From Jerusalem to a Kingdom by the Sea

The Kingdom by the Sea—Tripoli libya in the 70s photo by Shara Esseidy 1400x96

29 NOVEMBER, 2021 • By Rana Asfour
The Kingdom by the Sea—Tripoli, Libya in the 1970s (photo Shara Esseidy).


From Jerusalem to a Kingdom by the Sea
, a memoir by Adel A. Dajani,
Zuleika Books (2021)
ISBN 9781916197770

 

Prophet David was recognized and revered by Jews, Moslems and Christians. Although not fashionable nowadays in the black-and-white sound bite of political correctness, these monotheistic religions had at least agreed on their prophets.

 

Rana Asfour

 

In 1529, the Ottoman Sultan Suleiman the Magnificent gave a firman (declaration) bestowing on Muslim Sufi mystical leader Al Sayyid Sheikh Ahmad al-Sharif and his descendants the custodianship of the King David Tomb in Jerusalem. “The family was hereafter to be known as the Dajanis or the Daudis (‘Daud’ is David in Arabic) as an honorific emblem for the Moslem family entrusted with looking after the Tomb of the Prophet David.”

And so from that time onward, the residents of Jerusalem gave the Sheikh and his descendants the title of al-Daudis. Additionally, the Cenacle — the room of the Last Supper, reputed to be located on an upper floor of King David’s Tomb — was also under the custodianship of the Dajanis.

Dajani’s memoir is published by Zuleika Publishing.

However, in 1948, with the establishment of the state of Israel in Palestine, the uninterrupted “umbilical connection” with a country that was the Dajanis’ home for over a thousand years, dating back to AD 637, was cut at a stroke, writes Adel A. Dajani in the opening chapter of his memoir From Jerusalem to a Kingdom by the Sea, and with that the family, whose surgeon patriarch had founded the first private hospital in Jaffa, “lost all its possessions, identity and the dignity of belonging” in what the author names as the first of the “black swans” — unforeseen events with extreme consequences — that would upend the family’s life time and time again.

Adel’s parents, Awni and Salma, with almost nothing but “the clothes on their back” initially fled the Nakba in Palestine to Cairo for what they thought would be a short stay, while things settled down enough for them to return to their Jaffa home. As it soon became apparent that they would be among some three-quarters of a million Palestinians forced into permanent exile, Adel’s father decided that it was time to look to a future outside his homeland.

And so, from Cairo the family moved to Libya in the early 1950s after Awni, an Oxbridge graduate, and barrister of the Middle Temple, secured a position as the bilingual and multicultural legal advisor to the Royal Diwan of Prince Idris Al-Senussi of Libya. Although the country at the time was a poor one with no natural resources, dependent on the indulgence of the international community, Awni found himself right in the middle of a crucial time in the country’s history as he played a major role in the formulation of the nascent constitution of the country, which needed to precede the formal declaration of a newly independent state in October, 1951. Meanwhile, Adel’s mother, Salma, and the future Queen of Libya, Fatima Idris Al Senussi, the daughter of Freedom Fighter Sayyid Ahmad Sharif Al-Senussi — leader of the Senussi religious order that fought against the Italian colonizers — formed a close friendship.

“The baptism by fire of the creation of the Kingdom of Libya anchored the relationship of growing friendship and mutual respect between my parents and King Idris and Queen Fatima,” writes Dajani. “It was this deep bond of family with the royal family that marked my childhood and that of my siblings and defined our journey into the magic Kingdom by the Sea.”

And thus it was into this charmed milieu that investment banker and writer Adel Dajani was born in Tripoli, Bride of the Sea, in 1955, whisked from the hospital to the royal palace, upon the insistence of Queen Fatima, whom Adel would later address as “Mawlati” (your highness) while his parents’ apartment in Tripoli was being refurbished. Furthermore, Awni asked the King to name his newborn and he chose the name “Adel” which means “just” in Arabic.

King Idris and Queen Fatima of Libya with the author (photo courtesy Adel Dajani).

