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Over a century later, Sofia Samatar traces their gruelling journey across desert and mountains, and its improbable fruit: a small Christian settlement inside the Khanate of Khiva. Named ‘The White Mosque’ after the Mennonites’ whitewashed church, the village—a community of peace, prophecy, music and martyrs—lasted fifty years.   Within this curious tale, Sofia discovers a tapestry of characters connected by the ancient Silk Road: a fifteenth-century astronomer-king; an intrepid Swiss woman traveller; the first Uzbek photographer; a free spirit of the Harlem Renaissance. Along the way, in a voice both warm and wise, she explores her own complex upbringing as an American Mennonite of colour, the daughter of a Swiss-American Christian and a Somali Muslim.   On this pilgrimage to a lost village and a near-forgotten history, Samatar traces the porous borders of identity and narrative. When you leave your tribe, what remains? How do we enter the stories of others? 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Some of Samatar's weird and tender fabulations spring from her life and her literary studies; some spring from the world, some from the void.  Praise for Sofia Samatar's Books:  \"The excerpt from Sofia Samatar's compelling novel A Stranger in Olondria should be enough to make you run out and buy the book. Just don't overlook her short 'Selkie Stories Are for Losers,' the best story about loss and love and selkies I've read in years.\" --K. Tempest Bradford, NPR  \"An imaginative, poetic, and dark meditation on how history gets made.\" --Hello Beautiful  \"Pleasantly startling and unexpected. Her prose is by turns sharp and sumptuous, and always perfectly controlled...There are strains here too of Jane Austen and something wilder.\"--Publishers Weekly (starred review)  \"Like an alchemist, Sofia Samatar spins golden landscapes and dazzling sentences.\" --Shelf Awareness (starred review)  \"Beauty, wonder, and a soaring paean to the power of story.\"--Jason Heller, NPR  \"Highly recommended.\" --N. K. Jemisin, New York Times Book Review  Sofia Samatar is the author of the novels A Stranger in Olondria and The Winged Histories. She has written for the Guardian, Strange Horizons, and Clarkesworld, among others, and has won the John W. Campbell Award, the Crawford Award, the British Fantasy Award, and the World Fantasy Award. 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An uncanny and imaginative autobiography of otherness, it offers the fictional record of a writer in the realms of the fantastic shot through with the memories of a pair of Somali-American children growing up in the 1980s. Operating under the sign of two--texts and drawings, brother and sister, black and white, extraordinary and everyday--MONSTER PORTRAITS multiplies, disintegrates, and blends, inviting the reader to find the danger in the banal, the beautiful in the grotesque. Accumulating into a breathless journey and groundbreaking study, these brief fictions and sketches claim the monster as a fragmentary vastness: not the sum but the derangement of its parts. \u003cp\u003e\u003c\/p\u003eDel Samatar's drawings conjure beings who drag worlds in their wake. World Fantasy Award-winning author Sofia Samatar responds with allusive, critical, and ecstatic meditations. Together they have created a secret history of the mixed-race child, a guide to the beasts of an unknown mythos, and a dreamer's iconography. 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Named Ak Metchet, The White Mosque, after the Mennonites' whitewashed church, the village lasted for fifty years. \u003cp\u003e\u003c\/p\u003eIn pursuit of this curious history, Samatar discovers a variety of characters whose lives intersect around the ancient Silk Road, from a fifteenth-century astronomer-king, to an intrepid Swiss woman traveler of the 1930s, to the first Uzbek photographer, and explores such topics as Central Asian cinema, Mennonite martyrs, and Samatar's own complex upbringing as the daughter of a Swiss-Mennonite and a Somali-Muslim, raised as a Mennonite of color in America. \u003cp\u003e\u003c\/p\u003eA secular pilgrimage to a lost village and a near-forgotten history, \u003ci\u003eThe White Mosque\u003c\/i\u003e traces the porous and ever-expanding borders of identity, asking: How do we enter the stories of others? 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