A jewel of a novel that's skillfully structured, brilliantly visualised
While arranging the books in my father's library, I came across a novel that I was gifted a long time back and totally forgot about. It was called The Shadow of God: A Novel of War and Faith by Anthony A. Goodman (2002) and was gifted to me by my brother almost twenty years ago.
At the time, I thought the book was bulky in size and lost interest in reading it. I shelved it in the hope that I'd read it one day and this day had finally arrived! I started it and it took me a month to finish as I was busy in between with the usual summer headache of kittens being dumped at my doorstep and the hard work that came along with it.
The novel is set in the Ottoman empire era and starts with the death of Sultan Selim I in 1520 and the succession of his son Sulieman I — also known as the Magnificent and the Lawgiver — who is one of the most famous Islamic sovereigns of all times. Sultan Sulieman decides to start his reign by invading the island of Rhodes, a conquest that his grandfather Mehmet II failed to achieve in 1480 and died a year later.
Rhodes had been occupied by the Knights of St. John — the last crusaders expelled from Acre in 1290 — for the past 200 years and who were a nuisance to the Ottoman commerce routes in the Aegean Sea.
The Ottomans knew that it would be a hard endeavour and went prepared with a fleet of more than 300 ships and a force of 75,000 soldiers.
At the time, there were only 700 knights on the island and their Grandmaster Philippe Villiers de L'Isle-Adam asked for backup forces from other Christian countries but only the Venetians responded to his plea. The Knights prepared for the siege by destroying fertile lands and placing a huge chain in the harbour to stop the Ottoman ships from entering.
The Ottomans began by bombarding the outer walls of the city with cannons before digging tunnels under the wall. After six months of siege, the knights surrendered and departed with their followers to Crete in January of 1523 (502 years ago exactly!).
Both sides suffered heavy losses in lives. Most of Goodman's characters are based on real people that existed and took part in the siege. The few fictional ones are added to familiarise readers with warfare atmosphere, such as the couple Jean and Melina who worked in the hospital as nurses during the siege; their diminishing hopes and growing fears are shared as they watch their city slowly fall in the hands of the Ottomans with the infamous reputation of killing and enslaving their enemies.
Goodman – who's an American MD — displays his vast knowledge vividly in hospital scenes where he describes medieval procedures used by doctors at the time to treat wounds and amputate limbs. As for real characters, he keeps alternating chapters between the two camps as the personas discuss their offense and defence plans, the short-lived glories and setbacks, the difficulties that both camps face with shortage of resources and weather change.
The reader is engrossed in every scene as Goodman demonstrates an unbiased perspective of both warring camps' motive for trying to occupy Rhodes, while the native's opinion doesn't matter at all as they switch one invader for another. An interesting fact is that the author visited Rhodes in 1982 and was fascinated by its rich history. After twenty years of research and writing, this jewel of a novel came out that's skillfully structured, brilliantly visualised. A must-read.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Muscat Daily
2 days ago
- Muscat Daily
Omani publications corner inaugurated in Chechnya to mark 40 years of Oman-Russia ties
Russia – As part of an ongoing cultural collaboration between the National Museum of Oman and Chechen State Pedagogical University, a dedicated Omani Publications Corner has been inaugurated at the University in Grozny, the capital of the Chechen Republic. The initiative coincides with the 40th anniversary of diplomatic relations between the Sultanate of Oman and the Russian Federation. The corner is intended to support students of Arab studies, offering access to a range of academic resources focused on Oman's cultural and intellectual heritage. According to the organisers, the effort is aimed at deepening mutual understanding between the two countries and fostering closer academic and research cooperation. 'The corner features a diverse collection of books and cultural and educational publications in literature, history, sciences, media, arts, Islamic studies, geography, and the environment,' the National Museum said. In parallel with the launch, a cultural programme was held in Muscat from June 18 to 19, organised by the museum's Learning Centre. It brought together 180 students from schools across the Muscat Governorate and focused on introducing young Omanis to Russian literature and culture. The programme featured artistic performances and short plays inspired by the works of Anton Chekhov, one of Russia's most influential literary figures. It also included a poetry and music segment titled 'Yesenin's Poetry as a Message from the Russian World to All Humanity' , dedicated to poet Sergei Yesenin. The performance centred on universal values present in Yesenin's work. Workshops under the theme 'Heritage of Ancestors' introduced students to traditional crafts such as the making of Matryoshka dolls and Chechen patterned carpets, providing insights into the ethnography and folk art traditions of the Chechen Republic. An exhibition of applied arts titled ' The Rainbow of Crafts' showcased over 50 decorative pieces that reflected the cultural diversity of the Russian Federation. The programme concluded with a symposium for the Russian-speaking community in Oman, addressing language preservation for children growing up in bilingual environments. Discussions focused on effective methods for maintaining fluency in Russian within Russian-Arab families. Founded in 1980, Chechen State Pedagogical University is considered one of the leading teacher training institutions in Russia. It comprises two institutes and five faculties, with more than 11,000 students enrolled across undergraduate, master's, and postgraduate programmes. The university maintains active ties with institutions in the Gulf and other regions, with a focus on strengthening international cooperation.
