In 1968 Egyptian novelist and political exile Waguih Ghali committed suicide in the London flat of his editor, friend, and sometime lover, Diana Athill. Ghali left behind six notebooks of diaries that for decades were largely inaccessible to the public. The Diaries of Waguih Ghali: An Egyptian in the Swinging Sixties, in two volumes, is the first publication of its kind of the journals, casting fascinating light on a likable and highly enigmatic literary personality. Waguih Ghali (1930?–69), author of the acclaimed novel Beer in the Snooker Club, was a libertine, sponger, and manic depressive, but also an extraordinary writer, a pacifist, and a savvy political commentator. Covering the last four years of his life, Ghali’s Diaries offer an exciting glimpse into London’s swinging sixties. Volume 2 covers the period from 1966 to 1968. Moving from West Germany to London and Israel, and back in memory to Egypt and Paris, the entries boast of endless drinking, countless love affairs, and of mingling with the dazzling intellectuals of London, but the Diaries also critique the sinister political circles of Jerusalem and Cairo, describe Ghali’s trepidation at being the first Egyptian allowed into Israel after the 1967 War, and confess in detail the pain and difficulties of writing and exile. Including an interview conducted by Deborah Starr with Ghali’s cousin, former director of UNICEF-Geneva, Samir Basta.
In this interview Hawas explains what Waguih Ghali’s writing means for her and how she got involved in editing the diaries of this enigmatic and fascinating Egyptian writer, pacifist, and savvy political commentator.
One of the first three books published by the AUC Press after its founding in 1960 was A Muslim Manual of War, an annotated editing and translation of a hitherto little-known fifteenth-century Arabic manuscript on the art of war, prepared by George Scanlon, then embarking on his career to become one of the most respected scholars in the field of Islamic art, architecture, archaeology, and history. Now, in celebration of 50 years of the AUC Press, and in honor of Professor Scanlon’s recent retirement after an illustrious career, most recently as professor of Islamic art and architecture in the Department of Arab and Islamic Civilizations at the American University in Cairo, the AUC Press is proud to make available once again this long out-of-print book, as a freely accessible scanned facsimile with a new Introduction by the author and a Foreword by eminent scholar Carole Hillenbrand, a former student of Professor Scanlon. Click here to download the free PDF.
Spanning a century of Egyptian filmmaking, this work weaves together culture, history, politics, and economics to form a narrative of how Egyptian national identity came to be constructed and reconstructed over time on film. It goes beyond the films themselves to explore the processes of filmmaking—the artists that made it possible, the institutional networks, structures, and rules that bound them together, the changing social and political environment in which the films were produced, and the role of the state. In peeling back the curtain to reveal the complexities behind the screen, Magdy El-Shammaa shows cinema as at once both a reflection and a producer of larger cultural imaginings of the nation. The National Imaginarium provides an in-depth description of the films discussed. It explores the construction of a populist consciousness that permeated and transcended class structures at mid-century in Egypt, and how this subsequently came undone in the face of the bewildering social, economic, and political transformations that the country underwent in the decades that followed. More than similar treatments of the topic, this book draws on theoretical ideas from outside the immediate discipline of Film Studies, including investigations into the materiality and colonial foundations of cosmopolitanism, the stakes and aesthetics of realism, policy shifts around women’s rights, transnational economic contexts, and the broader history of the country and region, including insightful snapshots of everyday life.
The first Ottoman conquest of Tunis took place in 1534 under the command of Kheireddine Barbarossa. However, it was not until 1574 that the Ottomans finally wrested control of the former Hafsid Ifriqiya (modern-day Tunisia), retaining it until the French occupation of Tunisia in 1881. The Regency of Tunis was thus born as an imperial province, and individuals originating from throughout the vast territory of the Ottoman Empire settled there, rapidly creating a new elite via marriage with women from local notable families. This book studies the former Hafsid territory’s position within the Ottoman world and the social developments that accompanied the genesis of the united Regency of Tunis until the death of Hamouda Pasha.
On the social plane, who were these Turko-Ottomans who were able to drive the Hafsid kings from their throne? Were they noble officers, as is so often remembered? The sources paint a different picture: one of rogues from distant Anatolia, and captives of corsairs from across the Mediterranean. These men expanded privateering for their own profit, seizing the country’s riches for themselves and monopolizing exports to Europe.
