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Born in Kuwait in 1926, into a distinguished Kuwaiti family of pearl merchants and seafarers, Saif Marzooq al- Shamlan describes the final generation of the pearling industry from 1900 to the slump of the 1930s, when the development of the Japanese cultured pearl led to economic disaster for the people of the Gulf.

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Kuwaiti Architecture is a style of architecture unique to Kuwait, a country founded in the early 18th century. Kuwait was a relatively poor country with an economy reliant on declining trade and pearl diving. The economy was transformed by the discovery of oil, enabling unprecedented economic growth. Little has survived of old Kuwaiti architecture due to the high speed of development. Kuwait's traditional building materials were rubble stone covered with thick mud plaster, mud brick and sometimes Cora stone. Wood was rare, though mangrove poles imported from East Africa were used for roofs, as were some other few select woods from India. Early Kuwaiti architecture was relatively simple and describes as being based on common sense. Houses had a simple and basic exterior designs, and most artistic touches were found on main doors and windows (more on this very soon). These houses having to accommodate the communal and tight nit nature of Kuwaiti society were divided into separate quarters accommodating different members of one family, usually the male children of the owner and their wives. It is common to find central courts, as is the case in other Arab countries, that served as a gathering place for the families. Later, during the 18th century typical Kuwait merchant house was built in the Ottoman style that reached the city from Basra. Ottoman features included projecting wooden balconies enclosed with wooden screens or mashrabiya and covered wooden doorways which sometimes included European motifs. The extreme heat of the city made wind catchers and ventilation a necessity for most houses.

From the author of Norwegian by Night, a novel about two men on a misbegotten quest to save the girl they failed to save decades before 1991. Near Checkpoint Zulu, one hundred miles from the Kuwaiti border, Thomas Benton meets Arwood Hobbes. Benton is a British journalist who reports from war zones in part to avoid his lackluster marriage and a daughter he loves but cannot connect with; Arwood is a midwestern American private who might be an insufferable ignoramus, or might be a genuine lunatic with a death wish--it's hard to tell. Desert Storm is over, peace has been declared, but as they argue about whether it makes sense to cross the nearest border in search of an ice cream, they become embroiled in a horrific attack in which a young local girl in a green dress is killed as they are trying to protect her. The two men walk away into their respective lives. But something has cracked for them both.Twenty-two years later, in another place, in another war, they meet again and are offered an unlikely opportunity to redeem themselves when that same girl in green is found alive and in need of salvation. Or is she? 

The Fertile Crescent examines the work of 24 women artists of Middle East heritage: Negar Ahkami (Iranian), Shiva Ahmadi (Iranian), Jananne Al-Ani (Iraqi), Fatima and Monira Al Qadiri (Kuwaiti), Ghada Amer (Egyptian), Zeina Barakeh (Lebanese), Ofri Cnaani (Israeli), Nezaket Ekici (Turkish), Diana El Jeiroudi (Syrian), Parastou Forouhar (Iranian), Ayana Friedman (Israeli), Shadi Ghadirian (Iranian), Mona Hatoum (Palestinian), Hayv Kahraman (Iraqi), Efrat Kedem (Israeli), Sigalit Landau (Israeli), Ariane Littman (Israeli), Shirin Neshat (Iranian), Ebru Özseçen (Turkish), Laila Shawa (Palestinian), Shahzia Sikander (Pakistani), Fatimah Tuggar (Nigerian) and Nil Yalter (Turkish). These artists all explore matters of gender, homeland, geopolitics, theology and the environment. The authors in this volume address transnationalism and the interaction between Muslim culture and Jewish, Christian and Euro-American cultures, resulting in U.S. and European relationships that are sometimes congenial and at other times problematic. The book also addresses the Middle East’s cultural diaspora in black Africa and South Asia. The Fertile Crescent is published in conjunction with a fall 2012 multi-venue exhibition at Rutgers and Princeton Universities and the Arts Council of Princeton/Paul Robeson Center for the Arts.

In August 1990 Saddam Hussein's Iraqi forces invaded and occupied the small Arab state of Kuwait. This book analyses the ensuing Gulf War (16 January - 28 February 1991) - a war fought to expel Iraq and restore Kuwaiti independence if not, as one British MP tartly observed, to defend democracy. The allies under General Schwarzkopf launched five weeks of air attacks, deploying 1,800 technologically highly advanced aircraft from the US, British, French and Saudi air forces. Many of these machines, including the British Tornadoes and US F-117A Stealth fighters, had never before engaged in combat, and their combined assault, watched by millions on TV, combined impressive accuracy with firepower to which the Iraqi forces had no answer.

The Kuwaiti population includes around 100,000 people - approximately 10 per cent of the Kuwaiti nationals -whose legal status is contested. Often considered `stateless', they have come to be known in Kuwait as biduns, from `bidun jinsiyya', which means literally `without nationality' in Arabic. As long-term residents with close geographical ties and intimate cultural links to the emirate, the biduns claim that they are entitled to Kuwaiti nationality because they have no other. But since 1986 the State of Kuwait, has considered them `illegal residents' on Kuwaiti territory. As a result, the biduns have been denied civil and human rights and treated as undocumented migrants, with no access to employment, health, education or official birth and death certificates. It was only after the first-ever bidun protest in 2011, that the government softened restrictions imposed upon them. Claire Beaugrand argues here that, far from being an anomaly, the position of the biduns is of central importance to the understanding of state formation processes in the Gulf countries, and the ways in which identity and the boundaries of nationality are negotiated and concretely enacted.

