Marilyn Booth Bücher

Often likened to Rigoberta Menchu and Nadine Gordimer, Nawal El Saadawi is one of the world's leading feminist authors. Director of Health and Education in Cairo, she was summarily dismissed from her post in 1972 for her political writing and activities. In 1981 she was imprisoned by Anwar Sadat for alleged "crimes against the State" and was not released until after his assassination.Memoirs from the Women's Prison offers both firsthand witness to women's resistance to state violence and fascinating insights into the formation of women's community. Saadawi describes how political prisoners, both secular intellectuals and Islamic revivalists, forged alliances to demand better conditions and to maintain their sanity in the confines of their cramped cell.Saadawi's haunting prose makes Memoirs an important work of twentieth-century literature. Recognized as a classic of prison writing, it touches all who are concerned with political oppression, intellectual freedom, and personal dignity.

Tabu-Roman und Bestseller-Sensation zugleich! Rajaa Alsanea ist die neue weibliche Stimme Arabiens. Mutig wie Scheherazade schreibt sie in ihrem Roman von der delikaten Gratwanderung junger Frauen zwischen Liebe, Sex und islamischer Tradition. Sie erzählt davon, worüber geschwiegen werden muss: Von vier jungen Frauen, die leben und lieben wollen und es nicht dürfen, weil die Tradition für Frauen kein Glück vorsieht.

This novel of home and homelessness, of exile both physical and psychological, centers on Kimi, a fragile heroine suffering from a rift in her persona, unable to distinguish between her own pain and the pain of others. For Kimi it is not a simple case of to be or not to be, but rather of howto be in disjointed and contrary times. Leaves of Narcissus, like earlier Arabic novels about East-West encounters by male writers such as Tawfiq al-Hakim, Taha Hussein, and Tayeb Salih, is about a young Arab student going west in search of education. Here, though, the protagonist is a young womanand her destination is Ireland, a part of the West and at the same time a victim of the ravages of colonialism― adding ambiguity to the customary representations of the East-West dichotomy. In this captivating novel, Somaya Ramadan displays a rare virtuosity in evoking and interlacing literarymotifs― from the popular to the learned, from the folk to the mythic, from the Egyptian to the Irish― and poses questions rather than answers, questions that hold a mirror to our selves.