In The Cooing of the Dove and the Cawing of the Crow Suzanne Pinckney Stetkevych offers original translations, close readings, and new interpretations of selected poems from the two contrasting diwans of the blind Late ʿAbbāsid master-poet, Abū al-ʿAlāʾ al-Maʿarrī (d. 449 H./1057 C.E.). The first is Saqṭ al-Zand (Sparks of the Flint), the highly esteemed collection of qaṣīdah poetry of his youth, which he later disavowed. The second is Luzūm Mā Lā Yalzam (Requiring What Is Not Required), the programmatic double-rhymed collection from his later period of withdrawal and seclusion. She argues that the contrasting ‘poetics of engagement’ and ‘poetics of disengagement’ of the two diwans reflect the transition from High Classical to Post Classical aesthetics.

The Ever-Changing Sky provides a comprehensive and non-mathematical guide to spherical astronomy. The reader is guided through terrestrial and celestial co-ordinate systems, time measurement and celestial navigation, to the prediction of the rising and setting of the stars, Sun and Moon. It focuses on the geometrical aspects of the night sky without using complex trigonometry. The book progresses to a general study of the Earth and sky, including the stars and constellations (with useful star maps provided), the motions and appearance of the Moon, tides and eclipses, the orbits of the planets and the smaller bodies of the Solar System (asteroids, meteors, meteorites and comets). Finally, there is a brief overview of atmospheric phenomena (including rainbows and haloes). This text will be invaluable to students taking courses in naked-eye astronomy, amateur and professional astronomers, as well as more general readers wanting to know how the night sky changes.

Photographs of selected Islamicate globes from the thirteenth to the nineteenth centuries, as well as line drawings based on written descriptions, accompany the historical an analytical discussion. The fourth chapter on iconography analyses the constellation figures on the Smithsosonian globe from the perspective of an art historian. This chapter was contributed by Andrea P.A. Belloli. The second major part of the study presents a discussion of the star names engraved on the Mughal globe, tracing the origins of the term sin Greek mythology or early Bedouin constellation outlines. The discussion of each constellation is accompanied by a photograph of the constellation as depicted on the Smithsonian globe. An account of lunar mansions is included as background to early Bedouin asterisms, which greatly affected later Islamicate star names and eventually "modern" western star names.