'A fascinating account of life as Bedouin in the late twentieth century' Mary S. Lovell 'This sparkling memoir is a refreshing antidote and a rare window into the legendary hospitality and mysterious customs of the Bedouin Arabs' Publishing News '"Where you staying?" the Bedouin asked. "Why you not stay with me tonight - in my cave?"' Thus begins Marguerite van Geldermalsen's story of how a New Zealand-born nurse came to be married to Mohammad Abdallah Othman, a Bedouin souvenir-seller from the ancient city of Petra in Jordan. It was 1978 and she and a friend were travelling through the Middle East when Marguerite met the charismatic Mohammad who convinced her that he was the man for her. She lived with him in a two thousand-year-old cave carved into the red rock of a hillside, became the resident nurse for the tribe that inhabited that historical site and learned to live like the Bedouin: cooking over fires, hauling water on donkeys and drinking sweet black tea. She learned Arabic, converted to Islam and gave birth to three children. Over the years she became as much of a curiosity as the cave-dwellers, with tourists including David Malouf and Frank McCourt encouraging her to tell this, her extraordinary story.

The second commandment of the Old Testament forbids the making of idols to represent God. However, since human beings have always needed a direct and personal connection to the divine, a way is provided in Exodus when God says, "Make a sanctuary for me and I will come to dwell among you." God goes on to give instructions for building the Ark of the Covenant–the first tribal amulet, not yet personal but still representing the presence of God. From there, amulets, talismans, and magical jewelry evolved to provide a personal connection to God.Koltuv has collected bits of scripture describing amulets and talismans and features pictures of her extensive collection of these protective and magical treasures. It's all here: glass beads for protection against the evil eye; the mezuzah found on door frames; the hamsa, or upraised hand; engraved pendants and tiny boxes containing special prayers; Aron's breastplate; the prayer shawl and teffilin; henna hand and foot painting; and amulets from the Sepher Rezial. As visually fascinating as these objects are, how they came into use is even more so.Koltuv revives an awareness of how many of the objects we wear and carry with us without a second thought are actually magical bridges between heaven and earth.

Portable and practical, tough and colourful, Bedouin textiles played until recent times a vital and functional part in the life of the Arab nomads. Bedouin women were expected to master the art of making entire tents as well as a wide range of rugs, saddlebags and other equipment able to withstand the rigours of the desert. They took a fierce pride in their work and produced, on the simplest ground looms, textiles that were at once hard-wearing and of vibrant aesthetic appeal. The true craftspeople of the desert, Bedouin women wove to provide the very fabric of day-to-day living. Joy Hilden describes the weaving techniques of the Bedouin in the context of their transitional mode of life, as they adapt from their centuries-old nomadic existence to being both semi- and fully settled. She gathered her information on dyeing, spinning and weaving while living and travelling in Saudi Arabia between 1982 and 1994, extending her scope with trips to other parts of the Arabian Peninsula and adjacent Arab countries. She describes visits to Bedouin families, desert markets and urban centres where Bedouin gathered. Her work comes at a time when many tribal peoples are losing their cultural traditions and, with them, their crafts and the material of everyday life in the desert. This is the most exhaustive study to date of the weaving methods practised by the Bedouin of Saudi Arabia. Profusely illustrated, and giving thorough instruction in techniques, Bedouin Weaving is an essential companion for collectors and connoisseurs of flat-weave textiles, the category into which Bedouin weavings fall. It is aimed both at general readers and at weavers, craftspeople in general, students, ethnographers, and museum and textile authorities.