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Egypt has placed its hopes on developing its vast and empty deserts as the ultimate solution to the country’s problems. New cities, new farms, new industrial zones, new tourism resorts, and new development corridors all have been promoted for over half a century to create a modern Egypt, and to pull tens of millions of people away from the increasingly crowded Nile Valley into the desert hinterland. The results, in spite of colossal expenditures and ever-grander government pronouncements, have been meager at best, and today, Egypt’s desert is littered with stalled schemes, abandoned projects, and forlorn dreams. It also remains stubbornly uninhabited. Egypt’s Desert Dreams is the first attempt of its kind to look at Egypt’s desert development in its entirety. It recounts the failures of governmental schemes, analyzes why they have failed, and exposes the main winners of Egypt’s desert projects, as well as the underlying narratives and political necessities behind it, even in the post-revolutionary era. It also shows that all is not lost, and that there are alternative paths that Egypt could take.

In colonial-era Egypt, a new social category of “modern men” emerged, the efendiyya (sg. efendi). Working as bureaucrats, teachers, journalists, free professionals and public intellectuals, the efendis represented new middle class elites. They were the experts who drafted and carried out the state’s modernisation policies, and the makers as well as majority consumers of modern forms of politics and national culture. As simultaneously “authentic” and “modern,” they assumed key political role in the anti-colonial movement and in the building of a modern state both before and after the revolution of 1952. This book tells the story of where did these self-consciously modern men come from, and how did they come to be through multiple social, cultural, and institutional contexts. These contexts included social strategies pursued by “traditional” middling households responding to new opportunities for social mobility; modern schools as (non-exclusive) vehicles for new forms of knowledge opening possibilities to redefine social authority; but they also included new forms of youth culture, student rituals and peer networks, as well as urban popular culture writ large. Through these contexts, a historically novel experience of being an efendi emerged. New social practices (politics, or writing) and new cultural forms and genres (literature, autobiography) were its key sites of self-expression. Through these venues, an efendi culture imbued with a sense of mission, duty, and entitlement was articulated, and defined against and in relation to two main contrastive others: “traditional” society and western modernity-cum-colonial authority. Both represented the efendis’ social, cultural and political nemeses, who, in some contexts, could also become his allies.

Analyzing the modernist art movement that arose in Cairo and Alexandria from the late nineteenth century through the 1960s, Alex Dika Seggerman reveals how the visual arts were part of a multifaceted transnational modernism. While the work of diverse, major Egyptian artists during this era may have appeared to be secular, she argues, it reflected the subtle but essential inflection of Islam, as a faith, history, and lived experience, in the overarching development of Middle Eastern modernity. Challenging typical views of modernism in art history as solely Euro-American, and expanding the conventional periodization of Islamic art history, Seggerman theorizes a “constellational modernism” for the emerging field of global modernism. Rather than seeing modernism in a generalized, hyperconnected network, she finds that art and artists circulated in distinct constellations that encompassed finite local and transnational relations. Such constellations, which could engage visual systems both along and beyond the Nile, from Los Angeles to Delhi, were materialized in visual culture that ranged from oil paintings and sculpture to photography and prints. Based on extensive research in Egypt, Europe, and the United States, this richly illustrated book poses a compelling argument for the importance of Muslim networks to global modernism.