And so begins a most exceptional part of the memoir that offers a first-person account of a monarchy about which little is known, since the coup d’état by Colonel Gaddafi brought it to an end on September 1st, 1969. It wasn’t until the uprisings of 2011 against Gaddafi’s ruthless regime that posters of Libya’s “first and last” King would re-emerge on the liberated streets of the country, heralded by revolutionaries who were not even born when the King died in exile in Egypt in 1983.

What Dajani’s memoir does is offer insight into the mind and heart of a benevolent, down-to-earth monarch, one who was in touch with his Sufi practices, with a profound love for his country, his people and most of all, his Queen. Although Libya was impoverished, King Idris wielded significant political influence, banning political parties to replace Libya’s federal system with a unitary state in 1963. Many still look to his era as a golden one in which after the discovery of oil, the country caught up with the world economically, politically and socially while building its modern infrastructure. At a time when at present, the “Libyan people have become despondent and disillusioned, and many are impoverished whilst the state is selling over one million barrels of oil per day,” writes Dajani, the words of the “wise” King of Libya ring ever truer: “I wish you had told me we had discovered water.”

The memoir oscillates between Dajani’s family history in the Old City of Jerusalem and the orange groves of Jaffa, to the spires of Oxbridge in the 1930s and to post-war London in the 1950s. Later on, the we move to Adel’s personal history that includes adolescent summers spent abroad with Libya’s King and Queen and their adopted daughter Suleima drinking tea and dining with the likes of President Nasser of Egypt, and King Paul of Greece. Dajani then goes on to his schooling, first at the British-run Tripoli College before heading to Eton as the first Arab and Libyan purportedly to go there, and where he used “to spin all sorts of stories, mainly from One Thousand and One Nights, about my pet camels and so on. And the thing is, people believed them.” Since then, the family has established a travel grant for school leavers to go to the Arab world as part of a research assignment to better learn about the region. Dajani’s two sons have subsequently gone on to attend Eton, following in their father’s footsteps.

The giant [Ben Ali] was made of salt, and the realization that people once empowered, can get rid of dictators was a liberating and euphoric feeling.

The Dajani family with patriarch Azmi in the middle and the author far right (courtesy Adel Dajani).

The narrative takes a darker turn as the author’s father Awni is imprisoned in Gaddafi’s jail following the fall of the monarchy and later the family’s flight from Tripoli to Tunisia, as yet again as in 1948, their property is confiscated and they are forced to abandon a beloved country. Adel, in subsequent chapters, writes about his marriage and a career in finance that finds him gambolling between the UK, Hong Kong and Tunisia.

It is nearly 40 years after his witnessing the fall of the monarchy in Libya, that Adel and his family are witnesses to the arrival of another “black swan” at their doorstep: the 2011 popular uprisings in Libya and Tunisia against “unemployment, poor economic mismanagement, corruption and political autocracy.” In his chapter on Tunisia, Adel describes the atmosphere in the streets in the early days of the uprisings as “a friendly buzzing cocktail party, with people going out of their way to be supportive and caring.” However, it quickly became apparent that with a power void created by the fall of the regime, “the only protection was going to be local neighborhood watches.”

In Libya, things were not much better as the family’s assets were again being seized, this time by thuggish Libyan squatting families fueled by the Gaddafi slogan that “the house belongs to whoever is in occupation” and that “possession is nine-tenths of the law.” Adel soon found himself engaged not only in trying to secure his property but discovered that he could also be useful as an agent of international media mobilization through his various network of contacts and journalists, and through financial and humanitarian support.

Unlike the Palestinian/Israeli conflict where people feel mostly helpless in influencing the course of events, Libya, at this critical juncture of history, was different. Anyone who engaged could make a difference.

And so, it is throughout Dajani’s narrative chronicling the events in Libya and Tunisia as well as his attempts to salvage his business within this maelstrom, that it becomes fascinating to observe how the making and dissolution of the Dajani family’s personal gains and losses has always played against a backdrop of the continuously shifting powers in the Arab world, whose colossal effect on this family have continually forced it to adapt in order to survive and re-build, yet in the interim, leaving it in a perpetual search for a place to belong.

