The Girl in the Tangerine Scarf – Book Review. Spoiler Alert! This review mentions major events of the book!

A hijabi on the cover (okay, so she’s wearing jeans. To tell the truth, it’s actually not that bad – the first half, anyway. In fact, I loved the first half!

1. Spoiler Alert!This review mentions major events of the book so if you don't like knowing about the ending of books, don't read this review! It looked like such a.
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I’ve just finished reading Mohja Kahf’s book “The Girl in the Tangerine Scarf.” It’s about Khadra Shamy, the daughter of Syrian immigrants to Indianapolis, whose parents become heavily involved with the Da’wah Centre. The chapters recounting her childhood and adolescence, growing up in a very tight- knit Muslim community, made me smile, laugh, and even sniffle a bit – also being the daughter of “Da’wah workers,” I could relate to it quite a bit!

Funny and interesting anecdotes; truly accurate glimpses into the heart of the Muslim community; and since no life is complete without sorrow, even the grisly death of one of the community’s most promising young women. Also of note are Khadra’s trip to Saudi Arabia for Hajj – where she discovers that not all is Islamic amongst the youth of the Land of the Islam. Things began to look up, though, when Khadra marries Juma al- Tashkenti – a good guy all around. Awwwwwwwwww, masha’Allah! At this point, I had gone around telling everyone I met what a great book this was! I totally agree with Khadra’s husband – riding a bike in public isn’t quite seemly of a Muslim woman.

I thought of some of those experiences while I was watching Paul Mazursky's "Moscow on the Hudson," a wonderful movie about a man who defects to the United States.

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The author, apparently, has quite different ideas, as can be evidenced here:  “But eventually, she put the bike in the resident storage area of their building’s basement. Something inside her rusted a little, too.”Like this? Get more of our great articles. This is the Big Thing – rather than having the child, she decides that her studies and work are more important to her. Yep, that’s right. She eventually returns to America, where she lives far away from her family and any Muslim community – it’s also where “Khadra found that she enjoyed venting.

The last few chapters of the book are dedicated to her reunion with the people of the Muslim community – except that now she looks down upon them as unenlightened, too strict and rigid and supposedly repressed just because they actually stick to the rules of the Deen. Two examples that come to mind are art (drawing animate figures) and music (the case in point regarding the character of Hakim al- Deen – the trombone- playing- former- Imam). I’m sure we’ve all read or heard the many excuses and arguments that arise whenever the above subjects (as well as others) come up, so I won’t bother with explanatory details. Anyway, here are the relevant bits from the book, presented in respective order: “Well, why are you Muslim then? If anything else is just as good.”Khadra thinks for a minute. I love the Quran, for example. And the forms and rhythms of salaah.

I keep coming back o it. It has a resonance for me.”“But you think someone else can pray another way and find a path to God?” Tayiba counters.“Absolutely.” .

Halal, haram. Is it godly? Is it frivolity? No space to breathe. Everyone must have kept secrets from each other about what they really liked, who they really were. How much had any of them really known each other growing up?”  So there we are.

In the first snippet of dialogue, Khadra (and presumably Mohja Kahf, if the character’s beliefs reflect the author’s) does not believe in one of the main principles of the . In the second, we see that there is a heightened sense of the dramatic (not doing things that they wanted to, even if it was haraam, means that they’re “repressing their inner selves” – something mentioned earlier on in the book, like when Khadra stopped riding her bike) and apparently no concept of sacrificing for the sake of Allah, no awareness that whenever a Muslim gives up something for his/her Lord to ward of His Punishment or to earn His Pleasure, Allah will replace it with something better (whether it’s in this world or in the Hereafter). The writing style, especially of the first half, is excellent – detailed, descriptive, and it tracks character development through various phases in a way that you feel you’re growing up with the character. In the second half, I seemed to have lost that feeling of closeness – whether due to the author’s skill waning, a deliberate attempt to make us feel Khadra’s confusion and transition into proggie- Sufism, or my own disgust at the way Khadra turned out, I’m not exactly sure.

I found the end disappointing also – for some reason I didn’t feel that sense of closure that I associate with a good ending to a good book. Rather, it felt clunky and incomplete – one moment she’s wailing with grief, the next providing emotional support to her boy- band- member younger brother who wants to marry his Mormon girlfriend, then giving her older (and much more sensible) brother an “enlightening” lecture about how she has to show both sides of the story about the Muslim community (she took pictures of them that would only reinforce ignorant stereotypes about Muslims and said that she trusts viewers to be intelligent and look past the stereotypes). For others, however, who perhaps enjoy some good fiction (“good” in terms of quality of writing, not necessarily content) and/or would also like to glean a better understanding of how and what the progressives/ liberals/ modernists think – then yes, I would suggest this book, because it’s why I read it in the first place (well, that and curiousity about whether it was just another piece of Islamophobic trash disguised as literature).

I’m sure many people would disagree with me on that, but whatever.

National Gallery - Wikipedia. The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1. 82.

It is among the most visited art museums in the world, after the Mus. It came into being when the British government bought 3.

John Julius Angerstein, an insurance broker and patron of the arts, in 1. After that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two- thirds of the collection.

It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition. Only the fa. Wilkins's building was often criticised for the perceived weaknesses of its design and for its lack of space; the latter problem led to the establishment of the Tate Gallery for British art in 1. The Sainsbury Wing, an extension to the west by Robert Venturi and Denise Scott Brown, is a notable example of Postmodernist architecture in Britain. The current Director of the National Gallery is Gabriele Finaldi. History. The Bavarian royal collection (now in the Alte Pinakothek, Munich) opened to the public in 1. Medici in Florence around 1.

