Winner of the Barbara DiBernard Prize in Fiction Amy Black, a queer single mother and an aspiring artist in love with calligraphy, dreams of a coveted artist’s residency at the world’s largest social media company, Q. One ink-black October night, when the power is out in the hills of Oakland, California, a stranger asks Amy to transcribe a love letter for him. When the stranger suddenly disappears, Amy’s search for the letter’s recipient leads her straight to Q and the most beautiful illuminated manuscript she has ever seen, the Codex Argentus, hidden away in Q’s Library of Books That Don’t Exist—and to a group of data privacy vigilantes who want her to burn Q to the ground. Amy’s curiosity becomes her salvation, as she’s drawn closer and closer to the secret societies and crackpot philosophers that haunt the city’s abandoned warehouses and defunct train depots. All of it leads to an opportunity of a lifetime: an artist’s residency deep in the holographic halls of Q headquarters. It’s a dream come true—so long as she follows Q’s rules.
In this pioneering work Siraj Sait and Hilary Lim address Islamic property and land rights, drawing on a range of socio-historical, classical and contemporary resources. They address the significance of Islamic theories of property and Islamic land tenure regimes on the 'webs of tenure' prevalent in the Muslim societies. They consider the possibility of using Islamic legal and human rights systems for the development of inclusive, pro-poor approaches to land rights. They also focus on Muslim women's rights to property and inheritance systems. Engaging with institutions such as the Islamic endowment (waqf) and principles of Islamic microfinance, they test the workability of 'authentic' Islamic proposals. Located in human rights as well as Islamic debates, this study offers a well researched and constructive appraisal of property and land rights in the Muslim world.
Hilary Rouse-Amadi is a poet, teacher and academic. The format of this collection of poems reflects the interconnections between these aspects of her creativity. It was the playwright Sir Tom Stoppard who recently commented that our troubled times can overwhelm the writer, because there is simply too much to write about and respond to. On offer on these pages is poetry of ideas, narrative poetry, lyrical poetry, where the personal is also political and located in the wider context that is the public domain. Venture on a journey with the poet that references some thirty-five countries, acknowledging cultural differences but emphasising what we have in common. Local and global need not conflict, when we recognise, along with the late Jo Cox MP, that what we have in common is greater than that which divides us.
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