Though it is the fastest growing religion in the world, Islam remains shrouded in ignorance and fear. To many in the west, Islam means jihad, veiled women and suicide bombers. Yet these represent only fringe elements of the world's fastest growing religion. While there have been a number of successful books on the topic of Islamic history - from Karen Armstrong's Islam: A Brief History to Bernard Lewis's The Crisis of Islam , there is surprisingly no book for a popular audience about Islam as a religion, let alone one by an author from an Islamic background. No God But God fills that gap. What is the essence of this ancient faith? Is it a religion of peace or of war? How does Allah differ from the God of Jews and Christians? Can an Islamic state be founded on democratic values such as pluralism and human rights? In No god but God , challenging the ‘clash of civilisations’ mentality that has distorted out view of Islam, Aslan explains the faith in all its complexity, beauty and compassion. (20040315)

Long before Vasco da Gama rounded the Cape of Good Hope en route to India, the peoples of Africa, the Middle East, and Asia engaged in vigorous cross-cultural exchanges across the Indian Ocean. This book focuses on the years 700 to 1500, a period when powerful dynasties governed both regions, to document the relationship between the Islamic and Chinese worlds before the arrival of the Europeans. Through a close analysis of the maps, geographic accounts, and travelogues compiled by both Chinese and Islamic writers, the book traces the development of major contacts between people in China and the Islamic world and explores their interactions on matters as varied as diplomacy, commerce, mutual understanding, world geography, navigation, shipbuilding, and scientific exploration. When the Mongols ruled both China and Iran in the thirteenth and fourteenth centuries, their geographic understanding of each other's society increased markedly. This rich, engaging, and pioneering study offers glimpses into the worlds of Asian geographers and mapmakers, whose accumulated wisdom underpinned the celebrated voyages of European explorers like Vasco da Gama.

Trickster Travels (2006) views Italy, Spain, Morocco and other parts of North Africa and West Africa through the lens of Leo Africanus's pioneering geography. It has appeared in four translations, with three more on the way.In Trickster Travels (2006), she describes how the early 16th-century North African Muslim "Leo Africanus" (Hasan al-Wazzan) managed to live as a Christian in Italy after he was kidnapped by Christian pirates and also sees his writings as an example of “the possibility of communication and curiosity in a world divided by violence.”

The Mediterranean trade in luxury goods from the East made a strong and lasting impression on Italian artistic taste and production during the early Renaissance. This opulently illustrated book describes and illustrates the fascinating ways that imported art objects inspired improvements and new variety in Italian decorative arts. From Italian textiles featuring Islamic and Asian motifs to ceramics and glassware that reflected Syrian techniques and ornamental concepts, this book gives an extraordinary view of the influence of imported Oriental goods in Italy over three crucial centuries of artistic development.
Rosamond Mack traces Italy's emerging decorative arts tradition as she discusses textiles, ceramics, glass, bookbinding, and metalwork; she also considers how Italian painting reflects trans-Mediterranean trade and travel. Painters represented carpets and ceramics from the East in their works, as well as textiles with bands of writing replicating or suggesting Arabic script, negotiating cultural differences in their borrowings. These paintings show how Islamic motifs were absorbed into Christian contexts.
Beginning in the 1300s and 1400s, the works of Italian craftsmen inspired by luxury goods from Islamic and Asian countries gradually began to compete with those brought to Europe in huge quantities on Italian merchant ships. Yet even after their own versions surpassed the quality of some of the imported goods, Italians continued to collect, imitate, and adapt objects from the Ottoman empire and China. As Mack discusses these important influences, she provides useful summaries of the history of Renaissance decorative arts and presents a balanced and carefully researched view of the controversial topic of East-West artistic exchange.
This uniquely comprehensive study offers an intriguing look at the effects of exchange in Renaissance material culture, shedding new light on the development of the Italian Renaissance as a whole. No other source provides so rich and inclusive a synthesis of the period's decorative arts.