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Layla Anwar is a young Palestinian born into a land plagued with war and an apartheid regime. She knows all too well what it means to be an outcast, second class in a country she calls home. But Layla is also an outsider within her village and family. Whispers surround her growing up... ones that mask the secrets her family has kept for generations. Secrets and subjugation continue to plague Layla's adolescence and young adult life after the move to America, as the monsters of her past threaten to break the relationships she most cherishes. A lifetime of tragedy haunts her until she is forced to confront the truth and rectify the mistakes that have shaped her destiny. Layla uncovers the unholiest of secrets on her path to redemption as she discovers the truth of her family's history.

Abu-Ghazaleh focuses on Palestinian cultural material artifacts and their connection with the preservation of cultural identity. The Palestinian participants were acutely aware of the potential instability of their diaspora, especially in the United States since 9/11. This study provides a perspective not generally presented in Western media of the Palestinian people striving for the peaceful preservation of their nationality through their cultural artifacts, and social identity practices. For Palestinians, material culture artifacts connect them to their homeland even as it is relentlessly reduced to a fraction of its former landmass. Although the Palestinian people may be scattered around the world, they still retain a powerful connection to each other and their land.

\"A Palestinian American woman wrestles with faith, loss, and identity before coming face- to- face with a school shooter in this searing debut. A uniquely American story told in powerful, evocative prose, The Beauty of Your Face navigates a country growing ever more divided. Afaf Rahman, the daughter of Palestinian immigrants, is the principal of Nurrideen School for Girls, a Muslim school in the Chicago suburbs. One morning, a shooter- radicalized by the online alt- right- attacks the school. As Afaf listens to his terrifying progress, we are swept back through her memories: the bigotry she faced as a child, her mother's dreams of returning to Palestine, and the devastating disappearance of her older sister that tore her family apart. Still, there is the sweetness of the music from her father's oud, and the hope and community Afaf finally finds in Islam. The Beauty of Your Face is a profound and poignant exploration of one woman's life in a nation at odds with its ideals\"-- provided by publisher.

Unsettled Belonging tells the stories of young Palestinian Americans as they navigate and construct lives as American citizens. Following these youth throughout their school days, Thea Abu El-Haj examines citizenship as lived experience, dependent on various social, cultural, and political memberships. For them, she shows, life is characterized by a fundamental schism between their sense of transnational belonging and the exclusionary politics of routine American nationalism that ultimately cast them as impossible subjects. Abu El-Haj explores the school as the primary site where young people from immigrant communities encounter the central discourses about what it means to be American. She illustrates the complex ways social identities are bound up with questions of belonging and citizenship, and she details the processes through which immigrant youth are racialized via everyday nationalistic practices. Finally, she raises a series of crucial questions about how we educate for active citizenship in contemporary times, when more and more people's lives are shaped within transnational contexts. A compelling account of post-9/11 immigrant life, Unsettled Belonging is a steadfast look at the disjunctures of modern citizenship.

This is a gripping account of what it is like to live as a Palestinian - as a refugee in your own homeland. Born in Jerusalem, Muna Hamzeh is a journalist who has been writing about Palestinian affairs since 1985. She first worked as a journalist in Washington DC, but moved back to Palestine in 1989 to cover the first Palestine Intifada - the war of stones. She then settled in Dheisheh, near Bethlehem - one of 59 Palestinian refugee camps that are considered the oldest refugee camps in the world. The book consists of a diary which Hamzeh wrote between October 4th and December 4th 2000, telling the story of the second Intifada. Facing the tanks and armed guards of one of the best-equipped armies in the world, the Palestinians have nothing. They fight back with stones. The anguish and terror that Muna and her friends face on daily basis is tangible. Who will be the next to die? Whose house will be the next to burn down? This deeply moving personal account brings to life the harsh realities of the Palestinian struggle. Refugees in Our Own Land is a look into the hearts and minds of Palestinian refugees. It is a tribute to the bravery of the Palestinian people, and a wake-up call to the world that has ignored so much of their struggle and their suffering.

