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Colonialism

The Islamophobic and Islamophilic Colonialities of Edward FitzGerald’s “Rubaiyat”

The following essay by the sociolgist Mohammad H. Tamdgidi is an excerpt from a longer introduction (pp. 27-87) to the 12th and last book of his series Omar Khayyam’s Secret: Hermeneutics of the Robaiyat in Quantum Sociological Imagination, subtitled, Book 12: Khayyami Legacy: The Collected Works of Omar Khayyam (AD 1021-1123) Culminating in His Secretive 1000 Robaiyat Autobiography. The introduction was subtitled “Toward A Textually and Historically More Reliable Biography of Omar Khayyam (AD 1021-1123) Based on the Findings of This Series.” The excerpt offers a critical commentary on the role played in modern times by Edward FitzGerald’s Rubáiyát in colonially distorting his legacy.

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POST COVER: Khayyam’s Tent: A Secretive Autobiography: 1000 Bittersweet Robaiyat Sips from His Tavern of Happiness OMAR KHAYYAM - Logically Re-Sewn and Translated in Verse by Mohammad H. Tamdgidi
Khayyami Art

Omar Khayyam’s Tent: His Autobiography of 1000 Bittersweet Robaiyat Wine Sips Published on June 10, His True Birthday

The original Robaiyat of Omar Khayyam (AD 1021-1123) as shared in the forthcoming OKCIR book is an epic, at once a personal, world-historical, and cosmic search for true human happiness. Khayyam composed it to be highly readable so that it can be read by all, continually, and today, before it is too late, like a prayer book or a rosary of pearls or ruby stones, since it was meant to be not only reflective but also generative of search for happiness. If you begin reading it, you must do so at least once to its end, so that in later readings any of its parts can be recalled amid the unitary architecture of its philosophical, religious, and scientific wisdom rendered as an astounding and most beautiful work of art. Khayyam was right; there is nothing on Earth like his Wine.

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