Uffizi Gallery), and the Museum Fran. In 1. 77. 7 the British government had the opportunity to buy an art collection of international stature, when the descendants of Sir Robert Walpole put his collection up for sale. The MP John Wilkes argued for the government to buy this . In 1. 79. 9 the dealer Noel Desenfans offered a ready- made national collection to the British government; he and his partner Sir Francis Bourgeois had assembled it for the king of Poland, before the Third Partition in 1. Polish independence.

The collection opened in Britain's first purpose- built public gallery, the Dulwich Picture Gallery, in 1. The Scottish dealer William Buchanan and another collector, Joseph Count Truchsess, both formed art collections expressly as the basis for a future national collection, but their respective offers (made in the same year, 1. The British Institution, founded in 1.

The members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre.

Angerstein was a Russian- born . On 1 July 1. 82. 3 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The King Of Fighters Special Edition 2004 Hack Rom Nds more. The unexpected repayment of a war debt by Austria finally moved the government to buy Angerstein's collection, for .

Pall Mall. Angerstein's paintings were joined in 1. Beaumont's collection, and in 1. Reverend William Holwell Carr's bequest of 3. But Agar Ellis, now a trustee of the Gallery, appraised the site for being .

Gallery to move briefly to No. Pall Mall, which the novelist Anthony Trollope described as a . The location was a significant one, between the wealthy West End and poorer areas to the east. According to the Parliamentary Commission of 1.

Their conservative tastes resulted in several missed opportunities and the management of the Gallery later fell into complete disarray, with no acquisitions being made between 1. Many thought the position would go to the German art historian. Gustav Friedrich Waagen, whom the Gallery had consulted on previous occasions about the lighting and display of the collections.

However, the man preferred for the job by Queen Victoria, Prince Albert and the Prime Minister, Lord Russell, was the Keeper of Paintings at the Gallery, Sir Charles Lock Eastlake, who was President of the Royal Academy, played an essential role in the foundation of the Arundel Society, and knew most of London's leading art experts. The new director’s taste was for the Northern and Early Italian Renaissance masters or . Eastlake made annual tours to the continent and to Italy in particular, seeking out appropriate paintings to buy for the Gallery. In all, he bought 1. Britain. Eastlake also amassed a private art collection during this period, consisting of paintings that he knew did not interest the trustees.

His ultimate aim, however, was for them to enter the National Gallery; this was duly arranged upon his death by his friend and successor as director, William Boxall, and his widow Lady Eastlake. The Gallery’s lack of space remained acute in this period.

In 1. 84. 5 a large bequest of British paintings was made by Robert Vernon; there was insufficient room in the Wilkins building so these were displayed first in Vernon’s town house at No. Pall Mall and then at Marlborough House. Turner was to bequeath the entire contents of his studio, excepting unfinished works, to the nation upon his death in 1. The first 2. 0 of these were displayed off- site in Marlborough House in 1. The stipulation in Turner's will that two of his paintings be displayed alongside works by Claude.

The acquisition in 1. Blenheim Palace, Raphael's Ansidei Madonna and Van Dyck's Equestrian Portrait of Charles I, with a record- setting grant of . Works by artists born after 1. Millbank, which allowed Hogarth, Turner and Constable to remain in Trafalgar Square.

Early 2. 0th century. Their first acquisition for the National Gallery was Vel. However, despite the crisis in aristocratic fortunes, the following decade was one of several great bequests from private collectors. In 1. 90. 9 the industrialist Dr Ludwig Mond gave 4. Italian renaissance paintings, including the Mond Crucifixion by Raphael, to the Gallery. Later that month another suffragette attacked five Bellinis, causing the Gallery to close until the start of the First World War, when the Women's Social and Political Union called for an end to violent acts drawing attention to their plight. In 1. 90. 6, Sir Hugh Lane promised 3.

Renoir's Umbrellas, to the National Gallery on his death, unless a suitable building could be built in Dublin. Although eagerly accepted by the director Charles Holroyd, they were received with extreme hostility by the Trustees; Lord Redesdale wrote that . Paul's Cathedral as to see the exhibition of the works of the modern French Art- rebels in the sacred precincts of Trafalgar Square. Part of the collection is now on permanent loan to Dublin City Gallery (. This idea was firmly rejected by Winston Churchill, who wrote in a telegram to the director Kenneth Clark, “bury them in caves or in cellars, but not a picture shall leave these islands”. In the seclusion afforded by the paintings' new location, the Keeper (and future director) Martin Davies began to compile scholarly catalogues on the collection, helped by the fact that the Gallery's library was also stored in the quarry.

The move to Manod confirmed the importance of storing paintings at a constant temperature and humidity, something the Gallery's conservators had long suspected but had hitherto been unable to prove. The first of these was British Painting since Whistler in 1. Lillian Browse. Yeats held from 1 January – 1. March 1. 94. 2, which was seen by 1. The art critic Herbert Read, writing that year, called the National Gallery .

Some of the Gallery's most significant purchases in this period would have been impossible without the major public appeals backing them, including The Virgin and Child with St. Anne and St. John the Baptist by Leonardo da Vinci (bought in 1.

Titian’s Death of Actaeon (1. The Gallery's purchase grant from the government was frozen in 1. Simon Sainsbury and Sir Timothy Sainsbury, had made a donation that would enable the construction of the Sainsbury Wing. The new chronological hang sought to emphasise the interaction between cultures rather than fixed national characteristics, reflecting the change in art historical values since the 1. Earlier in the 2. Baroque to be beyond the pale: in 1. Gallery's trustees declined to buy a Guercino from Mahon's collection for .

The same painting was valued at . They usually hold the position of associate artist for two years and are given an exhibition in the National Gallery at the end of their tenure.