Thirteenth-century Sufi poet, mystic, and legal scholar Muhyi al-Din ibn al-'Arabi gave deep and sustained attention to gender as integral to questions of human existence and moral personhood. Reading his works through a critical feminist lens, Sa'diyya Shaikh opens fertile spaces in which new and creative encounters with gender justice in Islam can take place. Grounding her work in Islamic epistemology, Shaikh attends to the ways in which Sufi metaphysics and theology might allow for fundamental shifts in Islamic gender ethics and legal formulations, addressing wide-ranging contemporary challenges including questions of women's rights in marriage and divorce, the politics of veiling, and women's leadership of ritual prayer. Shaikh deftly deconstructs traditional binaries between the spiritual and the political, private conceptions of spiritual development and public notions of social justice, and the realms of inner refinement and those of communal virtue. Drawing on the treasured works of Sufism, Shaikh raises a number of critical questions about the nature of selfhood, subjectivity, spirituality, and society to contribute richly to the prospects of Islamic feminism as well as feminist ethics more broadly.

Sufi Narratives of Intimacy

Sufi Narratives of Intimacy: Ibn 'Arabi, Gender, and Sexuality

Sufism is a growing and global phenomenon, far from the declining relic it was once thought to be. This book brings together the work of fourteen leading experts to explore systematically the key themes of Sufism's new global presence, from Yemen to Senegal via Chicago and Sweden. The contributors look at the global spread and stance of such major actors as the Ba 'Alawiyya, the 'Afropolitan' Tijaniyya, and the Gülen Movement. They map global Sufi culture, from Rumi to rap, and ask how global Sufism accommodates different and contradictory gender practices. They examine the contested and shifting relationship between the Islamic and the universal: is Sufism the timeless and universal essence of all religions, the key to tolerance and co-existence between Muslims and non-Muslims? Or is it the purely Islamic heart of traditional and authentic practice and belief? Finally, the book turns to politics. States and political actors in the West and in the Muslim world are using the mantle and language of Sufism to promote their objectives, while Sufis are building alliances with them against common enemies. This raises the difficult question of whether Sufis are defending Islam against extremism, supporting despotism against democracy, or perhaps doing both.

Muhammad's Body introduces questions of embodiment and materiality to the study of the Prophet Muhammad. Analyzing classical Muslim literary representations of Muhammad's body as they emerge in Sunni hadith and sira from the eighth through the eleventh centuries CE, Michael Muhammad Knight argues that early Muslims' theories and imaginings about Muhammad's body contributed in significant ways to the construction of prophetic masculinity and authority. Knight approaches hadith and sira as important religiocultural and literary phenomena in their own right. In rich detail, he lays out the variety of ways that early believers imagined Muhammad's relationship to beneficent energy—baraka—and to its boundaries, effects, and limits. Drawing on insights from contemporary theory about the body, Knight shows how changing representations of the Prophet's body helped to legitimatize certain types of people or individuals as religious authorities, while marginalizing or delegitimizing others. For some Sunni Muslims, Knight concludes, claims of religious authority today remain connected to ideas about Muhammad's body.

Irfan Ahmad makes the far-reaching argument that potent systems and modes for self-critique as well as critique of others are inherent in Islam--indeed, critique is integral to its fundamental tenets and practices. Challenging common views of Islam as hostile to critical thinking, Ahmad delineates thriving traditions of critique in Islamic culture, focusing in large part on South Asian traditions. Ahmad interrogates Greek and Enlightenment notions of reason and critique, and he notes how they are invoked in relation to "others," including Muslims. Drafting an alternative genealogy of critique in Islam, Ahmad reads religious teachings and texts, drawing on sources in Hindi, Urdu, Farsi, and English, and demonstrates how they serve as expressions of critique. Throughout, he depicts Islam as an agent, not an object, of critique. On a broader level, Ahmad expands the idea of critique itself. Drawing on his fieldwork among marketplace hawkers in Delhi and Aligarh, he construes critique anthropologically as a sociocultural activity in the everyday lives of ordinary Muslims, beyond the world of intellectuals. Religion as Critique allows space for new theoretical considerations of modernity and change, taking on such salient issues as nationhood, women's equality, the state, culture, democracy, and secularism.

