Bøger af Michael Muhammad Knight

From Malcom X to the Wu Tang Clan, the first in-depth account of this fascinating black power movementWith a cast of characters ranging from Malcolm X to 50 Cent, Knight's compelling work is the first detailed account of the movement inextricably linked with black empowerment, Islam, New York, and hip-hop. Whether discussing the stars of Five Percenter rap or 1980s crack empires, this fast-paced investigation uncovers the community's icons and heritage, and examines its growing influence in urban American youth culture.

"This monograph, the first dedicated exclusively to the Lessons, places the Lessons in conversation with their historical milieu, exploring political and metaphysical discourses that informed Fard Muhammad's world. The Supreme Wisdom Lessons looks at the diverse interpretive traditions surrounding the Lessons, and includes an annotated edition of the Lessons themselves"--

Combining insights from the best published historical and religious studies scholarship, original research, and rich first-person perspective, this highly readable book offers a comprehensive yet concise introduction to the founder and central figure of the Islamic tradition: the prophet Muhammad. Narrating Muhammad's life story, teachings, and daily practices, and assessing how his legacy is received, interpreted, and applied around the world, Michael Muhammad Knight reveals how the prophet has become simultaneously one of the most beloved historical figures in the world and also one of the most contested, challenged, and disparaged. Knight argues that there was never a singular Muslim vision of Muhammad but rather always multiple perspectives. While Muslims defend Muhammad's legacy against Islamophobic polemics, they also challenge each other regarding the proper authorities through which Muhammad's life and message become comprehensible and applicable in our world. Thinking across time and place, Knight argues that Muhammad is always contextual and contemporary.

Combining insights from the best published historical and religious studies scholarship, original research, and rich first-person perspective, this highly readable book offers a comprehensive yet concise introduction to the founder and central figure of the Islamic tradition: the prophet Muhammad. Narrating Muhammad's life story, teachings, and daily practices, and assessing how his legacy is received, interpreted, and applied around the world, Michael Muhammad Knight reveals how the prophet has become simultaneously one of the most beloved historical figures in the world and also one of the most contested, challenged, and disparaged. Knight argues that there was never a singular Muslim vision of Muhammad but rather always multiple perspectives. While Muslims defend Muhammad's legacy against Islamophobic polemics, they also challenge each other regarding the proper authorities through which Muhammad's life and message become comprehensible and applicable in our world. Thinking across time and place, Knight argues that Muhammad is always contextual and contemporary.

Describes the Ansaru Allah Community/Nubian Islamic Hebrews (AAC/NIH), a 1970s religious movement in Brooklyn that spread, in part, through the production and dissemination of literature and lecture tapes. Tracks the development of AAC/NIH discourse to reveal surprising consistency and coherence behind the appearance of serial reinvention.

¿There is always an atheism to be extracted from a religion,¿ Deleuze and Guattari write in their final collaboration, What Is Philosophy? Their claim that Christianity ¿secretes¿ atheism ¿more than any other religion,¿ however, reflects the limits of their archive. Theological projects seeking to engage Deleuze remain embedded within Christian theologies and intellectual histories; whether they embrace, resist, or negotiate with Deleuze¿s atheism, the atheism in question remains one extracted from Christian theology, a Christian atheism. In Sufi Deleuze, Michael Muhammad Knight offers an intervention, engaging Deleuzian questions and themes from within Islamic tradition. Even if Deleuze did not think of himself as a theologian, Knight argues, to place Deleuze in conversation with Islam is a project of comparative theology and faces the challenge of any comparative theology: It seemingly demands that complex, internally diverse traditions can speak as coherent, monolithic wholes. To start from such a place would not only defy Islam¿s historical multiplicity but also betray Deleuze¿s model of the assemblage, which requires attention to not only the organizing and stabilizing tendencies within a structure but also the points at which a structure resists organization, its internal heterogeneity, and unpredictable ¿lines of flight.¿A Deleuzian approach to Islamic theology would first have to affirm that there is no such thing as a universal ¿Islamic theology¿ that can speak for all Muslims in all historical settings, but rather a multiplicity of power struggles between major and minor forces that contest each other over authenticity, authority, and the making of ¿orthodoxy.¿ The discussions in Sufi Deleuze thus highlight Islam¿s extraordinary range of possibilities, not only making use of canonically privileged materials such as the Qur¿an and major hadith collections, but also exploring a variety of marginalized resources found throughout Islam that challenge the notion of a singular ¿mainstream¿ interpretive tradition. To say it in Deleuze¿s vocabulary, Islam is a rhizome.

The Salafi are a revivalist Sunni Muslim movement misunderstood by most Americans, and even many Muslims. The New York Times' first reference to Salafis as a distinct group appears in 1979 after a band of armed men seized control of the Great Mosque in Mecca. After 1979, there is not another mention of Salafis in the Times until 2000, in an article on links between Yemeni radicals and Osama Bin Laden. In 2013, an article appeared in USA Today labeling Salafis as Sunni Islam's "most radical sect" and declaring them "the most anti-Western" of any Islamist group. Today, Salafism is widely implicated in the rise of ISIS.

