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Having devoted herself, alongside her husband, to the creation of an independent Morocco, she had expected to share the fruits of independence with him, but instead she finds herself cast out into a strange world. As Zahra struggles to find a place for herself in this new Morocco, her efforts reflect Moroccan society's attempt as a whole to chart a path in the conflict between tradition and modernism.  When published in English in 1989, Year of the Elephant was the first novel by a Moroccan woman to be translated from Arabic into English. In the years since, it has become popular with readers for the unique picture it provides of Moroccan life and North African Islamic culture. 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Amina, a baker in the sultan's palace, anxiously awaits her son's return from a long voyage at sea, fearful that the sea has claimed Saïd just as it did his father and grandfather. Saïd, left behind in Alexandria by his ship as the British navy begins an attack on the city, slowly begins to make his way home, witnessing British colonial oppression along the way.    Saïd's return brings Amina only a short-lived peace. The lessons he learned from the Egyptians' struggle against the British have radicalized him. When Saïd learns the island's slave population is planning a revolt against the sultan's tyrannical rule, both he and Amina are soon drawn in.    Beautifully rendered from Arabic into English by Barbara Romaine, Radwa Ashour's novella speaks of the unity that develops among varied peoples as they struggle against a common oppressor and illuminates the rich cultures of both the Arab and African inhabitants of the island. 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Reading this oeuvre from independence until the new millennium and beyond, it is clear that what poet Driss Mesnaoui calls the “letters of time” have long been in the hands of Moroccan poets, as they write their ethics, their aesthetics, as well as their gendered and political lives into poetic being.","brand":"WoB","offers":[{"title":"GB \/ NEW \/ GARDNERS","offer_id":49733098373393,"sku":"NGR9781477318492","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1477318496.jpg?v=1752315297"},{"product_id":"director-and-other-stories-from-morocco-book-leila-abouzeid-9780292712652","title":"The Director and Other Stories from Morocco","description":"New stories by Leila Abouzeid, the noted Moroccan writer, constitute an event for both East and West, for, as in her critically acclaimed novel, Year of the Elephant, the author cuts across cultural and national boundaries to offer fiction that has meaning for both Western and Middle Eastern readers. The stories in this volume deal with issues both traditional and modern-relations between parents and children, between husbands and wives, and between citizens of newly independent Morocco and its new nationalist representative government.    Independence from French colonial rule has brought many changes to Morocco-some more beneficial than others. Women have entered the work force in great numbers, a development which has brought them new freedoms, but which has also caused problems within the traditional family. Abouzeid shows us how these changes have affected ordinary men and women, how small everyday events loom large in individual lives. To her crisp style, reminiscent of some Western realist novelists, she adds elements of Arabic fiction-the oral story-telling technique, for example.    Abouzeid writes first in Arabic, which she has stated is a political choice. This makes her a literary pioneer in North Africa, where, until recently, most authors wrote in French. 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Afraid these stories would disappear with the passing of this generation, Tahhan also went to halls and events to hear professional storytellers and record their performances. Anthropologist Andrea Rugh helped translate the resulting two volumes of stories from the original Arabic and wrote the informative introduction to this one-volume collection.  Some of the tales appeared in rhyming verse in Arabic and some were based on events that are said to have actually taken place in Aleppo. Rugh explains the concepts of the most popular types of Syrian story structures: the gissa, the hikaya, and the hudutha. With two of the poems, the Arabic and the English are shown side by side in order to demonstrate the internal poetic structures of the original rhymes.  With their emphasis on morality and social values, the tales will be familiar to Western audiences. 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She was one of the first Iranian women to receive critical recognition as well as popularity for her short stories and novels.    Although Taraghi avoids sensational experimentation, her narratives sparkle with a freshness of style and sensitivity. Whether she writes of a child tip-toeing through a room of delicate Persian furnishings or of a grandmother remembering those treasured lost objects, the room becomes alive for the reader. Taraghi rejects a political stance in her writings, but, at the same time, she comments with understated humor and wisdom on the social and cultural value system of her characters.    After Taraghi left the patriarchal society of post-revolutionary Iran, she proceeded to make her work more autobiographical. Several of the stories in this collection deal with the acculturation process of moving after experiencing the heartbreak of uprooting and displacement. 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