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The Book of Gifts and Rarities is an Arabic history of wealth and ostentation from the 6th to 11th centuries. It was written in Egypt by an official of the Fatimid Caliphate sometime after 1071. The surviving form of the work is not complete and contains no attribution. It has been ascribed to a certain Al-Qāḍī al-Rashīd Aḥmad ibn al-Zubayr, but this is not universally accepted.
The text's first editor, Muḥammad Ḥamīdallāh, identified the author as al-Qāḍī al-Rashīd Abū l-Ḥusayn Aḥmad ibn al-Qāḍī al-Rashīd ibn al-Zubayr. This name is known only from some citations by al-Ghūzūli, although Ḥamīdallāh argued that he was identical to the Muhadhdhab ibn al-Zubayr whose poetry is cited in al-Maqrīzī's Khiṭaṭ.[1] No al-Qāḍī al-Rashīd ibn al-Zubayr is mentioned in any of the biographical dictionaries that cover the 11th century.[2]
In her doctoral dissertation, Ghāda al-Ḥijjāwī al-Qaddūmī tentatively identified Ḥamīdallāh's Ibn al-Zubayr, on the basis of his name and title, as the elder brother of the great-great-grandfather of the judge Aḥmad ibn al-Zubayr, who died in 1166 or 1167.[3] The latter is mentioned in the biographical dictionary of Ibn Khallikān. He belonged to a family of judges (qāḍīs) with the hereditary honorific (laqab) al-Qāḍī al-Rashīd. The other parts of his Arabic name are his kunya Abū l-Ḥusayn ('father of al-Ḥusayn') and his nasab, Ibn al-Zubayr, referring to the name of an ancestor. His given name was Aḥmad.[2] He must have been the eldest son, since he gave his eldest son the same name as his father (al-Ḥusayn).[4]
Shākir Muṣṭafā identifies al-Ghūzūli's Ibn al-Zubayr with the 12th-century judge and al-Maqrīzī's with his brother, a poet who died in 1166. Neither could be the author of an 11th-century text. In a more recent work, al-Qaddūmī rejects Ḥamīdallāh's hypothesis and treats the text as anonymous.[1]
The author can be approximately dated by internal references in the text. In 1052 or 1053, he witnessed at Tinnīs the transshipment of gifts sent by the Byzantine emperor Constantine IX and bound for Cairo and the court of the Fatimid caliph al-Mustanṣir. At Tinnīs in 1070, he was told by Khaṭīr al-Mulk Muḥammad, son of the vizier al-Yāzurī, about a gift sent to al-Mustanṣir by King Iqbāl al-Dawla of Dnia [ca]. The latest event in which he mentions himself is a meeting in Damietta in 1071.[1]
The title is a matter of confusion.[8] At the end of the sole surviving copy, al-Awḥadī calls the book he compiled from Kitāb al-Hadāyā waʾl-tuḥaf, 'Book of Gifts and Rarities'.[9] The title on the titlepage, added by a librarian, is Kitāb al-Dhakhāʾir waʾl-tuḥaf, 'Book of Treasures and Rarities'. It is not original, but is taken from al-Maqrīzī.[10] In her dissertation, al-Qaddūmī accepts the full title as given by al-Ghūzūli (Kitāb al-ʿAjāʾib waʾl-ṭuraf waʾl-hadāyā waʾl-tuḥaf, 'Book of Wonders, Curiosities, Gifts and Rarities'), which the latter usually abbreviates to al-ʿAjāʾib waʾl-ṭuraf.[11]
The first edition of the Book of Gifts and Rarities was published as the first volume in Kuwait's "Arab Heritage" series in 1999 under the title Kitāb adh-dhakhāʾir waʾt-tuḥaf.[12] An English translation was published in 1996 under the title Book of Gifts and Rarities.[13]
The Book of Gifts and Rarities is a history of wealth that covers gift exchanges between rulers, lavish and costly celebrations, inheritances and treasure troves.[5] It was divided into twelve chapters, subdivided into 414 paragraphs. The version of al-Awḥadī, however, twice combines two chapters into a single chapter (chapters 5 and 10), making a total of ten chapters.[14] Their titles are:
The author was an eyewitness to some of what he records, but most was taken from written sources. He cites 21 different written authorities as well as some eyewitnesses and, in a few cases, hearsay.[17]
This work is a translation and study of a ninth- through fifteenth-century manuscript, a selection from a medieval book, Kitāb al-Hadāyā wa al-Tuḥaf (Book of Gifts and Rarities), edited by Muhammad Hamidullah. The manuscript furnishes a wealth of varied information offering insights into the period immediately preceding Islam and extending through the first four centuries of Islamic rule. The book provides valuable information on "gifts" exchanged on various occasions between Islamic rulers and their foreign counterparts. "Rarities" form a part of the gifts; some of them are marvels, others are mythical.