Analysing classical Muslim literary representations of Muhammad's body as they emerge in Sunni hadith and sira from the eighth to the eleventh centuries, Michael Muhammad Knight argues that early Muslims' theories and imaginings about Muhammad's body contributed in significant ways to the construction of prophetic masculinity and authority.

Recognized by readers of his novel, The Taqwacores, as the godfather of American Muslim punk, Michael Muhammad Knight is a voice for the growing number of teenagers who choose neither side of the “Clash of Civilizations.” Knight has now written his personal story, a chronicle of his bizarre and traumatic boyhood and his conversion to Islam during a turbulent adolescence.Impossible Man follows a boy’s struggle in coming to terms with his father—a paranoid schizophrenic and white supremacist who had threatened to decapitate Michael when he was a baby—and his father’s place in his own identity. It is also the story of a teenager’s troubled path to maturity and the influences that steady him along the way. Knight’s encounter with Malcolm X’s autobiography transforms him from a disturbed teenager engaged in correspondence with Charles Manson to a zealous Muslim convert who travels to Pakistan and studies in a madrassa. Later disillusioned by radical religion, he again faces the crisis of self-definition.For all its extremes, Impossible Man describes a universal journey: a wounded boy in search of a working model of manhood, going to outrageous lengths to find it.

When Michael Muhammad Knight sets out to write the definitive biography of his “Anarcho-Sufi” hero and mentor, writer Peter Lamborn Wilson (aka Hakim Bey), he makes a startling discovery that changes everything. At the same time that he grows disillusioned with his idol, Knight finds that his own books have led to American Muslim youths making a countercultural idol of him, placing him on the same pedestal that he had given Wilson.In an attempt to forge his own path, Knight pledges himself to an Iranian Sufi order that Wilson had almost joined, attempts to write the Great American Queer Islamo-Futurist Novel, and even creates his own mosque in the wilderness of West Virginia. He also employs the “cut-up” writing method of Bey’s friend, the late William S. Burroughs, to the Qur’an, subjecting Islam’s holiest scripture to literary experimentation.William S. Burroughs vs. the Qur’an is the struggle of a hero-worshiper without heroes and the meeting of religious and artistic paths, the quest of a writer as spiritual seeker.

In Journey to the End of Islam, Michael Muhammad Knight — whose work has led to him being hailed as both the Jack Kerouac and Hunter S. Thompson of American Islam — wanders through Muslim countries, navigating between conflicting visions of his religion. Visiting holy sites in Pakistan, Syria, Egypt, and Ethiopia, Knight engages both the puritanical Islam promoted by Saudi globalization and the heretical strands of popular folk Islam: shrines, magic, music, and drugs. The conflict of “global” and “local” Islam speaks to Knight’s own experience approaching the Islamic world as a uniquely American Muslim with his own sources: the modern mythologies of the Nation of Islam and Five Percenters, as well as the arguments of Progressive Muslim thinkers for feminism and reform.Knight’s travels conclude at Islam’s spiritual center, the holy city of Mecca, where he performs the hajj required of every Muslim. During the rites of pilgrimage, he watches as all variations of Islam converge in one place, under the supervision of Saudi Arabia’s religious police. What results is a struggle to separate the spiritual from the political, Knight searching for a personal relationship to Islam in the context of how it's defined by the external world.

Michael Muhammad Knight embarks on a quest for an indigenous American Islam in a series of interstate odysseys. Traveling 20,000 miles by Greyhound in sixty days, he squats in run-down mosques, pursues Muslim romance, is detained at the U.S.-Canadian border with a trunkload of Shia literature, crashes Islamic Society of North America conventions, stink-palms Cat Stevens, and limps across Chicago to find the grave of Noble Drew Ali, filling dozens of notebooks along the way. The result is this semi-autobiographical book, with multiple histories of Fard and the landscape of American Islam woven into Knight’s own story.In the course of his adventures, Knight sorts out his own relationship to Islam as he journeys from punk provocateur to a recognized voice in the community, and watches first-hand the collapse of a liberal Islamic dream. The book’s extensive cast of characters includes anarchist Sufi heretics, vegan kungfu punks, tattoo-sleeved converts in hard-core bands, spiritual drug dealers, Islamic feminists, slick media entrepreneurs, sages of the street, the grandsons of Elijah Muhammad and Malcolm X, and a group called Muslims for Bush.

Yusef is living in Buffalo, New York with a group of Muslim punks. A pot-smoking mohawked Sufi called Jehangir plays the rooftop call to prayer on his electric guitar, while debates rage downstairs about the Quranic sources for Iggy Pop songs.