As the memoir begins in Palestine, towards its end, it comes full circle as father and son return to the land of their ancestors. Adel’s son, Rakan, an Oxford graduate, is working on a dissertation inspired by the Banksy Walled off Hotel in Bethlehem. Their trip together is a chance to examine the feeling of ambivalence of identity and exile that all peoples of exile feel, a feeling that Edward Said so eloquently captured in his writings, in particular his memoir, Out of Place.

Part of the tragedy of the Palestinian exile is that even in death, most Palestinians are not allowed by the Israeli government to be buried in their country of origin. For my father this would have been in the Dajani cemetery along the ancient walls of Jerusalem, but like so many other Palestinians, he was deprived of this choice of burial in the land of his ancestors.

A long-time investment banker, Adel A. Dajani founded the first licensed investment bank in the Maghreb. Educated at Eton College and the University of London, he is a qualified barrister and a member of the UK, Hong Kong and Libyan Bar Associations. He is a Fellow of the Royal Geographical Society.

Dajani writes about how “tragic and ironic” it was to see that the family bestowed with protecting King David’s Tomb had had its cemeteries desecrated by extremists, so that “not only the living but even the dead Palestinians are not spared by this ongoing colonial occupation.” He also wistfully noted that the family patriarch, Awni Dajani, had to be buried not in his beloved Jerusalem, but in Tunisia. Dajani further shows how Arab residential areas such as Sheikh Jarrah and Silwan are methodically being taken over, “rubber-stamped by an Israeli judicial system.” What is particularly tragic, he adds, is that “the Arab Jerusalem residents have few weapons of resistance in the face of an international community that has given up and a political leadership that has failed them.”

As Adel leaves Palestine to head back to Jordan, with questions on home, legacy and roots still preying on his mind, he is mesmerized “by the beauty of the sunset over the lifeless Dead Sea that straddles the border between Jordan and Occupied Palestine and that of the contrasting sunset on the sea of the Mediterranean: calm, changeable, mercurial, tempestuous but alive,” like his ongoing journey from Jerusalem to the Kingdom by the Sea.

Beautifully written, Dajani’s memoir spans five decades and manages to sensitively capture the trials and tribulations of generations of Dajanis to reveal a family committed to resilience in the face of adversity. It is a Palestinian story of sumud, steadfastness, in the face of the “Goliath of Occupation.”

 

Rana Asfour

Rana Asfour, Rana Asfour is the Managing Editor at The Markaz Review, as well as a freelance writer, book critic and translator. Her work has appeared in such publications as Madame Magazine, The Guardian UK and The National/UAE. She chairs TMR's English-language... Read more

Rana Asfour is the Managing Editor at The Markaz Review, as well as a freelance writer, book critic and translator. Her work has appeared in such publications as Madame Magazine, The Guardian UK and The National/UAE. She chairs TMR's English-language Book Club, which meets online the last Sunday of every month. She can be found on X & Instagram @bookfabulous.

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26 SEPTEMBER, 2022 • By Angélique Crux
From “Anahita” to Ÿuma, Festival Arabesques Dazzles Thousands
Essays

Translating Walter Benjamin on Berlin, a German-Arabic Journey

15 SEPTEMBER, 2022 • By Ahmed Farouk
Translating Walter Benjamin on Berlin, a German-Arabic Journey
Art & Photography

Two Women Artists Dialogue with Berlin and the Biennale

15 SEPTEMBER, 2022 • By Viola Shafik
Two Women Artists Dialogue with Berlin and the Biennale
Book Reviews

After Marriage, Single Arab American Woman Looks for Love

5 SEPTEMBER, 2022 • By Eman Quotah
After Marriage, Single Arab American Woman Looks for Love
Book Reviews

Al-Koni’s Tuareg Perspective on Islam’s Conquest of North Africa

5 SEPTEMBER, 2022 • By Iason Athanasiadis
Al-Koni’s Tuareg Perspective on Islam’s Conquest of North Africa
Art & Photography

In Tunis, Art Reinvents and Liberates the City

29 AUGUST, 2022 • By Sarah Ben Hamadi
In Tunis, Art Reinvents and Liberates the City
Columns

A Palestinian Musician Thrives in France: Yousef Zayed’s Journey

22 AUGUST, 2022 • By Melissa Chemam
A Palestinian Musician Thrives in France: Yousef Zayed’s Journey
Poetry

Poem for Tunisia: “Court of Nothing”

