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From Uzbek author-in-exile Hamid Ismailov comes a dark new parable of power, corruption, fraud, and deception. Ismailov narrates an intimate clash of civilizations as he follows the lives of three expatriates living in England. Domrul is a young Turk with vague and painful memories of ethnic strife in the Uzbekistan of his childhood. His Irish girlfriend Emer struggles with her own adolescent trauma from growing up in war-torn Bosnia. Domrul is the caretaker for Gaia, the eighty-year-old, powerful wife of a Soviet party boss with a mysterious past. One of Ismailov’s few novels written in Uzbek, Gaia, Queen of Ants offers a rare portrait of a complex and little-known part of the world. A plot centered on political corruption and ethnic conflict is punctuated with Sufi philosophy and religious gullibility. As Ismailov’s characters grapple with questions of faith, power, sex, and family, Gaia, Queen of Ants presents a moving tale of universal themes set against a Central Asian backdrop in the twenty-first century.
Shahrokh Meskoob was one of Iran’s leading intellectuals and a preeminent scholar of Persian literary traditions, language, and cultural identity. In The Ant’s Gift, Meskoob applies his insight and considerable analytical skills to the Shahnameh, the national epic of Iran completed in 1010 by the poet Abul-Qâsem Ferdowsi. Tracing Iran’s history from its first mythical king to the fall of the Sasanian dynasty, the Shahnameh includes myths, romance, history, and political theory. Meskoob sheds new light on this seminal work of Persian culture, identifying the story as at once a historical and poetic work. While previous criticism of the Shahnameh has focused on its linguistic importance and its role in Iranian nationalism, Meskoob draws attention to the work’s pre-Islamic cultural origins.
From Gaia to Selfish Genes is a different kind of anthology. Lively excerpts from the popular writings of leading theorists in the life sciences blend in a seamless presentation of the controversies and bold ideas driving contemporary biological research. Selections span scales from the biosphere to the cell and DNA, and disciplines from global ecology to behavior and genetics, and also reveals the links between biology and philosophy. They plunge the reader into debates about heredity and environment, competition and cooperation, randomness and determinism, and the meaning of individuality. From Gaia to Selfish Genes conveys the technical and conceptual roots of current scientific theories beginning with the planetary perspective of James Lovelock and Lynn Margulis and concluding with the reductionist views of Richard Dawkins and E. 0. Wilson. The contrasting worldviews, coupled with excerpts drawn from critics of each theory, encourage readers to examine their own presuppositions. In addition to the scientists' portrayal of the Gaia hypothesis, symbiosis in cell evolution, hierarchy theory, systems theory, game theory, sociobiology, and the selfish gene, the text is rich in autobiographical passages and biographies. By presenting the human side of research, From Gaia to Selfish Genes reveals the social context and interactions, the motivations and range of cognitive styles that comprise the scientific endeavor. Concluding essays written expressly for this book by Lynn Margulis, John Maynard Smith, W. Ford Doolittle, and others underscore the importance of such diversity. Connie Barlow is a science writer currently living in New York City. The scientists include: Robert Axelrod. Richard D. Alexander. Ludwig von Bertalanffy. Leo W. Buss. Francis Crick. Richard Dawkins. W. Ford Doolittle. Douglas Hofstadter. Julian Huxley. Leon J. Kamin. Philip Kitcher. Richard C. Lewontin. James Lovelock. Lynn Margulis. Ashley Montagu. Leslie Orgel. Steven Rose. Carmen Sapienza. John Maynard Smith. Lewis Thomas. Gerald Weinberg. E. 0. Wilson. Robert Wright. The science writers include: Lawrence Joseph. Arthur Koestler. Francesca Lyman. Jeanne McDermott. Richard Monastersky. Dorion Sagan.
