Spring, 1990. After years of searching in vain, a stranger passes a scrap of paper to Zina. It’s from Aziz: the man who vanished the day after their wedding almost two decades ago. It propels Zina on a final quest for a secret desert jail in southern Morocco, where her husband crouches in despair, dreaming of his former life. Youssef Fadel pays powerful testament to a terrible period in Morocco’s history, known as ‘the Years of Cinders and Lead,’ and masterfully evokes the suffering inflicted on those who supported the failed coup against King Hassan II in 1972.

Moroccan Other-Archives investigates how histories of exclusion and silencing are written and rewritten in a postcolonial context that lacks organized and accessible archives. The book draws on cultural production concerning the “years of lead”—a period of authoritarianism and political violence between Morocco’s independence in 1956 and the death of King Hassan II in 1999—to examine the transformative roles memory and trauma play in reconstructing stories of three historically marginalized groups in Moroccan history: Berbers/Imazighen, Jews, and political prisoners. The book shows how Moroccan cultural production has become an other-archive: a set of textual, sonic, embodied, and visual sites that recover real or reimagined voices of these formerly suppressed and silenced constituencies of Moroccan society. Combining theoretical discussions with close reading of literary works, the book reenvisions both archives and the nation in postcolonial Morocco. By producing other-archives, Moroccan cultural creators transform the losses state violence inflicted on society during the years of lead into a source of civic engagement and historiographical agency, enabling the writing of histories about those Moroccans who have been excluded from official documentation and state-sanctioned histories. The book is multilingual and interdisciplinary, examining primary sources in Amazigh/Berber, Arabic, Darija, and French, and drawing on memory studies, literary theory, archival studies, anthropology, and historiography. In addition to showing how other-archives are created and operate, El Guabli elaborates how language, gender, class, race, and geographical distribution are co-constitutive of a historical and archival unsilencing that is foundational to citizenship in Morocco today.

A powerful and poetic masterpiece where ordinary people’s dreams play out in a city plagued by government exploitation and crime Shortlisted for the Saif Ghobash Banipal Prize for Arabic Literary Translation As his wife delivers their child in the next room, a man wakes from the nightmare of a teenage girl’s body lying beneath his bed. In this twilight before birth, Fadel’s epic novel catches us in the confusion between exaltation and despair. The girl, Farah, once dreamed of being a singer in Casablanca, a city standing in the shadow of the tallest minaret in the world. Illuminating the aspirations of those just struggling to make a living, A Shimmering Red Fish Swims with Me is a tour-de-force, a novel of power plays and petty jealousies, deceit and corruption, love and loss, written with Fadel’s masterful, narrative control and searing, historical insight.

Hassan makes a living in his native Marrakesh as a comic writer and performer, through his satirical sketches critical of Morocco’s rulers. Yet when he is suddenly conscripted into a losing war in the Sahara, and drafted to a far-flung desert outpost, it seems that all is lost. Could his estranged father, close to power as the king’s private jester, have something to do with his sudden removal from the city? And will he ever see his beloved wife Zinab again? With flowing prose and black humor, Youssef Fadel subtly tells the story of 1980s Morocco.

We are not afraid to say that we are fascinated by birds. Flying birds always provoke human admiration. There is this unexplained mysterious feeling that surrounds us when watching birds on the forest trees, in our backyard, at the ocean, sea, or lake. Birds are an infinite treasure of inspiration for humans, waking us up in the morning with beautiful birdsongs. Their little brain is of a size of an unshelled walnut and is associated with intelligent behavior and the same capabilities of humans and apes’ mental tasks. When you think about all the animals in the world, you quickly realize that birds are, in fact, among some of the most intelligent creatures we have on earth. Although there are more than ten thousand bird species worldwide, only a handful of them have made the list for the extremely talented and incredibly intelligent. So who are these super intelligent feathered friends? It is difficult to pick one. Perhaps kea, ravens, and crows are equally smart; while macaws, cockatoo, and jays are on the top of any list too. Who knew that an African gray is capable of working out the location of hidden food by using the kind of deduction and elimination skills previously seen only in humans and apes? And as you probably have heard, they are exceptional talkers! Today, we all know that it is bad to imprison birds in cages, but it was not always the case throughout the history. According to Stephen King, “Some birds are not meant to be caged, that’s all. Their feathers are too bright, their songs too sweet and wild.” Due to beautiful poetry and cultural expressions, the flying bird became a symbol of freedom and independence. There are cases of historic acknowledgment of birdcages, especially in the Victorian era. People were listening to birdsongs in cages as it was their radio entertainment outlet. During wartimes, birds demonstrated their unique abilities in courageous heroic efforts to help humans in transferring information through the battlefields. The birds and birdcages both have a longtime history. Our love for the amazing earth creatures makes us stand out for their protection and safety to enjoy our shared inhabitants on the planet, and as for the birdcages, people find them pretty appealing in various ways of the aesthetic repurposing.

Domestications traces a genealogy of American global engagement with the Global South since World War II. Hosam Aboul-Ela reads American writers contrapuntally against intellectuals from the Global South in their common—yet ideologically divergent—concerns with hegemony, world domination, and uneven development. Using Edward Said’s Culture and Imperialism as a model, Aboul-Ela explores the nature of U.S. imperialism’s relationship to literary culture through an exploration of five key terms from the postcolonial bibliography: novel, idea, perspective, gender, and space. Within this framework the book examines juxtapositions including that of Paul Bowles’s Morocco with North African intellectuals’ critique of Orientalism, the global treatment of Vietnamese liberation movements with the American narrative of personal trauma in the novels of Tim O’Brien and Hollywood film, and the war on terror’s philosophical idealism with Korean and post-Arab nationalist materialist archival fiction. Domestications departs from other recent studies of world literature in its emphases not only on U.S. imperialism but also on intellectuals working in the Global South and writing in languages other than English and French. Although rooted in comparative literature, its readings address issues of key concern to scholars in American studies, postcolonial studies, literary theory, and Middle Eastern studies.

Egyptian Muslims and Jews were not always at odds. Before the Arab–Israeli wars, before the mass exodus of Jews from Egypt, there was harmony. Spanning the 1930s to the 1960s, this sweeping novel accompanies Galal, a young boy with a Jewish mother and a Muslim father, through his childhood and boyhood in a vibrant popular quarter of Cairo. With his schoolboy crushes and teen rebellions, Galal is deeply Egyptian, knit tightly into the middle-class fabric of manners, morals, and traditions that cheerfully incorporates and transcends religion—a fabric about to be torn apart by a bigger world of politics that will put Galal’s very identity to the test.