Leïla Blili revisits the conventional historiography of Ottoman Tunisia, widely considered by historians to be an autonomous province ruled by a dominant class of Turko-Ottomans cut off from local society. She shows that the Regency of Tunis was much less autonomous than secondary scholarship has alleged and, through her analysis of the marriages of these Turko-Ottomans, that they were in fact well-integrated into the local population. In doing so, she also illuminates the place of kinship ties in the establishing of inheritances, access to spheres of power, and the very acquisition of titles of nobility.
In 1986, when this memoir opens, Khaled al-Berry is a typical fourteen-year-old boy in Asyut in Upper Egypt. Soon, his love of soccer draws him into the orbit of members of a radical Islamist group, university students from the surrounding countryside who play the game regularly on a pitch near his home. Attracted at first by the image of the group as “strong Muslims,” al-Berry’s involvement develops until he finds himself deeply committed to its beliefs and implicated in its activities. This ends when, in his third year at university, he is arrested on campus by the police and thrown in jail. His experience of confinement and a return to life on the outside lead to his eventual alienation from radical Islam.
Vulnerable, searingly honest, gripping, and often funny, this tale of one man’s journey to the edge of radicalism and back also gives critical and intelligent insight into an Islamist movement’s debates, preoccupations, motives, and intentions.
The 2011 Egyptian Revolution gave birth to an unprecedented explosion of popular political and social expression in the form of bold, defiant, and often unforgettable street art and graffiti. This acted as both the revolution’s chronicle, its commentary and response to the headlong rush of events, and as a driver of the revolution, a powerful means of influencing and directing what people felt, thought, and did during the heady days and months that followed from the 25 January 2011 uprising. Wall Talk takes us on an epic journey through the street art and graffiti that filled Egypt’s streets between 25 January 2011 and 30 June 2012. Matched with a corresponding timeline of the key events of those eighteen months, it presents an enthralling and invaluable record of a moment in time that changed the course of Egyptian history forever. A Zeitouna publication.
This handsome boxed set brings together five delightfully individual books, each beautifully illustrated with archival images and postcards, on some of Egypt’s most iconic institutions and landmarks. Included are: The Suez Canal: A History (edited by Sherif Boraie), The Egyptian Bourse (by Samir Raafat), Downtown Cairo (by Ola Seif; edited by Sherif Boraie), Egyptian Postage, 1866–1967 (preface by Samir Raafat; edited by Sherif Boraie), and Cinema Cairo: Dream Factory on the Nile (by Rasha Azab; edited by Sherif Boraie). Between them covering the period from the mid-nineteenth to the mid-twentieth century, the books illustrate how these icons, which are deeply embedded in the life of the nation, came to shape the course of modern Egypt and to lay its foundations.
1920s Cairo saw singers pressing hit records, new theaters and dramatic troupes springing up, and cabarets packed—a counter-culture was on the rise. In bars, hash-dens and music halls, people of all classes and backgrounds came together as a passionate group of eccentrics, narcissists, and idealists strove to entertain Egyptian society.
Of these performers, Cairo’s biggest stars were female, and they asserted themselves on the stage like never before. Two of the most famous troupes were run by women; Badia Masabni’s dancehall became the hottest nightspot in town; pioneer of Egyptian cinema Aziza Amir made her stage debut; and legendary singer Umm Kulthum first rose to fame. It is these women, who knew both the opportunities and prejudices that this world offered, who best reveal this cosmopolitan and raucous city’s secrets.
Introducing a thrilling cast of characters, Midnight in Cairo reveals a world of revolutionary ideas and provocative art—one which laid the foundations of Arab popular culture today. It is a story of modern Cairo as we have never known it before.
Samir Raafat Foreword byHH Prince Abbas Hilmi Foreword byHE Youssef Boutros Ghali
The Egyptian Stock Exchange in its glory years is beautifully remembered in this collector’s volume of stock and bond certificates and brief histories of the Egyptian companies which issued them
This large-format album of reproduced images of choice stock and bond certificates issued in by registered companies through the Egyptian Bourse, or Stock Exchange, will be a source of delight and fascination, not only for scripophilists, notaphilists, and economists, but for anyone interested in early twentieth-century Egyptian financial history and memorabilia and the aesthetic value of these beautiful collectors’ items. Each certificate tells a story about the company which issued it, and the fascinating and dynamic business families that drove Egypt’s economy at the time.