Observer
13-06-2025
- Observer
How an artist used eyes as commentary on grief and healing
Five round shapes catch your eye immediately, pulling you in with their quiet presence and emotional weight. They're wrapped in tight white cloth, with colours that shift from rusty red to almost pure white. At first glance, they might resemble watching eyes, but they're far more than that. They're irises, carefully crafted to tell a story of loss and longing. This piece is called 'The Iris as a Symbol of Loss in Contemporary Art' — a personal project by Asma Al Abri, an art teacher from Oman. It's her final achievement for her Master's degree at Sultan Qaboos University. But this work pierces beyond academic exercise; it's a window into her life. It reflects her own experience—a tragedy she lived through—the death of her father, which occurred just a day before she began her studies. The installation draws heavily from psychologist Elisabeth Kübler-Ross's model of grief, which identifies five stages: denial, anger, bargaining, depression, and acceptance. But Asma consciously chose to focus on four of these: shock, denial, coming to terms (or acceptance), and, ultimately, peace. Each is embodied in a circular panel, which resemble irises, symbolising perception, emotion, and transformation. These aren't just visual elements — they are mirrors of inner change. Why focus on the iris? Asma explains that she deliberately zoomed in on the iris rather than depict the whole eye. The iris is unique to each person, filled with light and depths that reveal emotions in subtle ways. For her, it became a symbol of internal states—of sorrow and healing intertwined. She says, 'The iris is like a mirror of our sadness. It reflects how we feel inside. Scientific studies even show that the size and colour of the iris can change with our emotions.' The materials used in her irises hold deep symbolism. The dominant white cloth references burial shrouds in Islamic culture — a poignant reminder that this work isn't abstract but rooted in real loss, mourning, and remembrance. The earlier irises are adorned with Arabic words associated with mourning rituals, words many Omanis would recognise from funeral prayers and traditions. They evoke collective memory and shared experience. By the time we reach the final iris, the cloth is plain — the words have faded away. This signifies a sort of inner acceptance, an inner peace with the reality of loss. Asma reflects, 'Even after acceptance, the connection remains. Through remembrance, prayer, and love, the bond endures." How an artist used eyes as commentary on grief and healing Now, to understand the significance of her choice, it's useful to compare her work with that of other artists who have also explored loss and perception. Take Chuck Close, the American painter known for his large-scale portraits, many of which focus intensely on the eyes. His hyper-realistic depictions capture emotion through detailed rendering: the creases, the colour, the lifelike quality. His work celebrates individual identity, the unique windows into souls. But while Close's portraits highlight recognition and the power of visual detail, Asma's irises strip that away, focusing instead on the universal emotional states that lie beneath the surface. Her method becomes more abstract, reflective, and meditative. From the regional perspective, Mona Hatoum's work echoes similar themes but approaches them differently. Her installations often revolve around fragility and vulnerability, using everyday objects for powerful symbolic effect. Unlike Asma's intimate focus on the iris as a symbol of internal emotional landscapes, Hatoum's art tends to explore collective trauma, pain, and displacement through physically challenging experiences. Both artists address human suffering, but their methods differ — Hatoum's often visceral, involving physical discomfort and social commentary; Asma's more subtle, introspective, and culturally specific. Her blending of influences makes her work stand out. While she's inspired by global conversations around grief and perception, her piece remains deeply rooted in her cultural identity and personal experience. Her choice to use fabric, words, and the form of the iris creates an intimate space for reflection. It invites viewers to delve into their own feelings of loss, compassion, and acceptance. Displayed quietly in the gallery, the installation demands silence and contemplation. Visitors are encouraged to stand close, to look into each iris and feel the shifts in emotion it suggests. Asma's work isn't merely about mourning; it's about the universal process of healing, of transforming pain into remembrance and love. It reminds us that even in our darkest moments, there's beauty to be found in memory and acceptance. Overall, her project weaves together personal grief, scientific insights, and cultural tradition into a thoughtful meditation on loss. It doesn't just mourn a loved one; it speaks to the resilience of the human spirit.
