Laugh Like An Egyptian

Egyptians are known among the Arabs as awlād al-nukta, Sons of the Jokes, for their ability to laugh in face of adversity. This creative weapon has been directed against socio-political targets both in times of oppression and popular upheaval, such as the 2011 Tahrir Revolution. This book looks at the literary expression of Egyptian humour in the novels of Muḥammad Mustajāb, Khayrī Shalabī, and Ḥamdī Abū Julayyil, three writers who revive the comic tradition to innovate the language of contemporary fiction. Their modern tricksters, wise fools, and antiheroes play with the stereotypical traits attached to the ordinary Egyptians, while laughing at the universal contradictions of life. This ability to combine local and global culture, literary traditions and popular references, makes them a stimulating read in an intercultural perspective. Combining humour studies and literary criticism, this book examines language play and narrative creativity to understand which strategies craft Egyptian literary humour. In doing so, it sheds light on the contribution of humour to literary innovations of Egyptian fiction since the late Seventies, while adding new writers to those who are considered the masters of humour in the Arab novel.

Into the hustler’s paradise of pre-revolution Egypt comes an eccentric Englishman hell bent on making his fortune in a country where everything is late, nothing works and everyone is on the take. To pay off a savage mortgage, he leads a double life teaching in a posh school by day and haggling down the back streets of Cairo by night, trying to beat those wily Egyptians at their own game.

The present book addresses the background, rationale, general structure, and particular aims and arguments characterizing our third and last volume about "humor" and "cruelty". A guiding foray is provided into the vast expert literature that can be retrieved in the Western humanities and social sciences on these two terms. Pivotal thinkers and crucial notions are duly identified, highlighted, and examined. Apposite subsidiary references are also included, especially with regard to psychodynamics and clinical psychology, existentialism, feminism, liberalism, Marxism, and representative recent studies in the philosophy of humor and its cognates. The stage is thus set for the exploration and assessment of the conflicts between humor and cruelty unfolding in Part 2 of Volume 3. Being the philosophical terminus of our entire research project, Volume 3 counterbalances, complements, and, occasionally, complexifies the numerous forms of mutual cooperation between humor and cruelty that the preceding Volume 2 had unearthed and discussed.

Peter Phillips, the time-traveller from Saving the Dinosaurs, now 13, is sent back 5,000 years to Ancient Egypt at the time of the Fourth Dynasty. There he finds a world where the wheel has not yet been invented, where only the prayers of the Pharaoh guarantee that the Nile will provide sufficient water for the crops, and where the Sun God, has to travel by boat through the Underworld each night in order to rise in the morning. Shortly after his arrival he is befriended by the Pharaoh’s daughter Mer-tio-tess, who believes he is a Spirit sent to help her. While increasingly attracted towards the Princess he finds himself drawn into a web of power struggles and rivalry. And things get worse when Peter, by accident, brings her back to present-day London, a cold place filled with sad-looking people which, she believes, must be the Underworld.

Over recent years, Arabic popular culture has become a focal point of West Asian and North African studies. Most of the new research dealing with it concentrates on the ?popular? as opposed to an intellectual ?high? culture far from the harsh and hierarchically organized reality many Arabic-speaking societies face today. Popular cultural practices are thus seen as a rejection of the elite and a stance against those who have ?something to loose? within paralyzed and conservative communities. Albeit not denying the subversive political potential associated with these practices, this volume intends to take a more nuanced and broader perspective. Arabic popular culture might engage with emancipatory claims, but it might as easily follow the capitalist rulebook of global marketing. It might fight against oppressive authorities, yet it can equally become their symbol.0Approaches to Arabic Popular Culture therefore closely looks at the aesthetic implications of a topic ranging from Lebanese hip hop over Algerian pop novels to jihadi chants in the ?Islamic State? as well as from Egyptian mahraganat music over sarcastic stories about hash dens and time travel in downtown Cairo to Saudi-Arabian YouTube-influencers. Thus, the theoretical scope widens and the reader is taken on a delightful journey to the unsettling pleasures of contemporary Arabic art and culture.

