Four full-length plays from the leading Syrian dramatist of the twentieth century, published in English for the first time.

The first major English-language collection of plays and essays by Syrian playwright Sa'dallah Wannous Sa'dallah Wannous is acknowledged to be one of the Arab world's most significant playwrights, writers, and intellectuals of the twentieth century. This is the first major English-language collection that brings together his most significant plays and essays. Selections include the groundbreaking 1969 play An Evening's Entertainment for the Fifth of June, a scathing indictment of the duplicity of Arab leaders during the 1967 War, as well as Wannous's most celebrated play, Rituals of Signs and Transformations, a bold treatment of homosexuality, prostitution, clerical corruption, and the quest for female liberation. In addition to his work as a playwright, Wannous, like Brecht, was an astute theatrical and cultural critic, and his essays, some of which are included here, offer shrewd diagnoses of the ills of Arab society and the essential role of theater in ameliorating them.

The remarkable story of a small, makeshift library in the town of Daraya, and the people who found hope and humanity in its books during a four-year siege. Daraya lies on the fringe of Damascus, just southwest of the Syrian capital. Yet for four years it lived in another world. Besieged by government forces early in the Syrian Civil War, its people were deprived of food, bombarded by heavy artillery, and under the constant fire of snipers. But deep beneath this scene of frightening devastation lay a hidden library. While the streets above echoed with shelling and rifle fire, the secret world below was a haven of books. Long rows of well-thumbed volumes lined almost every wall: bloated editions with grand leather covers, pocket-sized guides to Syrian poetry, and no-nonsense reference books, all arranged in well-ordered lines. But this precious horde was not bought from publishers or loaned by other libraries--they were the books salvaged and scavenged at great personal risk from the doomed city above. The story of this extraordinary place and the people who found purpose and refuge in it is one of hope, human resilience, and above all, the timeless, universal love of literature and the compassion and wisdom it fosters.

Four modern plays from the Maghreb, the Northwestern part of Africa.

Syria is where food, memory, and resilience collide: recreate the flavors of this beautiful country in Our Syria, for delicious meals anywhere in the world. Syria has always been the meeting point for the most delicious flavors from East and West, where spices and sweetness collide. Even now, in possibly the country's darkest hour, Syrian families in tiny apartments from Beirut to Berlin are searching out the best tomatoes, lemons, pomegranates, and parsley to evoke the memory of home, keeping their treasured food history alive across continents. Friends and passionate cooks Itab and Dina met Syrian women in the Middle East and Europe to collect together the very best recipes from one of the world's greatest food cultures. They spent months cooking with them, learning their recipes and listening to stories of home. Recipes like the following elicit vibrant images of an ancient culture: Hot Yogurt Soup Fresh Thyme and Halloumi Salad Lamb and Okra Stew Chicken Shawarma Wraps Semolina and Coconut Cake Our Syria is a delicious celebration of the unique taste, culture, and food of Syria-and a celebration of everything that food and memory can mean to an individual, to a family, and to a nation.

Four plays based on the Oedipus legend by four leading dramatists of the Arab World.

Winner of the Overseas Press Club of America's Cornelius Ryan Award Finalist for the Lionel Gelber Prize “Rania Abouzeid has produced a work of stunning reportage from the very heart of the conflict, daring to go to the most dangerous places in order to get the story.” —Dexter Filkins, Pulitzer Prize-winning author of The Forever War Award-winning journalist Rania Abouzeid dissects the tangle of ideologies and allegiances that make up the Syrian conflict through the dramatic stories of four young people seeking safety and freedom in a shattered country. Hailed by critics, No Turning Back masterfully “[weaves] together the lives of protestors, victims, and remorseless killers at the center of this century’s most appalling human tragedy” (Robert F. Worth). Based on more than five years of fearless, clandestine reporting, No Turning Back brings readers deep inside Bashar al-Assad’s prisons, to covert meetings where foreign states and organizations manipulated the rebels, and to the highest levels of Islamic militancy and the formation of the Islamic State. An utterly engrossing human drama full of vivid, indelible characters, No Turning Back shows how hope can flourish even amid one of the twenty-first century’s greatest humanitarian disasters.

In Modern and Contemporary Political Theater from the Levant, A Critical Anthology, Robert Myers and Nada Saab provide a sense of the variety and complexity of political theater produced in and around the Levant from the 1960s to the present within a context of wider discussions about political theater and the histories and forms of performance from the Islamic and Arab worlds. Five major playwrights are studied, ʿIsam Mahfuz, from Lebanon; Muhammad al-Maghut and Saʿd Allah Wannus, from Syria; Jawad al-Asadi, from Iraq, Syria and Lebanon; and Raʾida Taha, from Palestine. The volume includes translations of their plays The Dictator, The Jester, The Rape, Baghdadi Bath and Where Would I Find Someone Like You, ʿAli?, respectively.

This handbook aims mainly at an analytical documentation of all the known textual remnants and the preserved artifacts of Arabic shadow theatre, a long-lived, and still living, tradition — from the earliest sightings in the tenth century to the turn of the twentieth century. The book consists of three main parts and a cluster of appendixes. Part One presents a history of Arab shadow theatre through a survey of medieval and premodern accounts and modern scholarship on the subject. Part Two takes stock of primary sources (manuscripts), published studies, and the current knowledge of various aspects of Arabic shadow theatre: language, style, terminology, and performance. Part Three offers an inventory of all known Arabic shadow plays. The documentation is based on manuscripts (largely unpublished), printed texts (scripts, excerpts), academic studies (in Arabic and Western languages), journalist reportage, and shadow play artifacts from collections worldwide.