Few families have had as much success shaping history as the Abbasids. Descended from one of the Prophet Muhammad’s four uncles, they used their reputation for probity and piety to take over and rule the Arab Empire for 37 reigns. Deftly managing family feuds, they enjoyed a century of unimaginable splendor, followed by four centuries of highs and lows. They survived by pitting powerful external forces against one another: Arabs versus Persians, Northern Arabs versus the Southerners, Muslims versus non-Muslims, Sunni versus Shi’a. They allied with Charlemagne to put pressure on the Byzantines, with the Tang Dynasty to contain the Turks. They were the ultimate dynasty of fixers.
Islam
The geometric patterning in Islamic tiles, carpets and textiles bespeak the Chief Architect, and how He brings forth the beauty of the physical world through eternal shapes. Implicit in these designs are dualities, heaven and earth, light and shadow, and of course male and female. The curating tradition of museums focuses on the male element in Islamic art. From the great monarchs like Iran’s Shah Abbas, Turkey’s Suleyman the Magnificent and India’s Shah Jahan, museums display their silk ceremonial gowns, jade-handled swords and brocaded riding boots. Objects made by or for women rarely figure in the exhibit cases.
Syed Masood’s The Bad Muslim Discount is named after the rationale the capricious landlord gives for allowing one of the main characters to live there; they meet in that run-down building nearly halfway through the novel, after they are propelled to life in the US. Surprisingly, it is not a love story, but rather gathers more and more interconnections as it proceeds. Anvar Faris is a clever Pakistani boy (the “bad Muslim”) who struggles against the expectations of his religious mother, and Safwa is a girl left to contend with her abusive father after her mother and brother die in Afghanistan.
Khalil, a young Belgian, is set to blow himself up near France’s national stadium, in the outskirts of Paris, along with his best friend. Khalil reaches for the detonator of his explosive vest in a packed suburban train. There is a twist: he survives, and he wasn’t meant to.
The Code of Civilization might at first seem to be another in the line of books which includes Francis Fukuyama’s The End of History and Samuel P Huntington’s The Clash of Civilizations that attempt an overarching view of world history with an aim to model the present and predict the future. This time, however, the author—Vyacheslav Nikonov—is Russian.
The Hijaz, that part of the Arabian Peninsula which contains the holy cities of Mecca and Medina, was long subject to imperialism, but not of Western variety: it was instead subject to the Ottomans. Although nominally under Ottoman suzerainty for centuries, it was ironically 19th-century British imperialism that forced Istanbul to attempt to consolidate its control over the region.
Visitors around the world have traveled to Europe to see the tall spires and stained glass windows of the continent’s Gothic cathedrals: in Cologne, Chartres, Milan, Florence, York and Paris. The trappings of Gothic architecture have become shorthand for “medieval Europe”. Yet in Stealing from the Saracens: How Islamic Architecture Shaped Europe, Diana Darke investigates the Islamic origins of Gothic architecture, tracing its history through pre-Islamic Syria through the Islamic empires to the tall European cathedrals between the 12th and 17th centuries.
This year’s 75th anniversary of the end of WW2 and, in particular, the end of the War in the Pacific, has coincided with a number of books, some broad, some focusing on individuals. But few perhaps look at what is—at first glance—as unlikely a corner as Kelly A Hammond’s China’s Muslims & Japan’s Empire.
The morning after Notre-Dame Cathedral caught fire last year, Diana Darke remarked on Twitter and then on her blog that much of what is considered iconically European about the cathedral—the twin towers, the gothic arches—is Middle Eastern in origin. This created something of a stir and in the provocatively-entitled Stealing from the Saracens, Darke sets out to prove it.
Samira Ahmed is a force in young adult literature, bringing voice to Muslim American teens and calling out increasingly rampant Islamophobia. In her latest novel, Mad, Bad & Dangerous to Know, she combines a contemporary story with historical fiction that reaches back to Lord Byron (who bore the sobriquet that also titles the novel), Alexandre Dumas and Eugene Delacroix. Two young women are at the centers of these stories, thereby telling history from women’s perspectives.