The two Muslim poets featured in Scott Kugle's comparative study lived separate lives during the eighteenth and early-nineteenth centuries in the Deccan region of southern India. Here, they meet in the realm of literary imagination, illuminating the complexity of gender, sexuality, and religious practice in South Asian Islamic culture. Shah Siraj Awrangabadi (1715-1763), known as "Sun," was a Sunni who, after a youthful homosexual love affair, gave up sexual relationships to follow a path of personal holiness. Mah Laqa Bai Chanda (1768-1820), known as "Moon," was a Shi'i and courtesan dancer who transferred her seduction of men to the pursuit of mystical love. Both were poets in the Urdu language of the ghazal, or love lyric, often fusing a spiritual quest with erotic imagery. Kugle argues that Sun and Moon expressed through their poetry exceptions to the general rules of heteronormativity and gender inequality common in their patriarchal societies. Their art provides a lens for a more subtle understanding of both the reach and the limitations of gender roles in Islamic and South Asian culture and underscores how the arts of poetry, music, and dance are integral to Islamic religious life. Integrated throughout are Kugle's translations of Urdu and Persian poetry previously unavailable in English.

Adopting an empirical and systematic approach, this interdisciplinary study of medieval Persian Sufi tradition and ʿAttār (1145-1221) opens up a new space of comparison for reading and understanding medieval Persian and European literatures. The book invites us on an intellectual journey that reveals exciting intersections that redefine the hierarchies and terms of comparison. While the primary focus of the book is on reassessing the significance of the concept of transgression and construction of subjectivity within select works of ʿAttār within Persian Sufi tradition, the author also creates a bridge between medieval and modern, literature and theory, and European and Middle Eastern cultures through reading these works alongside one another. Of significance to the author is ʿAttār's treatment of enlightenment with regard to class, religious, gender, and sexuality transgressions. In this book, the relation between transgression and the limit is not viewed as one of liberation from oppressive restrictions, but of undoing the structures that produce constraining binaries; it allows for alternatives and possibilities. In conjunction with the concepts of transgression and the limit, the presence of society's marginalized pariahs, outcasts, and untouchables are central to the book's main argument about construction of subjectivity, which the author believes is framed within ʿAttār's notion of mystical love and human diversity. The book addresses the question of whether concepts such as transgression, limit, and subjectivity are solely applicable to modern times, or they can shed light on our understanding of transgression and subjectivity from the past. The author's comparative inquiries aim to intensify our understanding of these notions advanced in both the medieval and the modern world. Through summoning works from various genres, disciplines, cultures, and times, the author posits that medieval literary works are living texts that can reveal as much about our present selves as they do about the past.

Sufi Aesthetics argues that the interpretive keys to erotic Sufi poems and their medieval commentaries lie in understanding a unique perceptual experience. Using careful analysis of primary texts, Cyrus Ali Zargar explores the theoretical and poetic pronouncements of two major Muslim mystics, Muhyi al-Din ibn al-'Arabi (d. 1240) and Fakhr al-Din 'Iraqi (d. 1289), under the premise that behind any literary tradition exist organic aesthetic values. The complex assertions of these Sufis appear not as abstract theory, but as a way of seeing all things, including the sensory world. The Sufi masters, Zargar asserts, shared an aesthetic vision quite different from those who have often studied them. Sufism's foremost theoretician, Ibn 'Arabi, is presented from a neglected perspective as a poet, aesthete, and lover of the human form. Ibn 'Arabi in fact proclaimed a view of human beauty markedly similar to that of many mystics from a Persian contemplative school of thought, the "School of Passionate Love," which would later find its epitome in 'Iraqi, one of Persian literature's most celebrated poet-saints. Through this aesthetic approach, this comparative study overturns assumptions made not only about Sufism and classical Arabic and Persian poetry, but also other uses of erotic imagery in Muslim approaches to sexuality, the human body, and the paradise of the afterlife described in the Qur'an.

Oozing with men, money, and Maseratis, Dubai is the ultimate playground for the woman who knows her Louboutins from her Louis Vuittons. But for some, there’s a lot more at stake than a Hermes Birkin. Leila has been in search of a wealthy husband for over a decade. Nadia moves to Dubai to support her husband’s career, only to have her sacrifices thrown in her face. Sugar escapes the UK in an attempt to escape her past. Lady Luxe, the rebellious Emirati heiress, scoffs at everything her culture holds sacred. Until the day her double life starts unravelling at the seams. Set against a backdrop of luxury hotels and manmade islands, Desperate in Dubai tells the tale of four desperate women as they struggle to find truth, love, and themselves.