Thrown in prison for a crime he has not committed Edmond Dantès spends fourteen bitter years imprisoned in the grim fortress of If. There he learns of a great hoard of treasure hidden on the Isle of Monte Cristo and becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsive for his incarceration. No longer the naïve sailor who disappeared into the dungeon all those years ago, he reinvents himself as the charming, mysterious and powerful Count of Monte Cristo. Inspired by a real-life case of wrongful imprisonment, The Count of Monte Cristo was a huge popular success when it was first serialized in the 1840s, and has been a fixture of western literature ever since, the subject of countless film and TV adaptations.
Robin Buss' lively translation is complete and unabridged, and remains faithful to the style of Dumas' original. This edition also includes an introduction, explanatory notes, a new chronology and updated suggestions for further reading.
'What makes The Count Of Monte Cristo such a superior story is that revenge is not the only emotion driving the plot ... it is an almost perfect story - also in the mix are love, friendship, jealousy, faith, education, snobbery and class' Sunday Express
This book provides a uniquely personal look at the social worlds of a group of young male friends as they navigate the complexities of growing up Muslim in America. Drawing on three and a half years of intensive fieldwork in and around a large urban mosque, John O’Brien offers a compelling portrait of typical Muslim American teenage boys concerned with typical teenage issues—girlfriends, school, parents, being cool—yet who are also expected to be good, practicing Muslims who don’t date before marriage, who avoid vulgar popular culture, and who never miss their prayers.
Many Americans unfamiliar with Islam or Muslims see young men like these as potential ISIS recruits. But neither militant Islamism nor Islamophobia is the main concern of these boys, who are focused instead on juggling the competing cultural demands that frame their everyday lives. O’Brien illuminates how they work together to manage their “culturally contested lives” through subtle and innovative strategies—such as listening to profane hip-hop music in acceptably “Islamic” ways, professing individualism to cast their participation in communal religious obligations as more acceptably American, dating young Muslim women in ambiguous ways that intentionally complicate adjudications of Islamic permissibility, and presenting a “low-key Islam” in public in order to project a Muslim identity without drawing unwanted attention.
Closely following these boys as they move through their teen years together, Keeping It Halal sheds light on their strategic efforts to manage their day-to-day cultural dilemmas as they devise novel and dynamic modes of Muslim American identity in a new and changing America.