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Based on his reading of top-secret files of the Israeli police and the prime minister's office, Hillel Cohen exposes the full extent of the crucial, and, until now, willfully hidden history of Palestinian collaboration with Israelis—and of the Arab resistance to it. Cohen's previous book, the highly acclaimed Army of Shadows,told how this hidden history played out from 1917 to 1948, and now, in Good Arabs he focuses on the system of collaborators established by Israel in each and every Arab community after the 1948 war. Covering a broad spectrum of attitudes and behaviors, Cohen brings together the stories of activists, mukhtars, collaborators, teachers, and sheikhs, telling how Israeli security agencies penetrated Arab communities, how they obtained collaboration, how national activists fought them, and how deeply this activity influenced daily life. When this book was first published in Hebrew, it became a bestseller and has evoked bitter memories and intense discussions among Palestinians in Israel and prompted the reclassification of many of the hundreds of documents Cohen viewed to uncover a story that continues to unfold to this day.
Swinging from post-explosion Beirut to a Parc-Extension balcony in summer, the verse and prose poems in The Good Arabs ground the reader in place, language, and the body. Peeling and rinsing radishes. Dancing as a pre-teen to Nancy Ajram. Being drenched in stares on the city bus. The collection is an interlocking and rich offering of the speaker's geographical surroundings both expansive and precise, family both biological and chosen, and community. In mapping Arab and trans identity through the remnants of trauma, the garbage crisis in Lebanon, the ways countries let down their citizens, and the immensity of experience felt in one body, the genre-defying collection The Good Arabs gifts the reader with insight into cycles and repetition in ourselves and our broken nations. Ultimately, it shows how we might love amid dismay, adore the pungent and the ugly, and exist in our multiplicity across spaces.
A groundbreaking book that dissects a slanderous history dating from cinema’s earliest days to contemporary Hollywood blockbusters that feature machine-gun wielding and bomb-blowing "evil" Arabs Award-winning film authority Jack G. Shaheen, noting that only Native Americans have been more relentlessly smeared on the silver screen, painstakingly makes his case that "Arab" has remained Hollywood’s shameless shorthand for "bad guy," long after the movie industry has shifted its portrayal of other minority groups. In this comprehensive study of over one thousand films, arranged alphabetically in such chapters as "Villains," "Sheikhs," "Cameos," and "Cliffhangers," Shaheen documents the tendency to portray Muslim Arabs as Public Enemy #1—brutal, heartless, uncivilized Others bent on terrorizing civilized Westerners. Shaheen examines how and why such a stereotype has grown and spread in the film industry and what may be done to change Hollywood’s defamation of Arabs.
WINNER OF THE ARAB AMERICAN BOOK AWARD • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY NPR The stunning debut of a brilliant nonfiction writer whose vivid account of his grandparents' lives in Egypt, Tunisia, Palestine, and Los Angeles reclaims his family's Jewish Arab identity There was a time when being an "Arab" didn't mean you were necessarily Muslim. It was a time when Oscar Hayoun, a Jewish Arab, strode along the Nile in a fashionable suit, long before he and his father arrived at the port of Haifa to join the Zionist state only to find themselves hosed down with DDT and then left unemployed on the margins of society. In that time, Arabness was a mark of cosmopolitanism, of intellectualism. Today, in the age of the Likud and ISIS, Oscar's son, the Jewish Arab journalist Massoud Hayoun whom Oscar raised in Los Angeles, finds his voice by telling his family's story. To reclaim a worldly, nuanced Arab identity is, for Hayoun, part of the larger project to recall a time before ethnic identity was mangled for political ends. It is also a journey deep into a lost age of sophisticated innocence in the Arab world; an age that is now nearly lost. When We Were Arabs showcases the gorgeous prose of the Eppy Award–winning writer Massoud Hayoun, bringing the worlds of his grandparents alive, vividly shattering our contemporary understanding of what makes an Arab, what makes a Jew, and how we draw the lines over which we do battle.
