A Mosque in Munich: Nazis, the CIA, and the Rise of the by Ian Johnson

By Ian Johnson

Within the wake of the inside track that the 11th of September hijackers had lived in Europe, journalist Ian Johnson puzzled how this sort of radical crew may perhaps sink roots into Western soil. such a lot bills reached again 20 years, to U.S. help of Islamist opponents in Afghanistan. yet Johnson dug deeper, to the beginning of the chilly struggle, uncovering the untold tale of a gaggle of ex-Soviet Muslims who had defected to Germany in the course of international struggle II. There, they'd been formed right into a well-oiled anti-Soviet propaganda laptop. As that struggle ended and the chilly warfare begun, West German and U.S. intelligence brokers vied for regulate of this influential crew, and on the heart of the covert tug of struggle used to be a quiet mosque in Munich—radical Islam's first beachhead within the West.

Culled from an array of resources, together with newly declassified files, A Mosque in Munich interweaves the tales of a number of key avid gamers: a Nazi student became postwar spymaster; key Muslim leaders around the globe, together with participants of the Muslim Brotherhood; and naïve CIA males desirous to struggle communism with a brand new weapon, Islam. a unprecedented ground-level examine chilly warfare spying and a revelatory account of the West's first, disastrous stumble upon with radical Islam, A Mosque in Munich is as beautiful because it is important to our figuring out the blunders we're nonetheless making in our courting with Islamists at the present time.

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47 Literary critics and historians such as Mahmud Shirani and Abdul Haqq48 have been quick to list the genres and languages that the Sufis used, but without explaining fully how they interacted with the political establishment of Turkish and Afghan sultanates in India and with preexisting literary and religious traditions. As Carl Ernst has pointed out, “the Indian environment was the world in which these Sufis lived. ”49 People living together within the same environment continually define and redefine themselves and others, and these processes in turn reshape their larger social narratives and contexts.

Each of the poets of the Hindavī romances used the elements of this generic formula differently. From the period of the Delhi sultanate and the Afghan kingdoms, works by four poets survive. The inauguration of the genre may be seen in the Cāndāyan of Maulānā Dā’ūd, composed in 1379 at the provincial court of Dalmau in Avadh. It is followed by Qut"ban’s Mirigāvatī (1503), composed under the patronage of Sultan Ḥusain Shāh Sharqī of Jaunpur. 72 Malik Muḥammad Jāyasī emulated the model of the Cāndāyan and the Mirigāvatī in several poems that are still extant, preeminently the Padmāvat (1540), which tells the story of King Ratansen of Chittaur and his quest for the princess Padmāvatī.

I link the lush eroticism of the allegorical set piece to the ascetic culture that produced it, the regimen of the author’s group of Sufis, the Shattari silsilah. Chapter 8 turns this knowledge of the Shattari mystical context to an exegesis of certain key passages in the romance, set within a complete reading of Mañjhan’s text. The Madhumālatī differs from the other romances of the genre in that the hero does not have two wives; nor is there a final annihilation. Instead, Mañjhan structures his story around a double plot: two couples come together in the end, and the poetic description of marriage and the journey to the beloved’s land signifies the ascent to a paradise of eternal love.

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