This insightful critical biography shows us an Edward Said we did not know. H. Aram Veeser brings forth not the Said of tabloid culture, or Said the remote philosopher, but the actual man, embedded in the politics of the Middle East but soaked in the values of the West and struggling to advance the best European ideas. Veeser shows the organic ties connecting his life, politics, and criticism. Drawing on what he learned over 35 years as Said's student and skeptical admirer, Veeser uses never-before-published interviews, debate transcripts, and photographs to discover a Said who had few inhibitions and loathed conventional routine. He stood for originality, loved unique ideas, wore marvelous clothes, and fought with molten fury. For twenty years he embraced and rejected, at the same time, not only the West, but also literary theory and the PLO. At last, his disgust with business-as-usual politics and criticism marooned him on the sidelines of both. The candid tale of Said's rise from elite academic precincts to the world stage transforms not only our understanding of Said—the man and the myth—but also our perception of how intellectuals can make their way in the world. \"This is a brave book, written with gusto—a student from Edward Said’s early days at Columbia cuts through the myth and puts together the ‘real maestro,’ with respect, sympathy and meticulous attention to detail.\"— Gayatri Chakravorty Spivak , Columbia University \"The most engaging study of Edward Said now available, this book traces Said’s progress from highbrow denizen of the Ivy Leagues to a gritty intellectual on the world stage. It also gives an inside portrait of Said, from a one-time student who knew him for thirty-five years, depicting Said’s habits of mind, charisma, and contradictions. With a seemingly encyclopedic grasp of Said’s work, Veeser also writes with panache, offering his own example of creative criticism .\"— Jeffrey J. Williams, Co-editor of The Norton Anthology of Theory and Criticism \"At last, a critic has come along with the cunning, candor, and brilliance to pluck out the heart of the mystery of Edward Said. A mesmerizing read—and unlikely to be surpassed .\"— James Shapiro, Columbia University 　 \"The late Edward Said is often pictured as a passionate fighter for radical causes. But in this provocative and eminently readable book, H. Aram Veeser reveals a Said who was far more divided than anyone thought.\"— Gerald Graff , author of Clueless in Academe 　 \"Part biography, part memoir, part analysis and even part critique, Veeser's book is a fitting medium for addressing the life and work of a man whose achievements and aspirations far exceeded what could be contained in any one category or even series of categories. No one who knew Said will doubt the attribution of charisma—and those who didn't will get a good sense of it from this book. \"— David Simpson, University of California, Davis \"Veeser has written an absolutely splendid hybrid of a book: part intellectual biography, part personal reminiscence, part homage, and part scholarly critique. As insouciant in its observations as Edward Said was in his person, Veeser’s book treats Said’s Princetonian polish as a central element of his thought and not simply as elegant haberdashery. Said’s outsized scholarly ambition and rhetorical cleverness are more than matched in Veeser’s pithy account by his unpredictability and penchant for self-contradiction, all of them hallmarks of the charismatic hero who refuses to play by the rules that govern common mortals. We desperately need just this sort of informed, critical, and yet balanced approach to our intellectual stars, rather than the hagiography so often demanded and supplied. Said, oppositional critic to the bitter end, deserves no less.\" —Vincent P. Pecora, University of Utah \"… Vesser (City College of New York) has written a beautifully crafted examination of the legacy of the renowned Palestinian literary critic, who died in 2003.\" – B. A. McGowan, Moraine Valley Community College (CHOICE Feb. 2011) Introduction Chapter I: The Charisma of Edward Said Chapter 2: Beginning Again Chapter 3: Emergence Chapter 4: Academostardom Chapter 5: Secular Criticism Chapter 6: Rhetoric and Image Chapter 7: On Stage Chapter 8: Later Visions Chapter 9: Marquee Intellectual Chapter 10: Political Roughhouse Chapter 11: Dropping the PLO Chapter 12: Said in History H. Aram Veeser is Associate Professor at The City College of New York. He is coauthor of Painting Between the Lines (2001), and editor of The New Historicism (1989), The New Historicism Reader (1994), Confessions of the Critics (1996), and The Stanley Fish Reader (1999). Besides his work as a writer and critic, Veeser pursues outside interests that range from drawing and painting to motorcycling and competitive rowing.

Negotiating location, identity, and class, the poetry of Palestinian American writers Nathalie Handal and Naomi Shihab Nye projects relational models of travel to fashion forms of resistance to colonialism, imperialism, and systemic violence. As such, the poets' travel experiences mediate a revaluation of identity away from discourses of essentialism and in terms of struggle. On a first level, the depiction of travel reflects an agential literary practice in its elaboration of a poetics of relationality with colonized communities. This poetics challenges hegemonic modes of being and compartmentalization informing mainstream politics and narratives of modernity and progress. Travel also functions on a different level: it serves as a vehicle to complicate modes of relationality and problematize their interaction with class and privilege. This representational gesture tests the limits of coalitional practices and emphasizes the importance of examining issues of privilege as they relate to cross-ethnic relations.