Sexual desire has long played a key role in Western judgments about the value of Arab civilization. In the past, Westerners viewed the Arab world as licentious, and Western intolerance of sex led them to brand Arabs as decadent; but as Western society became more sexually open, the supposedly prudish Arabs soon became viewed as backward. Rather than focusing exclusively on how these views developed in the West, in Desiring Arabs Joseph A. Massad reveals the history of how Arabs represented their own sexual desires. To this aim, he assembles a massive and diverse compendium of Arabic writing from the nineteenth century to the present in order to chart the changes in Arab sexual attitudes and their links to Arab notions of cultural heritage and civilization. A work of impressive scope and erudition, Massad’s chronicle of both the history and modern permutations of the debate over representations of sexual desires and practices in the Arab world is a crucial addition to our understanding of a frequently oversimplified and vilified culture. “A pioneering work on a very timely yet frustratingly neglected topic. . . . I know of no other study that can even begin to compare with the detail and scope of [this] work.”—Khaled El-Rouayheb, Middle East Report “In Desiring Arabs, [Edward] Said’s disciple Joseph A. Massad corroborates his mentor’s thesis that orientalist writing was racist and dehumanizing. . . . [Massad] brilliantly goes on to trace the legacy of this racist, internalized, orientalist discourse up to the present.”—Financial Times
Metropolitan Detroit is home to one of the largest and most diverse Arab communities outside the Middle East. Arabic-speaking immigrants have been coming to Detroit for more than a century, yet the community they have built is barely visible on the landscape of ethnic America. Arab Detroit brings together the work of twenty-five contributors to create a richly detailed portrait of Arab Detroit. Memoirs and poems by Lebanese, Chaldean, Yemeni, and Palestinian writers anchor the book in personal experience, and more than fifty photographs drawn from family albums and the files of local photojournalists provide a backdrop of vivid, often unexpected images. Students and scholars of ethnicity, immigration, and Arab American communities will welcome this diverse collect on.
A riveting, comprehensive history of the Arab peoples and tribes that explores the role of language as a cultural touchstone This kaleidoscopic book covers almost 3,000 years of Arab history and shines a light on the footloose Arab peoples and tribes who conquered lands and disseminated their language and culture over vast distances. Tracing this process to the origins of the Arabic language, rather than the advent of Islam, Tim Mackintosh-Smith begins his narrative more than a thousand years before Muhammad and focuses on how Arabic, both spoken and written, has functioned as a vital source of shared cultural identity over the millennia. Mackintosh-Smith reveals how linguistic developments--from pre-Islamic poetry to the growth of script, Muhammad's use of writing, and the later problems of printing Arabic--have helped and hindered the progress of Arab history, and investigates how, even in today's politically fractured post-Arab Spring environment, Arabic itself is still a source of unity and disunity.
(Foreword by Eugene H. Merrill) A compelling call for Christians to rethink the role of Arabs—also descendents of Abraham and recipients of his blessing.
Readers interested in Arab studies, Detroit culture and history, transnational politics, and the changing dynamics of race and ethnicity in America will enjoy the personal reflection and analytical insight of Arab Detroit 9/11.
The landscapes, cultures, and cuisines of deserts in the Middle East and North America have commonalities that have seldom been explored by scientistsÑand have hardly been celebrated by society at large. Sonoran Desert ecologist Gary Nabhan grew up around Arab grandparents, aunts, uncles, and cousins in a family that has been emigrating to the United States and Mexico from Lebanon for more than a century, and he himself frequently travels to the deserts of the Middle East. In an era when some Arabs and Americans have markedly distanced themselves from one another, Nabhan has been prompted to explore their common ground, historically, ecologically, linguistically, and gastronomically. Arab/American is not merely an exploration of his own multicultural roots but also a revelation of the deep cultural linkages between the inhabitants of two of the worldÕs great desert regions. Here, in beautifully crafted essays, Nabhan explores how these seemingly disparate cultures are bound to each other in ways we would never imagine. With an extraordinary ear for language and a truly adventurous palate, Nabhan uncovers surprising convergences between the landscape ecology, ethnogeography, agriculture, and cuisines of the Middle East and the binational Desert Southwest. There are the words and expressions that have moved slowly westward from Syria to Spain and to the New World to become incorporatedÑfaintly but recognizablyÑinto the language of the people of the U.S.ÐMexico borderlands. And there are the flavorsÑpiquant mixtures of herbs and spicesÑthat have crept silently across the globe and into our kitchens without our knowing where they came from or how they got here. And there is much, much more. We also learn of others whose work historically spanned these deserts, from Hadji Ali (ÒHi JollyÓ), the first Moslem Arab to bring camels to America, to Robert Forbes, an Arizonan who explored the desert oases of the Sahara. These men crossed not only oceans but political and cultural barriers as well. We are, we recognize, builders of walls and borders, but with all the talk of ÒhomelandÓ today, Nabhan reminds us that, quite often, borders are simply lines drawn in the sand.