Winner of the 2022 Center for Fiction First Novel Prize Winner of the 2023 Arab American Book Award for Fiction Shortlisted for the 2022 Scotiabank Giller Prize Shortlisted for the 2023 PEN/Jean Stein Book Award Shortlisted for the 2022 VCU Cabell First Novelist Award Winner of the Graywolf Press African Fiction Prize, a lush experimental novel about love as a weapon of empire. In the aftermath of the Arab Spring, an Egyptian American woman and a man from the village of Shobrakheit meet at a café in Cairo. He was a photographer of the revolution, but now finds himself unemployed and addicted to cocaine, living in a rooftop shack. She is a nostalgic daughter of immigrants “returning” to a country she’s never been to before, teaching English and living in a light-filled flat with balconies on all sides. They fall in love and he moves in. But soon their desire—for one another, for the selves they want to become through the other—takes a violent turn that neither of them expected. A dark romance exposing the gaps in American identity politics, especially when exported overseas, If an Egyptian Cannot Speak English is at once ravishing and wry, scathing and tender. Told in alternating perspectives, Noor Naga’s experimental debut examines the ethics of fetishizing the homeland and punishing the beloved . . . and vice versa. In our globalized twenty-first-century world, what are the new faces (and races) of empire? When the revolution fails, how long can someone survive the disappointment? Who suffers and, more crucially, who gets to tell about it?

The Last Egyptian Standing: The Great Egyptian is produced herein as a written format of a story based around real events that took place before, during, and following the Egyptian Revolution in the year 2011. The story is mainly from the eyes and angle of one very special young man. From before the moments of chaos and rioting began and then hit peak, MN80-M. HASSAN THE SPECIAL ONE/MALE finds his spirit suffering between heart and mind whether or not to accept the life as it is in this day and age and continue his chosen normal life, or to just join-in with everyone on and off of the streets of Cairo, the main city in Egypt, during the 2011 Egyptian Revolution. At the same time, another window of opportunity opens for the possibility to follow his emotional instincts that have been restraining his heart and mind for such a long time now, especially from before the 25th of January 2011 early start into the Egyptian Revolution. Or, also the simple possibility to just sit back and watch everything un-fold from the Television at home in the United Kingdom. MO NASSAH, born in 1980, has written several unpublished novels and dozens of short stories that until this moment in time, he felt not to publish and share with this World, until now. This story and book herein being the first published book from a set series created and written by the Author MO NASSAH. He said, she said, is exactly what happens in this version/book, and over eighty (80%) percent of this book is a true story. Hence, a reason the words of each character (to the Author) was/is more important for the first book to be written in exactly this way, and/or form, for the reader(s) of each book to truly appreciate, and understand at-least some of that to come in the second, third and fourth book of this part of the entire MN80-M story series starting as, The Last Egyptian Standing: The Great Egyptian. In 2011, MO NASSAH lives alone in his birth place location, the cosmopolitan city of London, England, United Kingdom. From the outspoken and brilliant start until the end of this entire true story, the author allows us the readers to enjoy the read as we enter a new World. A whole new dimension with real life CHARACTERS and personalities that capture the heart of each reader from the very first chapter, when all of the chaos begins, in Egypt. Full of excitement, passion adventure, love, envy, fear, betrayal, success, murder, mystery, fantasy and much much more. As sad, and as happy, as some of these events may be to some, this is a true story, and a part of the History of Mankind now, the History of you, and I. Especially with the main character MN80-M. HASSAN THE AMAZING ONE/MALE alive.

Think that Ancient Egypt is just a load of old obelisks? Don't bet your afterlife on it. Ancient Egypt should be deader than most of our yesterdays. After all it was at its height 5,000 years ago. Yet we still marvel at its mummies and ponder over its pyramids. It's easy to forget these people once lived and laughed, loved and breathed ... though not for very long. These were dangerous days for princes and peasants alike. In Ancient Egypt - a world of wars and woes, poverty and plagues - life was short. Forty was a good age to reach. A pharaoh who was eaten by a hippo ended up as dead as a ditch-digger stung by a scorpion. Unwrap the bandages and you'll find that the Egyptians' bizarre adventures in life were every bit as fascinating as the monuments they left to their deaths.