Founded in 1903 at the behest of Maurice “Moise” Cattaui Bey (1848–1924), scion of one of Cairo’s then most powerful business families, the newly incorporated Bourse and Banking Company of Egypt Limited, also known as the Bourse Khediviale du Caire, was initially housed in the Manuk Building, once home to the Ottoman Bank on Adly (formerly Maghrabi) Street. It was later moved to a building at the center of Cairo’s downtown district of Ismailia, not far from the National Bank of Egypt (today’s Central Bank). The real-estate boom which began in Cairo around 1895 would end in what became known in the annals of speculative history as the Crash of 1907. In The Egyptian Bourse Samir Raafat tells the story of the rise and fall of the Egyptian Bourse, from the sale of the century by Khedive Ismail of Egypt’s shares in the Suez Canal in 1875 to the Free Officers coup of 1952. Beautifully illustrated with more than fifty vintage shares and stocks in full color.
A nostalgic, gorgeously illustrated anthology of nineteenth and twentieth century writing on Alexandria
At the end of the eighteenth century, the city of Alexandria was a small backwater with a population of less than five thousand. Then in 1801 Muhammad Ali arrived in Egypt as second‐in‐command of an Albanian contingent, part of an Ottoman force sent to re‐occupy the country after Napoleon Bonaparte’s invasion in 1798. By 1805, Ali had become ruler of Egypt and in a short time, he built a new modern cosmopolitan Alexandria―a thriving commercial hub and court city, the country’s unofficial capital, and home to a large number of immigrants from the surrounding Mediterranean. Alexandrea ad Ægyptum, the old Latin adage meaning “Alexandria by Egypt,” re‐emerged, underlining Alexandria’s singular separateness.
Foreign dominance was further reinforced by British colonialism beginning in 1882, until 26 July 1956, when, from the parapet of the Bourse on Muhammad Ali Square in Alexandria, Gamal Abd al-Nasser announced the nationalization of the Suez Canal. As the city’s sizeable foreign community left, following the Suez War then through waves of nationalization, the international Alexandria ceased to exist. This beautifully illustrated anthology brings together the work of contemporaneous writers who witnessed the stages of Alexandria’s dramatic rise and growth during the nineteenth and early- to mid-twentieth centuries.
A meticulous deconstruction of Maronite history writing and the ways in which Lebanese nationalist myths have been invented and perpetuated by historians
As a frequently contested territory, Mount Lebanon has an equally contested history, one that is produced, shaped, and revised by as many players as those who molded the Lebanese state since its inception in 1920. The Lebanese Maronite Church has had more at stake in the process of history writing than any other group or institution. It is arguably one of the most influential institutions in Lebanese history and definitely the most influential institution in the country at the moment of the state’s birth.
Writing the History of Mount Lebanon traces the genealogy of Maronite identity by examining the historical traditions that shaped its contemporary manifestation. It explores the presence of a tradition in Maronite Church historiography that was maintained by the historians of the Church, whose claims and hypotheses ultimately defined the communal identity of the Maronites in Mount Lebanon and deeply influenced subsequent Lebanese national identity. Rooted in a reexamination of the existing literature and bringing evidence to bear on this particular aspect of history-writing in Lebanon, it shows how early Maronite ecclesiastic historiography’s plea for inclusion as a part of Catholic orthodoxy was transformed and recast in subsequent centuries by lay and secular historians into a demand for exclusion and exclusivity, which in turn led to the rise of exclusivist political identities based on sectarian belonging in Mount Lebanon.
Ultimately, Mouannes Hojairi shows how history-writing is one of the main instruments in generating and perpetuating nationalist ideologies and how historians are central agents of nationality.
From the invention of the camera, photographers, like painters, have sought to portray other people, and early studio photographs, with their highly stylized props, poses, and costumes, offer a beguiling window onto the prevailing fashions, tastes, and attitudes of their time. The portraits in this book, Egyptian studio photos from the mid-nineteenth century to the Second World War, tell such a story, their popularity and art then driven by the burgeoning presence of photo studios across the country. In their rich variety, they offer vivid evidence of the democratization of the image as access to the technology spread from members of Egypt’s royalty to an ever-wider circle of subjects. But, more than that, they freeze time, by capturing human subjects that are no longer there. These portraits, and the studios that created them, evoke haunting fragments of a vanished past and invite us to endless speculation and contemplation. In the age of the selfie, their power to speak to us from the mists of time cannot be overstated. Includes over 200 stunning images, from the work of 81 photographic studios.