Recognized by readers of his novel, The Taqwacores, as the godfather of American Muslim punk, Michael Muhammad Knight is a voice for the growing number of teenagers who choose neither side of the "Clash of Civilizations." Knight has now written his personal story, a chronicle of his bizarre and traumatic boyhood and his conversion to Islam during a turbulent adolescence. Impossible Man follows a boy's struggle in coming to terms with his father--a paranoid schizophrenic and white supremacist who had threatened to decapitate Michael when he was a baby--and his father's place in his own...

A Muslim punk house in Buffalo, New York, inhabited by burqa-wearing riot girls, mohawked Sufis, straightedge Sunnis, Shi'a skinheads, Indonesian skaters, Sudanese rude boys, gay Muslims, drunk Muslims, and feminists. Their living room hosts parties and prayers, with a hole smashed in the wall to indicate the direction of Mecca. Their life together mixes sex, dope, and religion in roughly equal amounts, expressed in devotion to an Islamo-punk subculture, -taqwacore, - named for taqwa, an Arabic term for consciousness of the divine.
Originally self-published on photocopiers and spiralbound...

Amazing Ayyub, an Iranian Shi'ite skinhead, and Rabeya, a burqa-wearing punk, have kidnapped Matt Damon and are holding him hostage. They demand that Hollywood depict Muslims in a positive light just one movie where we're not these two-dimensional al Qaeda stereotypes. But Damon's concerned they're playing into that same terrorist paradigm, thereby furthering the neoconservative perception of Islam.
Meanwhile, Ayyub embarks on a mission to rid the taqwacore scene of a Muslim pop-punk band called Shah 79. Along the way, he makes himself invisible, escapes punk-eating zombies in a mosque...

Michael Muhammad Knight embarks on a quest for an indigenous American Islam in a series of interstate odysseys. Traveling 20,000 miles by Greyhound in sixty days, he squats in run-down mosques, pursues Muslim romance, is detained at the U.S.-Canadian border with a trunkload of Shia literature, crashes Islamic Society of North America conventions, stink-palms Cat Stevens, and limps across Chicago to find the grave of Noble Drew Ali, filling dozens of notebooks along the way. The result is this semi-autobiographical book, with multiple histories of Fard and the landscape of American Islam woven...

When Michael Muhammad Knight sets out to write the definitive biography of his "Anarcho-Sufi" hero and mentor, writer Peter Lamborn Wilson (aka Hakim Bey), he makes a startling discovery that changes everything. At the same time that he grows disillusioned with his idol, Knight finds that his own books have led to American Muslim youths making a countercultural idol of him, placing him on the same pedestal that he had given Wilson.

In an attempt to forge his own path, Knight pledges himself to an Iranian Sufi order that Wilson had almost joined, attempts to write the Great American Queer...

The Salafi movement invests supreme Islamic authority in the precedents of the Salaf, the first three generations of Muslims, who represent a "Golden Age" from which all subsequent eras can only decline. In Why I Am a Salafi, Michael Muhammad Knight confronts the problem of origins, questioning the possibility of accessing pure Islam through its canonical texts.

Why I Am a Salafi is also a confrontation of Knight's own origins as a Muslim. Reconsidering Salafism, Knight explores the historical processes that informed Islam as he once knew it, having converted to a Salafi...