The majority of the essays are well-written in an approachable rhetoric that can be understood by a reader with relatively limited knowledge of the subject-matter. It also serves as a concise anthology of essays written by some of the leading critical thinkers in this area, making this both an excellent introductory book as well as a collection worthy to be on the expert's shelf.

Since we live in the West, we get the West's version of history. Halim Barakat, a lebbonese christian offers us an amazing fictional look at the Six Days War that not only crystilizes non-Israeli sentiment on the issue, but created a form of Arabic revolutionary literature when first published. Barakat's work is persuasive, fiery prose, intercutting several characters but mainly concerning itself with Ramzy (or "symbol") his autobiographical main character. This book is one of the more powerful 180 pages I've read, and the introduction by Edward Said is really great. The book occasionally lurches toward self indulgence, but considering that Barakat is not a novelist by trade, I think this is excusable. By this book. Read it. Change your mode of thought.

This book serves not only as a cogent introduction to the massive and complex body of work Said has produced in his lifetime, but it uses some of Said's own observations and critical mechanisms to understand Said. It contextualizes Said in a milieu that explains his own production of knowledge: something Said accomplished deftly in his landmark 'Orientalism' (1978). In that work, however, he examines the history of the western academic and popular cultural disposition towards "the Orient," or "the other" as an integral part of its imperial political aspirations. 'Paradox' gives an understandable syanpsis of a work many professors find difficult. Without giving away the fascinating hypothesis, Said's identity is explored amidst greater questions of the politics and meaning of identity -- themes Said is close to. This work is useful to those highly familiar with Said or those, such as myself, who seek a nice summary and introduction to the sphere of Said's work, ides that he influenced, as well as ideas he was influenced by. Its weakness is that it is probably of more utility to those belonging in the latter group of those un- or semi-familiar; though my own membership in that group may taint that judgment.

Edward W. Said teaches comparative literature at Columbia University. A few years ago, he made news when a published photograph of Professor Said hurling a stone at Israeli soldiers -- a symbolic act of Palestinian solidarity and protest, he later claimed -- caused embarrassment to his employer. Said is a man of learning and strong views. Unfortunately, the learning is largely absent from this attenuated book written in a convoluted style, even as the views come through all too clearly: the author despises imperialism.

"We need a different and innovative paradigm for humanistic research," he writes (312). Perhaps so. Yet Said's suggested paradigm has little to do with research and even less to do with the humanities. Nor is it particularly new or different. Like a Victorian interpreter of Zeitgeists, he reduces literature (which, together with art and music, he calls "culture") to a pale reflection of (or, more tantalizingly, "counterpoint" to) the perceived political wisdom of its time. Thus, if the British pursued imperial designs on the Caribbean in the first decades of the nineteenth century, Jane Austen's fiction must either reflect or react to that spirit or, at worst, purposely ignore it, and it is the duty of the critic, Said maintains over and over, to determine which. Such a paradigm, I believe, trivializes the study of literature and adds nothing to the study of imperialism. One might as well research the history of baseball by its reflection in baseball cards, or the psychology of force by its reflection in action comic books.

For all its length, Culture and Imperialism is an unconvincing synthesis and a too cursory analysis of Austen, Conrad, Dickens, Verdi, Rushdie, and Said's other primary sources.

In Culture And Imperialism American professor and lecturer Edward W. Said addresses the obscure and hitherto overlooked subject of the culture of the empire. More specifically, Said connects the previously dotted lines of culture, literature and the intelligentsia with colonization and subsequently racism.
The concept is both valid and largely original: imperialism has traditionally been associated with politics and economics and not so much with culture. The direct connection is elucidated given Said's definition of Imperialism (p.9) as "the practice, the theory, and the attitudes of a dominating metropolitan center ruling a distant territory." The book discusses the hubris inherent in Western attitude towards its own supposed superiority, a discussion in which the works of mainstream writers like Conrad, Austen and Kipling figure prominently. The author argues vehemently that a cultural work of fiction can be imperialistic - intentional or not.
The book is indeed thought-provoking and free of nostalgia and hostility. Having said that much of the prose is shrouded in unnecessary convoluted writing. The notions put forth are not easily digested and not necessarily because of the novelty of the topic, but also the heavy-handed and complex text.
As such, Caveat Lector!

Who cares about the persecution of Christians? Historically, Christianity has persecuted and killed more people than any other religion on earth (crusades, spanish conquests, protestants vs. catholics, etc.) I think Western Christians have a serious problem with self-examination, and it needs to be addressed. Just look at the reviews of this book, Said is trying to make a valuable connection between literature and our beliefs; he is not condoning terrorism, give me a break.

The title contains the flashy words "nuclear policy" and "secrets", but fails to address the subject of Israeli nuclear policy, or even the broader issue of weapons of mass destruction at the hands of Israel or any of its neighbors. Though the title indicates that the reader will learn what was not known before on Israel's nuclear weapons, the fundamental questions on Israel's nuclear armament are not treated at all. Instead, the sensational title is misused to promote a particular view of the Arab Israeli conflict. A book such as this one could harm serious antinuclear activism, as it may make it appear politically motivated.

To call this book an expose would be silly. Everybody knows that Israel has a (secret) stockpile of THE ultimate weapons of mass-destruction. The reasons for the reluctance of public figures to avoid this universally known truth would fill libraries, no doubt. What this book brings into focus is the frightening reality that many players in the Israeli establishment, military and otherwise, see the use of such weapons as an inevitable response to any military setback which might under other circumstances necessitate a soul-searching peace-seeking negotiation with a military counterpart. How near such a response has been is a disgraceful indictment of all things American Pie. Don't read this book if you treasure your Reader's Digest/CNN/Disneyworld kindergarten version of the heroic struggle for Israel. More of us must listen to the few truly heroic voices - like Shahak's - before the removal of this Millenium colonial tyranny becomes even more difficult. Shame and forgiveness. Peace and unity. May the peace and tranquility of God descend upon us all. Amen.

It is a fact one would be better served reading Said rather than this book. Even the author of this book must likely vouch for such. Herein however, Hussein has patiently parsed and related the strands and materials from which Said works. The volume is clear to be sure, but lacks the polished prose and sparkle of its subject. This work does not review the life course of its subject. Rather, it reviews the works of the author, influences and arguments, aesthetic and political. For the most part Abdirahman Hussein writes of his subject with approval that at moments appears to be gushing. It is generally a disappointment that there are not more works of this nature and as a result of such puzzling paucity, this volume proves pleasing. Edward Said's work compels intellectuals to engage themselves politically and ideologically. As a result of a lacking synthesis or presiding theoretical bent in Said's work, some may conclude that it comes less thoughtfully produced. Mr. Hussein does well to clearly demonstrate that Edward Said's critical might and blight stem from the acute care he brings to his site specific interpretation of texts and situations. As curious and losing as it sounds, Hussein shows Said at work cultivating reason and taste while showing the world too often subdued and framed by something other than reason.