In Hassouna Mosbahi’s engrossing and keenly observed novel, he takes readers deep into one day in the life of Yunus, a Tunisian intellectual. A professor of French language and Flaubert specialist, Yunis is recently retired and separated from his wife, as he leaves the city to settle in the Tunisian coastal city of Nabeul. Searching for solitude, he hopes to spend the remainder of his life among the books he loves. On the day of his sixtieth birthday, Yunus plunges into a delayed midlife crisis as he reflects on the major moments in his life, from taking up writing as a young man to his career as a university professor to his failed marriage. Yunus’s identity crisis mirrors that of his Tunisian homeland with its tumultuous history of political and cultural upheaval. He meditates on the lives of his friends, drawing from his memory a colorful cast of characters whose experiences reflect the outsized influence of religion and tradition in their lives. Through the eyes of Yunus, Mosbahi’s elegiac, literary novel explores life and death, love and writing, and the relationship between puritanism and extremism in the Arab world today.
Twenty-six-year-old college graduate, artist, and employee of the Ministry of Art and Culture, Hasti Nourian aspires to be a "new woman"—independent-minded, strong-willed, and in control of her own destiny. A destiny that includes Morad, an idealistic young architect and artist with whom Hasti is deeply in love. Morad is a sharp critic of Iran’s Westernized bourgeois class, the one that Hasti’s mother relishes. After Hasti’s father died, her mother had married a wealthy businessman and moved to an exclusive neighborhood of northern Tehran. Socializing with a mixed group of Americans, English-speaking Iranians, and British expats, her mother’s life revolves around gym visits, hairdressers, and party planning. When her mother persuades Hasti to join her at the spa, she introduces her to Salim, an eligible young man from a wealthy family whose British education and proper comportment, as well as his economic status, make him an ideal suitor for Hasti in her mother’s eyes. Against her better judgment, Hasti finds herself attracted to Salim and tempted by her mother’s comfortable lifestyle. As the novel unfolds, Hasti is torn between her first love and the radical politics of her university friends, and her love for her mother and the freedom economic security can bring. Set in Tehran in the mid-1970s, just a few years before the 1977–79 revolution, Daneshvar’s unforgettable novel depicts the tumultuous social, cultural, and economic changes of the day through the intimate story of a young woman’s struggle to find her identity.
The carefully crafted, subtle, and humorous stories in Packaged Lives show Zangana at her best as a fiction writer. She portrays her subjects keenly, sensitively, and lovingly but without compromise. Iraqis living in exile come to life in her narratives as men and women who are caught between two worlds. They cannot return to their homeland and are forced to wait for news of Iraq from afar. At the same time, they are unable to fully adjust to life in Britain and make a new home for themselves. The question “What is home?” is at the heart of each story in this collection. Her protagonists, who are stuck in ready-made lives, or “packaged lives,” struggle to set themselves free from a web of relationships in which they are entangled. Art, poetry, and nature provide lines of escape. The relief may be fleeting, but the peace of mind and serenity are reached through the moment of epiphany at the end of each story, a much-needed balm.
This monumental family saga offers a vivid portrait of Egypt’s Mamluk period, one that is at both sweeping in scope and intimate in detail. Set in medieval Cairo, the novel centers on three generations of Egyptians, foreign-born Mamluks, and their descendants as their trials and victories mirror those of their turbulent country. The first volume, "Sons of the People", introduces us to Zaynab, the daughter of a middle-class merchant in Cairo who catches the eye of the powerful Mamluk amir Muhammad. After they marry, Zaynab is transported to the foreign world of Mamluk politics and wealth where she must navigate the complicated machinations of various rulers and raise their four children. Their oldest son becomes an architect and embarks upon the monumental task of building a grand mosque with Sultan Hasan as a symbol of the Mamluks rise to power. In the second volume "The Judge of Qus", Bassiouney tells the story of Amr ibn Ahmad ibn Abd al-Karim, a wise and compassionate judge of Islamic law whose refusal to bend to the demands of the Mamluk rulers ultimately leads to Amr’s downfall. The final volume, "Events of Nights," weaves together testimonies from three characters, each with narrow and differing perspectives on the novel’s events, subtly calling the readers’ attention to the unstable nature of historical fiction. Filled with compelling drama, ruthless ambition, and tragic love, Bassiouney’s masterful trilogy brings the Mamluk’s rich cultural and architectural heritage to life through the eyes of one family.
