When in the Arab World is written from the inside for anyone who wants to live or work with Arab culture.

A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.

WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR The stunning debut of a brilliant nonfiction writer whose vivid account of his grandparents' lives in Egypt, Tunisia, Palestine, and Los Angeles reclaims his family's Jewish Arab identity There was a time when being an "Arab" didn't mean you were necessarily Muslim. It was a time when Oscar Hayoun, a Jewish Arab, strode along the Nile in a fashionable suit, long before he and his father arrived at the port of Haifa to join the Zionist state only to find themselves hosed down with DDT and then left unemployed on the margins of society. In that time, Arabness was a mark of cosmopolitanism, of intellectualism. Today, in the age of the Likud and ISIS, Oscar's son, the Jewish Arab journalist Massoud Hayoun whom Oscar raised in Los Angeles, finds his voice by telling his family's story. To reclaim a worldly, nuanced Arab identity is, for Hayoun, part of the larger project to recall a time before ethnic identity was mangled for political ends. It is also a journey deep into a lost age of sophisticated innocence in the Arab world; an age that is now nearly lost. When We Were Arabs showcases the gorgeous prose of the Eppy Award–winning writer Massoud Hayoun, bringing the worlds of his grandparents alive, vividly shattering our contemporary understanding of what makes an Arab, what makes a Jew, and how we draw the lines over which we do battle.

Anti-bias education begins with you! Become a skilled anti-bias teacher with this practical guidance to confronting and eliminating barriers.

Horrendous news from the Middle East fills our newspapers and screens every day. How can we begin to understand what drives people to treat each other as they do? "e;Medieval"e; is a word often used. Well-informed commentators analyse political and military issues but give little insight into the cultural and domestic backgrounds of the protagonists."e;Living with Arabs"e; is an account of nine years spent visiting and living among the Bedouin tribes of Petra in southern Jordan; in some ways a world away from the neighbouring war zones. Through insightful accounts of day-to-day life, a world of nobility and simplicity is revealed: so too is a world of violence, gender imbalance, and the significance of Islam. It is a story that begins viewed through rose-coloured spectacles and moves to a gripping realisation of reality. The shocking, the funny, the heart-warming - it is all here.

Readers interested in Arab studies, Detroit culture and history, transnational politics, and the changing dynamics of race and ethnicity in America will enjoy the personal reflection and analytical insight of Arab Detroit 9/11.

This book is about the social history of the Arab Jews—Jews living in Arab countries—against the backdrop of Zionist nationalism. By using the term "Arab Jews" (rather than "Mizrahim," which literally means "Orientals") the book challenges the binary opposition between Arabs and Jews in Zionist discourse, a dichotomy that renders the linking of Arabs and Jews in this way inconceivable. It also situates the study of the relationships between Mizrahi Jews and Ashkenazi Jews in the context of early colonial encounters between the Arab Jews and the European Zionist emissaries—prior to the establishment of the state of Israel and outside Palestine. It argues that these relationships were reproduced upon the arrival of the Arab Jews to Israel. The book also provides a new prism for understanding the intricate relationships between the Arab Jews and the Palestinian refugees of 1948, a link that is usually obscured or omitted by studies that are informed by Zionist historiography. Finally, the book uses the history of the Arab Jews to transcend the assumptions necessitated by the Zionist perspective, and to open the door for a perspective that sheds new light on the basic assumptions upon which Zionism was founded.

Swinging from post-explosion Beirut to a Parc-Extension balcony in summer, the verse and prose poems in The Good Arabs ground the reader in place, language, and the body. Peeling and rinsing radishes. Dancing as a pre-teen to Nancy Ajram. Being drenched in stares on the city bus. The collection is an interlocking and rich offering of the speaker's geographical surroundings both expansive and precise, family both biological and chosen, and community. In mapping Arab and trans identity through the remnants of trauma, the garbage crisis in Lebanon, the ways countries let down their citizens, and the immensity of experience felt in one body, the genre-defying collection The Good Arabs gifts the reader with insight into cycles and repetition in ourselves and our broken nations. Ultimately, it shows how we might love amid dismay, adore the pungent and the ugly, and exist in our multiplicity across spaces.

An autobiographical portrait of a gay Arab man, living between cultures, seeking an identity through love and writing. I had to rediscover who I was. And that's why I left the apartment.... And there I was, right in the heart of the Arab world, a world that never tired of making the same mistakes over and over.... I had no more leniency when it came to the Arab world... None for the Arabs and none for myself. I suddenly saw things with merciless lucidity.... —An Arab Melancholia Salé, near Rabat. The mid 1980s. A lower-class teenager is running until he's out of breath. He's running after his dream, his dream to become a movie director. He's running after the Egyptian movie star, Souad Hosni, who's out there somewhere, miles away from this neighborhood—which is a place the teenager both loves and hates, the home at which he is not at home, an environment that will only allow him his identity through the cultural lens of shame and silence. Running is the only way he can stand up to the violence that is his Morocco. Irresistibly charming, angry, and wry, this autobiographical novel traces the emergence of Abdellah Taïa's identity as an openly gay Arab man living between cultures. The book spans twenty years, moving from Salé, to Paris, to Cairo. Part incantation, part polemic, and part love letter, this extraordinary novel creates a new world where the self is effaced by desire and love, and writing is always an act of discovery.

Today's Arab world was created at breathtaking speed. In just over one hundred years following the death of Mohammed in 632, Arabs had subjugated a territory with an east-west expanse greater than the Roman Empire, and they did it in about one-half the time. By the mid-eighth century, Arab armies had conquered the thousand-year-old Persian Empire, reduced the Byzantine Empire to little more than a city-state based around Constantinople, and destroyed the Visigoth kingdom of Spain. The cultural and linguistic effects of this early Islamic expansion reverberate today. This is the first popular English-language account in many years of this astonishing remaking of the political and religious map of the world. Hugh Kennedy's sweeping narrative reveals how the Arab armies conquered almost everything in their path, and brings to light the unique characteristics of Islamic rule. One of the few academic historians with a genuine talent for story telling, Kennedy offers a compelling mix of larger-than-life characters, fierce battles, and the great clash of civilizations and religions.