Observer
08-06-2025
- Observer
Celebrating a festival of faith, unity and generosity
Eid is a joyous occasion that brings people together to celebrate life's blessings with loved ones. Such festive days of celebrating Eid offer an opportunity to share happy moments with family, friends, neighbours, colleagues and community overall. This occasion is somehow refreshing, helping people skip their daily routines and reunite with others. Though it is important to embrace moments that refresh our spirits and bring joy into our lives even beyond these occasions. Celebrations like Eid remind us of the value of togetherness and the importance of nurturing relationships. Just two months back, Muslims worldwide celebrated Eid Al Fitr and now the spirit of celebration returns. Eid Al Adha, also known as the Festival of Sacrifice, stands as one of the most significant occasions in the Islamic calendar. It falls on the 10th day of Dhul Al Hijjah, the twelfth and final month of the Islamic year, and coincides with the annual pilgrimage, Haj. This sacred celebration commemorates the profound story of the Prophet Ibrahim (Abraham), who demonstrated ultimate faith and obedience by being willing to sacrifice his son at Allah's command. Before the sacrifice could take place, Allah provided a ram to be offered instead. In remembrance of this act, Muslims who are financially able to sacrifice an animal, typically a sheep, goat, cow or camel, and divide the meat into three parts: one-third for the poor and needy, one-third for relatives and neighbours, and one-third for their own household. On this festive day, men, women, and children dress in their finest clothes and gather for the special Eid prayer, usually held in large gatherings in open spaces or mosques. The act of sacrifice must meet specific criteria to be accepted, ensuring that the animal is healthy and of suitable age. Eid Al Adha is not only a religious ritual but also a festive and meaningful occasion for people of all ages. It reflects unity, compassion and generosity. Differences are set aside as communities come together in celebration, reinforcing the values of empathy, forgiveness, and social harmony. It also marks the end of the Islamic year and welcomes a new chapter in the Hijri Calendar, a time for spiritual renewal and recommitment to faith. Ultimately, Eid Al Adha is an opportunity to reconnect with one another, to remember our shared values and history, and to celebrate the blessings that bind us as a global community. Though celebrated differently across cultures, Eid Al Adha is universally marked by a spirit of humility, gratitude and celebration. It goes beyond borders and backgrounds, reminding Muslims everywhere of their shared faith and responsibilities. Beyond religious observance, Eid is a time for strengthening relationships, healing old wounds, and reaching out to those in need. It is a day when joy is multiplied through sharing, and barriers are broken by kindness. In multicultural societies, Eid brings also an opportunity for people of all faiths to come together in mutual respect and celebration. Open houses, interfaith events and community feasts help build bridges and foster understanding. Whether it is the sweet joy or the meaningful reflection of Eid Al Adha, celebrating Eid is a vibrant expression of faith and love. It is a reminder that despite our diverse backgrounds, the values of compassion, generosity and togetherness are universal and always worth celebrating. Children often wake up to new clothes, gifts, and sweets, their excitement mirroring the celebratory spirit that fills the day. For adults, it is a time to reconnect with loved ones, share meals, and create lasting memories around the dining tables. The tradition of visiting relatives and neighbours reflects a sense of belonging and community. The joy of celebrating Eid Al Adha goes far beyond feasts and festivities. It is found in the strength of faith, the warmth of family, and the open heartedness of giving. It is a time when hearts are inspired, communities are strengthened, and the enduring values of Islam shine brightly through the lives of those who honour this sacred occasion.
