The daughter of a white Christian father and a Pakistani Muslim mother relates her journey to an insular Jewish community in India in search of her grandmother's secret history.
The subject of this book is a new “Islam.” This Islam began to take shape in 1988 around the Rushdie affair, the collapse of the Berlin Wall in 1989, and the first Gulf War of 1991. It was consolidated in the period following September 11, 2001. It is a name, a discursive site, a signifier at once flexible and constrained—indeed, it is a geopolitical agon, in and around which some of the most pressing aporias of modernity, enlightenment, liberalism, and reformation are worked out. At this discursive site are many metonyms for Islam: the veiled or “pious” Muslim woman, the militant, the minority Muslim injured by Western free speech. Each of these figures functions as a cipher enabling repeated encounters with the question “How do we free ourselves from freedom?” Again and again, freedom is imagined as Western, modern, imperial—a dark imposition of Enlightenment. The pious and injured Muslim who desires his or her own enslavement is imagined as freedom’s other. At Freedom’s Limit is an intervention into current debates regarding religion, secularism, and Islam and provides a deep critique of the anthropology and sociology of Islam that have consolidated this formation. It shows that, even as this Islam gains increasing traction in cultural production from television shows to movies to novels, the most intricate contestations of Islam so construed are to be found in the work of Muslim writers and painters. This book includes extended readings of jihadist proclamations; postcolonial law; responses to law from minorities in Muslim-majority societies; Islamophobic films; the novels of Leila Aboulela, Mohammed Hanif, and Nadeem Aslam; and the paintings of Komail Aijazuddin.
Sadia Shepard Grew Up Just Outside Of Boston, In A Home Where Cultures Intertwined&Mdash;Her Father A White American Protestant And Her Mother, A Muslim From Pakistan. One Day, When She Was Thirteen, She Learned That Nana, Her Beloved Maternal Grandmother, Was Not A Muslim Like The Rest Of Her Pakistani Family But Had Begun Her Life As Rachel Jacobs, A Member Of A Tiny Jewish Community In India That Believes It Is Descended From One Of The Lost Tribes Of Israel, Shipwrecked In India Over Two Thousand Years Ago. Before Nana Died, Sadia Promised Her Grandmother That She Would Return To Her Birthplace To Learn About The Life And The Faith That Nana Had Left Behind. Armed With A Suitcase Of Camera Equipment, Sadia Arrives In Bombay, Where She Finds Herself Struggling To Document The Bene Israel&Rsquo;S Unique Traditions And Make Sense Of Her Complicated Cultural Inheritance. In The Course Of Her Remarkable Journey She Unearths Long-Buried Family Secrets, Learns That Love Is Sometimes Found In Unusual Places, And Is Forced To Examine What It Means To Both Lose And Seek A Homeland.
A search for shipwrecked ancestors, forgotten histories, and a sense of home Fascinating and intimate , The Girl from Foreign is one woman's search for ancient family secrets that leads to an adventure in far-off lands. Sadia Shepard, the daughter of a white Protestant from Colorado and a Muslim from Pakistan, was shocked to discover that her grandmother was a descendant of the Bene Israel, a tiny Jewish community shipwrecked in India two thousand years ago. After traveling to India to put the pieces of her family's past together, her quest for identity unlocks a myriad of profound religious and cultural revelations that Shepard gracefully weaves into this touching, eye-opening memoir.
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