My Story tells the tale of one man’s coming to adulthood in the late twentieth and early twenty-first centuries. Because of his international focus, the Author had said little about a subject that might interest a reader familiar with his existing body of work, that is, himself. So, he has turned a penetrating gaze from his customary subjects—people and places in the Middle East and South Asia—to a subject that provides context for his earlier books. From family histories of eighteenth-century Cevio in the Swiss Alps and Marseille in Provence; from childhood, youth, adolescence, and early adulthood in the United States; to the Navy and the Vietnam War; from “First Footsteps in the Middle East” to “Timeline,” “Red America,” and “Iran Odyssey,” these chapters play out against the backdrop of the family history now provided. As such, this work represents the capstone to a full career.
Visitors have often remarked on the light of Egypt. There is something about the soft diffusion of sunlight in the country that makes it visually special. Beginning in the early nineteenth century a combination of that light and the new, more sensitive technology of lithography conspired together to allow artists to capture with unprecedented fidelity the country's monuments, Pharaonic as well as Islamic. But there is another way in which the word "light" captures the reality of Egypt. In Arabic it is said that the blood of a people is either "light" or "heavy." Where the blood of others in the region could be said to be heavy, that of the Egyptians is emphatically light and it always seems to have been that way. Here, the word serves as a proxy for "cheerful" or "optimistic." The book that follows captures some of that fundamental Egyptian buoyancy and optimism, and it was not very hard to do. The attitude is infectious and anyone who has lived for any length of time in the country is in danger of succumbing. The pieces reflect a sometimes wry, occasionally humorous, but always affectionate view of an essentially unchanging Egypt.
At the Margins tells the story of living and working in the Afghan program in Pakistan for three years in the early 1990s followed by a year in Niger in West Africa. The title comes from the fact that South and Central Asia and West Africa represent relative extremes in the geographical reach of Islam. Afghanistan should need no introduction. Niger may seem an odd pairing with Afghanistan, but the assignments were of a piece: large-scale commodities and infrastructure assistance for impoverished, overwhelmingly Muslim countries in the throes of man-made and natural disasters. The Sahel, of which Niger mostly consists, has become a battleground of late. In the last decade of the twentieth century it was largely immune to the bacillus of Islamism. But the spread was inexorable and the familiar issues of corruption, rapid population growth, inequality, and diminished opportunities have combined with religious zealotry to spark violent eruptions against the existing order. It would be immodest to claim that in 1995 we saw it coming, but the ingredients were already there. We should not be surprised at the spread.
Middle East Tapestry represents the final installment of my thirty-plus years living and working in the Arab and Muslim worlds. The previous works, Masr and At the Margins, covered outlying areas of the region, including Egypt, South Asia, and West Africa. This book marks a return to the central lands of Islam in the Arabian Peninsula, including Saudi Arabia and Yemen, with lengthy excursions into lands to the north, chiefly Jordan and the West Bank. The title, Middle East Tapestry, was chosen after careful consideration of several alternatives. The term “Middle East” simply seemed the best descriptor of the area inhabited by the world’s nearly four hundred million Arab Muslims and makes up in familiarity what it may lack in definitional precision and nuance. The word “tapestry”—technically, an elaborate piece of textile work with pictures woven into the warp and weft—was also carefully chosen. It more generally describes “an intricate combination of things or sequence of events, not necessarily related,” that seemed to answer to the complexity of the area I am describing: “a tapestry of cultures, races, and customs.” Indeed, there is hardly a thing in the history of the area that is not intricate or complex.
When Roger H. Guichard Jr. discovered a French translation of the works of Carsten Niebuhr, sole survivor of the 1761-1767 Royal Danish Expedition to the Yemen, he was astounded. 'They were not just another dry account of one man's travels, but represented the record of a serious intellectual enterprise involving Enlightenment science, sacred philology, the Bible as history, 'Orientalism', Egyptology, and discovery'. Having translated them from French to English, and then cross-referenced his translations with the original German texts, 'Niebuhr in Egypt' is not, as one might expect, simply a presentation of his translation. Instead Guichard offers his readers an account of the expedition's year in Egypt, with lengthy excursions into the several subplots- Enlightenment science, the Bible as history, and Egyptology - that he found so engaging in the original works. This is not a scholarly work but would appeal to anyone with an interest in any of the areas mentioned or simply to anyone interested in this country's past and present.
My Story tells the tale of one man's coming to adulthood in the late twentieth and early twenty-first centuries. Because of his international focus, the Author had said little about a subject that might interest a reader familiar with his existing body of work, that is, himself. So, he has turned a penetrating gaze from his customary subjects--people and places in the Middle East and South Asia--to a subject that provides context for his earlier books. From family histories of eighteenth-century Cevio in the Swiss Alps and Marseille in Provence; from childhood, youth, adolescence, and early adulthood in the United States; to the Navy and the Vietnam War; from "First Footsteps in the Middle East" to "Timeline," "Red America," and "Iran Odyssey," these chapters play out against the backdrop of the family history now provided. As such, this work represents the capstone to a full career.
My Story tells the tale of one man’s coming to adulthood in the late twentieth and early twenty-first centuries. Because of his international focus, the Author had said little about a subject that might interest a reader familiar with his existing body of work, that is, himself. So, he has turned a penetrating gaze from his customary subjects—people and places in the Middle East and South Asia—to a subject that provides context for his earlier books. From family histories of eighteenth-century Cevio in the Swiss Alps and Marseille in Provence; from childhood, youth, adolescence, and early adulthood in the United States; to the Navy and the Vietnam War; from “First Footsteps in the Middle East” to “Timeline,” “Red America,” and “Iran Odyssey,” these chapters play out against the backdrop of the family history now provided. As such, this work represents the capstone to a full career.
Visitors have often remarked on the light of Egypt. There is something about the soft diffusion of sunlight in the country that makes it visually special. Beginning in the early nineteenth century a combination of that light and the new, more sensitive technology of lithography conspired together to allow artists to capture with unprecedented fidelity the country's monuments, Pharaonic as well as Islamic. But there is another way in which the word "light" captures the reality of Egypt. In Arabic it is said that the blood of a people is either "light" or "heavy." Where the blood of others in the region could be said to be heavy, that of the Egyptians is emphatically light and it always seems to have been that way. Here, the word serves as a proxy for "cheerful" or "optimistic." The book that follows captures some of that fundamental Egyptian buoyancy and optimism, and it was not very hard to do. The attitude is infectious and anyone who has lived for any length of time in the country is in danger of succumbing. The pieces reflect a sometimes wry, occasionally humorous, but always affectionate view of an essentially unchanging Egypt.
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