Each story in Mohamed Makhzangi’s unique collection Animals in Our Days features a different animal species and its fraught relationship with humans—water buffalo in a rural village gone mad from electric lights, brass grasshoppers purchased in a crowded Bangkok market, or ghostly rabbits that haunt the site of a long-ago brutal military crackdown. Other stories tell of bear-trainers in India and of the American invasion of Iraq as experienced by a foal, deer, and puppies. Originally published in 2006, Makhzangi’s stories are part of a long tradition of writings on animals in Arabic literature. In this collection, animals offer a mute testament to the brutality and callousness of humanity, particularly when modernity sunders humans from the natural environment. Makhzangi is one of Egypt’s most perceptive and nuanced authors, merging a writer’s empathy with a scientist’s curiosity about the world. Like Barbara Kingsolver’s Flight Behavior, Haruki Murakami’s The Elephant Vanishes, or J. M. Coetzee’s Lives of Animals, Makhzangi’s stories trace the numinous, almost supernatural, connections between our species and others. In these resonant, haunting tales, Animals in Our Days foregrounds our urgent need to reacquire the sense of awe, humility, and respect that once characterized our relationship with animals.
With an infectious blend of humor, satire, and biting social commentary, Yassin Adnan gives readers a portrait of contemporary Morocco—and the city of Marrakech—told through the eyes of the hapless Rahhal Laâouina, a.k.a. the Squirrel. Painfully shy, not that bright, and not all that popular, Rahhal somehow imagines himself a hero. With a useless degree in ancient Arabic poetry, he finds his calling in the online world, where he discovers email, YouTube, Facebook, and the news site Hot Maroc. Enamored of the internet and the thrill of anonymity it allows, Rahhal opens the Atlas Cubs Cyber Café, where patrons mingle virtually with politicians, journalists, hackers, and trolls. However, Rahhal soon finds himself mired in the dark side of the online world—one of corruption, scandal, and deception. Longlisted for the International Prize for Arabic Fiction in 2017, Hot Maroc is a vital portrait of the challenges Moroccans, young and old, face today. Where press freedoms are tightly controlled by government authorities, where the police spy on, intimidate, and detain citizens with impunity, and where adherence to traditional cultural icons both anchors and stifles creative production, the online world provides an alternative for the young and voiceless. In this revolutionary novel that recalls Junot Díaz’s The Brief Wondrous Life of Oscar Wao and Dave Eggers’s The Circle, Adnan fixes his lens on young Rahhal and his contemporaries as they navigate the perilous and changing landscape of the real and virtual worlds they inhabit.
Set in late nineteenth-century Benghazi, Najwa Bin Shatwan’s powerful novel tells the story of Atiqa, the daughter of a slave woman and her white master. We meet Atiqa as a grown woman, happily married with two children and working. When her cousin Ali unexpectedly enters her life, Atiqa learns the true identity of her parents, both long deceased, and slowly builds a friendship with Ali as they share stories of their past. We learn of Atiqa’s childhood, growing up in the “slave yards,” a makeshift encampment on the outskirts of Benghazi for Black Africans who were brought to Libya as slaves. Ali narrates the tragic life of Atiqa’s mother, Tawida, a black woman enslaved to a wealthy merchant family who finds herself the object of her master’s desires. Though such unions were common in slave-holding societies, their relationship intensifies as both come to care deeply for each other and share a bond that endures throughout their lives. Shortlisted for the 2017 International Prize for Arabic Ficiton, Bin Shatwan’s unforgettable novel offers a window into a dark chapter of Libyan history and illuminates the lives of women with great pathos and humanity.