Ever since Kuwait emerged in the 18th century as a young maritime state with an extreme dependence on the sea, it has been renowned for the consummate skills of its sailors and dhow-builders. Kuwait's shipwrights became justly famed for the beauty, seaworthiness and practicality of their vessels, and the Kuwaiti boum became a symbol of Kuwait's maritime prowess on all the dhow routes linking Arabia, Iran, India and East Africa. This book describes in detail how Kuwaiti shipwrights built their vessels, in particular the boum .As with dhows everywhere, this was done entirely by hand and eye, without drawings of any kind. There are chapters on celebrated master builders and famous dhows, on sails, rigging and launching, and on tools and timber. There is also an extensive glossary of Kuwaiti nautical terms. Today the era of Kuwait's sailing dhows is long gone. In The Art of Dhow-building in Kuwait Dr Ya'qub Al-Hijji, himself a Kuwaiti maritime historian, provides a timely memorial of the craft industry which sustained this unique maritime nation. It is lavishly illustrated with drawings, colour photographs and remarkable old black-and-white images.The latter, from the first half of the 20th century, include many by Alan Villiers, and form an eloquent pictorial elegy on the passing of a great maritime tradition.

The Kuwaiti population includes around 100,000 people - approximately 10 per cent of the Kuwaiti nationals -whose legal status is contested. Often considered `stateless', they have come to be known in Kuwait as biduns, from `bidun jinsiyya', which means literally `without nationality' in Arabic. As long-term residents with close geographical ties and intimate cultural links to the emirate, the biduns claim that they are entitled to Kuwaiti nationality because they have no other. But since 1986 the State of Kuwait, has considered them `illegal residents' on Kuwaiti territory. As a result, the biduns have been denied civil and human rights and treated as undocumented migrants, with no access to employment, health, education or official birth and death certificates. It was only after the first-ever bidun protest in 2011, that the government softened restrictions imposed upon them. Claire Beaugrand argues here that, far from being an anomaly, the position of the biduns is of central importance to the understanding of state formation processes in the Gulf countries, and the ways in which identity and the boundaries of nationality are negotiated and concretely enacted.

Alerassool (London School of Economics) examines asset-freezing as an economic sanction and a political weapon, focusing on the freezing of Iranian assets in the US in November 1979, but also considering the later freezing of Kuwaiti and Iraqi assets. She analyzes the international financial, legal, and political implications of such measures; delves into the motivations and mechanisms behind them; and identifies the reasons for their success. Annotation copyright Book News, Inc. Portland, Or.

Saaq al-Bambuu (The Bamboo Stalk) by Kuwaiti novelist Saud al-Sanousi provides students at the intermediate-advanced Arabic language level the opportunity to engage with an award-winning work of contemporary fiction. This abridged version has been approved by the author, authenticating the richness of a text that offers students the means to develop vocabulary and reading fluency while sensitizing them to the stylistics of the language. The novel is a coming-of-age story of a half-Filippino, half-Kuwaiti teen who returns to his father's Kuwait. There, he explores his own identity as a poor Filipino in a culture he does not know well and receives a mixed welcome from his own wealthy relatives. Universal concepts of identity, faith, belonging, poverty/wealth, and otherness are explored through a poetic narrative and engaging plot that will keep students captivated from the first line to the very last page. Included within the book are chapter exercises that develop linguistic and cultural competencies, a short biography of the author, and glossaries of literary terms and devices. As with Laila Familiar's Sayyidi wa Habibi, this authorized version of the abridged text by a contemporary Arabic author will be warmly embraced by college and university students of Arabic as well as by independent learners.

Interviews with exiled Kuwaitis reveal the brutality and atrocities to which the citizens of Kuwait were subjected after Iraq's invasion of the country on August 2, 1990

Ever since Kuwait emerged in the 18th century as a young maritime state with an extreme dependence on the sea, it has been renowned for the consummate skills of its sailors and dhow-builders. Kuwait's shipwrights became justly famed for the beauty, seaworthiness and practicality of their vessels, and the Kuwaiti boum became a symbol of Kuwait's maritime prowess on all the dhow routes linking Arabia, Iran, India and East Africa. This book describes in detail how Kuwaiti shipwrights built their vessels, in particular the boum .As with dhows everywhere, this was done entirely by hand and eye, without drawings of any kind. There are chapters on celebrated master builders and famous dhows, on sails, rigging and launching, and on tools and timber. There is also an extensive glossary of Kuwaiti nautical terms. Today the era of Kuwait's sailing dhows is long gone. In The Art of Dhow-building in Kuwait Dr Ya'qub Al-Hijji, himself a Kuwaiti maritime historian, provides a timely memorial of the craft industry which sustained this unique maritime nation. It is lavishly illustrated with drawings, colour photographs and remarkable old black-and-white images.The latter, from the first half of the 20th century, include many by Alan Villiers, and form an eloquent pictorial elegy on the passing of a great maritime tradition.

Second Front documents in vivid detail the behind-the-scenes activities by the U.S. and Kuwaiti governments which limited the American media’s constitutional right to observe, question, and report on activities during Operation Desert Storm. In frank and startling interviews with, among others, Tom Brokaw, Peter Jennings, Dan Rather, Ben Bradlee, Katharine Graham, Robert Wright, and Pete Williams, John R. MacAuthur shows how the press corps was treated more like a fifth column than as representatives of a free people. He demonstrates how, despite the torrent of words and images from the Persian Gulf, Americans were systematically and deliberately kept in the dark about events, politics, and simple facts during the Gulf crisis.With a reporter’s critical eye and a historian’s sensibility, he traces decades of press-government relations—during Vietnam, Grenada, and Panama—which helped set the stage for restrictions on Gulf War reporting and for a public-relations triumph by the government. His analysis of the issues that confronted the media in this war is frightening testimony to what happens when the government goes unchallenged, when questions go unasked.