The manuscript is an invaluable source of information in many fields. It abounds with technical references and details in various areas of Islamic art, which renders it unique as a reference. The extensive detailed treatment, in the context of the overall material culture, provides a particularly rich source of information for those working both in the specific field of Islamic art and in that of Islamic culture as a whole.
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It's not as though you can just forget a voice like hers. Ever since the start of her on-again, off-again tenure in Fleetwood Mac - when her dulcet tones powered songs like "Rhiannon," "Landslide," "Dreams" (the band's first No. 1 single in America), essential B-side "Silver Springs," "Gypsy" and others - Nicks' artistry and talent has been a given. But you can feel it in the air too, right? At some point in the last decade, the work and influence of Nicks - and not just in the confines of the Mac - started to feel less like a monument and more like an ethereal force, the way one play of "Don't Stop Believin'" in The Sopranos caused a tidal wave in culture. Maybe it started with her two-episode appearance on American Horror Story: Coven as an even witchier version of herself. It certainly apexed between her solo induction into the Rock and Roll Hall of Fame in 2019 - the first woman to receive the honor twice, after which Carole King and Tina Turner earned recognition for their own solo careers - and that 2020 TikTok clip of Nathan Apodaca lip-syncing "Dreams" between swigs of Ocean Spray cranberry juice while skateboarding to work. (Afterward, the song made it back to the Billboard Hot 100, peaking at No. 12.)
The physical testament to her career may help you find that answer yourself: Complete Albums & Rarities (Rhino R2 698595), a 10CD box set offering a near one-stop shop to Nicks' discography. All eight of her solo albums are here (is it only that few?), plus a formidable double-album of rarities. Here, finally, the story of what makes Stevie run and endure can be told. You just might want to break out a magnifying glass for some parts.
For all of Nicks' outsized influence on women in pop and rock, her career is hardly a chartwatcher's game. Only 10 of her singles reached the Top 40 in America, ending with 1989's "Rooms on Fire"; afterward, she became almost solely seen as an album artist. (Indeed, outside of 1994's Street Angel, every single one of the albums here did reach Billboard's Top 10.) So in some ways, there's much to discover.
Nicks' first two solo albums, Bella Donna (1981) and The Wild Heart (1983), do indeed feel of a piece with each other, and are probably the most familiar. Both were produced with brio by Jimmy Iovine, with a stable of first-call session musicians at the ready: guitarist Waddy Wachtel, bassist Bob Glaub, keyboardist Benmont Tench of Tom Petty and The Heartbreakers, drummer Russ Kunkel, plus contributions from Bruce Springsteen's pianist Roy Bittan, Eagles guitarist Don Felder, Toto guitarist Steve Lukather, percussionist Bobbye Hall and more. Petty and The Heartbreakers guest in full on the unforgettable "Stop Draggin' My Heart Around" and follow-up "I Will Run to You"; "Leather and Lace" features a vulnerable duet with the Eagles' Don Henley, and an uncredited Prince contributes driving synthesizers to "Stand Back," a song freely inspired by his own smash "Little Red Corvette." With hits aplenty from this period - all of the above, plus "Edge of Seventeen" and "If Anyone Falls" - these two (handsomely expanded by Rhino in the past, although little of that bonus material reappears here) will surely strike a familiar chord with fans old and new.
Things moved into fascinating new directions as the '80s continued. 1985's Rock a Little added more synth texture and thunderous, reverbed drums, plus new producing partners; after Iovine left halfway through recording, Nicks recruited an upstart songwriter/multi-instrumentalist named Rick Nowels to finish the job. (Nowels would later craft hits with and for Belinda Carlisle, Celine Dion, Madonna, Lana Del Rey and others - mainly women influenced in some way by Nicks' example.) The album is a little all over the map - for every triumph like Top 5 hit "Talk to Me" or the fun "Imperial Hotel," co-written and co-produced by Petty's longtime guitarist Mike Campbell, there's an overdone cut like "I Can't Wait" - but it set up the path forward for her last solo effort of the decade. 1989's The Other Side of the Mirror followed a rocky personal period where one drug addiction (cocaine) was replaced by another (Klonopin), and long-simmering tensions finally caused the shockingly stable Fleetwood Mac line-up to splinter after a decade together. With a brace of songs written mostly with Nowels and produced by Rupert Hine, Mirror is at turns charming ("Rooms on Fire," "Long Way to Go") and unusual (the horn laden "Whole Lotta Trouble"; "Two Kinds of Love," a vocal duet with Bruce Hornsby and a soprano sax solo by Kenny G), often underserved by its thin production.
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