American Moor

The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order. Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love. American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order. Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love. American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

***2019 NATIONAL BOOK AWARD FINALIST*** Winner of the Arab American Book Award in Fiction Finalist for the Kirkus Prize in Fiction Finalist for the California Book Award Longlisted for the Aspen Words Literary Prize A Los Angeles Times bestseller Named a Best Book of the Year by The Washington Post, Time, NPR, Minneapolis Star Tribune, Dallas Morning News, The Guardian, Variety, and Kirkus Reviews Late one spring night in California, Driss Guerraoui—father, husband, business owner, Moroccan immigrant—is hit and killed by a speeding car. The aftermath of his death brings together a diverse cast of characters: Guerraoui's daughter Nora, a jazz composer returning to the small town in the Mojave she thought she'd left for good; her mother, Maryam, who still pines for her life in the old country; Efraín, an undocumented witness whose fear of deportation prevents him from coming forward; Jeremy, an old friend of Nora’s and an Iraqi War veteran; Coleman, a detective who is slowly discovering her son’s secrets; Anderson, a neighbor trying to reconnect with his family; and the murdered man himself. As the characters—deeply divided by race, religion, and class—tell their stories, each in their own voice, connections among them emerge. Driss’s family confronts its secrets, a town faces its hypocrisies, and love—messy and unpredictable—is born. Timely, riveting, and unforgettable, The Other Americans is at once a family saga, a murder mystery, and a love story informed by the treacherous fault lines of American culture.

Part of the American Literatures Initiative Series American Arabesque examines representations of Arabs, Islam and the Near East in nineteenth-century American culture, arguing that these representations play a significant role in the development of American national identity over the century, revealing largely unexplored exchanges between these two cultural traditions that will alter how we understand them today. Moving from the period of America's engagement in the Barbary Wars through the Holy Land travel mania in the years of Jacksonian expansion and into the writings of romantics such as Edgar Allen Poe, the book argues that not only were Arabs and Muslims prominently featured in nineteenth-century literature, but that the differences writers established between figures such as Moors, Bedouins, Turks and Orientals provide proof of the transnational scope of domestic racial politics. Drawing on both English and Arabic language sources, Berman contends that the fluidity and instability of the term Arab as it appears in captivity narratives, travel narratives, imaginative literature, and ethnic literature simultaneously instantiate and undermine definitions of the American nation and American citizenship.

What part did Shakespeare play in the construction of a 'white people' and how has his work been enlisted to define and bolster a white cultural and racial identity? Since the court of Queen Elizabeth I, through the early modern English theatre to the storming of the United States Capitol on 6 January 2021, white people have used Shakespeare to define their cultural and racial identity and authority. White People in Shakespeare unravels this complex cultural history to examine just how crucial Shakespeare's work was to the early modern development of whiteness as an embodied identity, as well as the institutional dissemination of a white Shakespeare in contemporary theatres, politics, classrooms and other key sites of culture. Featuring contributors from a wide range of disciplines, the collection moves across Shakespeare's plays and poetry and between the early modern and our own time to interrogate these relationships. Split into two parts, 'Shakespeare's White People' and 'White People's Shakespeare', it explores a variety of topics, ranging from the education of the white self in Hamlet, or affective piety and racial violence in Measure for Measure, to Shakespearean education and the civil rights era, and interpretations of whiteness in more contemporary work such as American Moor and Desdemona.

An “exquisite piece of historical fiction” (Winnipeg Free Press), The Moor’s Account is “brilliantly imagined fiction…rewritten to give us something that feels very like the truth” (Salman Rushdie). In 1527, the conquistador Pánfilo de Narváez left the port of San Lucar de Barrameda in Spain with a crew of more than five hundred men. His goal was to claim what is now the Gulf Coast of the United States for the Spanish crown and, in the process, become as wealthy and as famous as Hernán Cortés. But from the moment the Narváez expedition reached Florida it met with incredibly bad luck—storms, disease, starvation, hostile Indians. Within a year, there were only four survivors: the expedition’s treasurer, Cabeza de Vaca; a Spanish nobleman named Alonso del Castillo Maldonado; a young explorer by the name of Andrés Dorantes; and his Moroccan slave, Mustafa al-Zamori. The four survivors were forced to live as slaves to the Indians for six years, before fleeing and establishing themselves as faith healers. Together, they traveled on foot through present-day Florida, Texas, New Mexico, and Arizona, gathering thousands of disciples and followers along the way. In 1536, they crossed the Rio Grande into Mexican territory, where they stumbled on a group of Spanish slavers, who escorted them to the capital of the Spanish empire, México-Tenochtitlán. Three of the survivors were asked to provide testimony of their journey—Castillo, Dorantes, and Cabeza de Vaca, who later wrote a book about this adventure, called La Relacíon, or The Account. But because he was a slave, Estebanico was not asked to testify. His experience was considered irrelevant, or superfluous, or unreliable, or unworthy, despite the fact that he had acted as a scout, an interpreter, and a translator. This novel is his story.

Discover the real Thanksgiving through photographs from a recreation of the true Thanksgiving by Plimoth Plantation

In A History of Conversion to Islam in the United States, Volume 2: The African American Islamic Renaissance, 1920-1975 Patrick D. Bowen offers an account of the diverse roots and manifestations of African American Islam as it appeared between 1920 and 1975.