial Studies, Department of South Asia, SOAS, UK. Selected Contents: Introduction Rehana Ahmed, Peter Morey and Amina Yaqin 1. Writing Muslims and the Global State of Exception Stephen Morton Part 1: Writing the Self 2. Bad Faith: The Construction of Muslim Extremism in Ed Husain’s The Islamist Anshuman A. Mondal 3. Reason to Believe? Two ‘British Muslim’ Memoirs Rehana Ahmed 4. Voyages Out and In: Two (British) Arab Muslim Women’s Bildungsromane Lindsey Moore Part 2. Migrant Islam 5. Infinite Hijra: Migrant Islam, Muslim American Literature, and the Anti-Mimesis of The Taqwacores Salah D. Hassan 6. Muslims as Multicultural Misfits in Nadeem Aslam’s Maps for Lost Lovers Amina Yaqin 7. ‘Sexy Identity-Assertion’: Choosing between Sacred and Secular Identities in Robin Yassin-Kassab’s The Road from Damascus Claire Chambers Part 3: (Mis)reading Muslims 8. Writing Islam in Post-9/11 America: John Updike’s Terrorist Anna Hartnell 9. Invading Ideologies and the Politics of Terror: Framing Afghanistan in The Kite Runner Kristy Butler 10. Representation and Realism: Monica Ali’s Brick Lane Sara Upstone Part 4: Culture, Politics and Religion 11. From ‘the Politics of Recognition’ to ‘the Policing of Recognition’: Writing Islam in Hanif Kureishi and Mohsin Hamid Bart Moore-Gilbert 12. Resistance and Religion in the Work of Kamila Shamsie Ruvani Ranasinha 13. Mourning Becomes Kashmira: Islam, Melancholia, and the Evacuation of Politics in Salman Rushdie’s Shalimar the Clown Peter Morey

Tells the story of a family in Moorish Spain and their attempts to survive after the fall of Granada.

America's approach to terrorism has focused on traditional national security methods, under the assumption that terrorism's roots are foreign and the solution to greater security lies in conventional practices. Europe offers a different model, with its response to internal terrorism relying on police procedures.Managing Ethnic Diversity after 9/11compares these two strategies and considers that both may have engendered greater radicalization--and a greater chance of home-grown terrorism. Essays address how transatlantic countries, including the United Kingdom, the United States, France, Germany, Spain, Italy, and the Netherlands have integrated ethnic minorities, especially Arabs and Muslims, since 9/11. Discussing the \"securitization of integration,\" contributors argue that the neglect of civil integration has challenged the rights of these minorities and has made greater security more remote.

Exploring medieval literary representations of the Islamic conquest of Spain in 711, Hazbun discusses chronicles, epic and clerical poetry, and early historical novels. While material on the conquest of Spain is substantial, it is understudied and this book works to fill that gap.

\"Inspired by a historical figure Tolstoy heard about while serving in the Caucasus, this story brings to life the famed warrior Hadji Murat, a Chechen rebel who has fought fiercely and courageously against the Russian empire. After a feud with his commander he defects to the Russians, only to find that he is now trusted by neither side. He is first welcomed but then imprisoned by the Russians under suspicion of being a spy, and when he hears news of his wife and son held captive by the Chechens, Murat risks all to try to save his family\"--Back cover.

Veiled Superheroes: Islam, Feminism, and Popular Culture focuses on female Muslim superheroes in graphic narratives such as the comic Ms. Marvel, the animated television series BurkaAvenger, and the webcomic Qahera.

As the partition of India nears in 1947 bringing violence even to Jalandhar, Tariq, a Muslim, finds himself caught between his forbidden interest in Anupreet, a Sikh girl, and Margaret, a British girl whose affection for him might help with his dream of studying at Oxford.

In the words of Richard Maltby . . . \"Maximum Movies--Pulp Fictions describes two improbably imbricated worlds and the piece of cultural history their intersections provoked.\" One of these worlds comprises a clutch of noisy, garish pulp movies--Kiss Me Deadly, Shock Corridor, Fixed Bayonets!, I Walked with a Zombie, The Lineup, Terror in a Texas Town, Ride Lonesome--pumped out for the grind houses at the end of the urban exhibition chain by the studios' B-divisions and fly-by-night independents. The other is occupied by critics, intellectuals, cinephiles, and filmmakers such as Jean-Luc Godard, Manny Farber, and Lawrence Alloway, who championed the cause of these movies and incited the cultural guardians of the day by attacking a rigorously policed canon of tasteful, rarified, and ossified art objects. Against the legitimate, and in defense of the illegitimate, in an insolent and unruly manner, they agitated for the recognition of lurid sensational crime stories, war pictures, fast-paced Westerns, thrillers, and gangster melodramas were claimed as examples of the true, the real, and the authentic in contemporary culture--the foundation upon which modern film studies sits.