1 AUGUST, 2022 • By Farah Abdessamad
Poem for Tunisia: “Court of Nothing”
Featured excerpt

Libyan Stories from the novel “Bread on Uncle Milad’s Table”

18 JULY, 2022 • By Mohammed Alnaas, Rana Asfour
Libyan Stories from the novel “Bread on Uncle Milad’s Table”
Essays

Libya’s Censored Novelist, Mohammed al-Naas, Revealed

18 JULY, 2022 • By Ghazi Gheblawi
Libya’s Censored Novelist, Mohammed al-Naas, Revealed
Columns

Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album

18 JULY, 2022 • By Melissa Chemam
Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album
Fiction

Mohammed al-Naas—a Young Libyan Novelist to Watch

18 JULY, 2022 • By Ghazi Gheblawi
Film

Tunisians On the Couch in “Arab Blues”

15 JULY, 2022 • By Mischa Geracoulis
Tunisians On the Couch in “Arab Blues”
Book Reviews

Between Illness and Exile in “Head Above Water”

15 JULY, 2022 • By Tugrul Mende
Between Illness and Exile in “Head Above Water”
Essays

“Disappearance/Muteness”—Tales from a Life in Translation

11 JULY, 2022 • By Ayelet Tsabari
“Disappearance/Muteness”—Tales from a Life in Translation
Book Reviews

Poems of Palestinian Motherhood, Loss, Desire and Hope

4 JULY, 2022 • By Eman Quotah
Poems of Palestinian Motherhood, Loss, Desire and Hope
Art & Photography

Featured Artist: Steve Sabella, Beyond Palestine

15 JUNE, 2022 • By TMR
Featured Artist: Steve Sabella, Beyond Palestine
Fiction

Rabih Alameddine: “Remembering Nasser”

15 JUNE, 2022 • By Rabih Alameddine
Rabih Alameddine: “Remembering Nasser”
Essays

Sulafa Zidani: “Three Buses and the Rhythm of Remembering”

15 JUNE, 2022 • By Sulafa Zidani
Sulafa Zidani: “Three Buses and the Rhythm of Remembering”
Film

Saeed Taji Farouky: “Strange Cities Are Familiar”

15 JUNE, 2022 • By Saeed Taji Farouky
Saeed Taji Farouky: “Strange Cities Are Familiar”
Fiction

Dima Mikhayel Matta: “This Text Is a Very Lonely Document”

15 JUNE, 2022 • By Dima Mikhayel Matta
Dima Mikhayel Matta: “This Text Is a Very Lonely Document”
Art & Photography

Steve Sabella: Excerpts from “The Parachute Paradox”

15 JUNE, 2022 • By Steve Sabella
Steve Sabella: Excerpts from “The Parachute Paradox”
Fiction

“The Salamander”—fiction from Sarah AlKahly-Mills

15 JUNE, 2022 • By Sarah AlKahly-Mills
“The Salamander”—fiction from Sarah AlKahly-Mills
Book Reviews

Fragmented Love in Alison Glick’s “The Other End of the Sea”

16 MAY, 2022 • By Nora Lester Murad
Fragmented Love in Alison Glick’s “The Other End of the Sea”
Essays

We, Palestinian Israelis

15 MAY, 2022 • By Jenine Abboushi
We, Palestinian Israelis
Essays

Can the Bilingual Speak?

15 MAY, 2022 • By Anton Shammas
Can the Bilingual Speak?
Latest Reviews

Palestinian Filmmaker, Israeli Passport

15 MAY, 2022 • By Jordan Elgrably
Palestinian Filmmaker, Israeli Passport
Book Reviews

Siena and Her Art Soothe a Writer’s Grieving Soul

25 APRIL, 2022 • By Rana Asfour
Siena and Her Art Soothe a Writer’s Grieving Soul
Book Reviews

Egyptian Comedic Novel Captures Dark Tale of Bedouin Migrants

18 APRIL, 2022 • By Saliha Haddad
Egyptian Comedic Novel Captures Dark Tale of Bedouin Migrants
Columns

On the Streets of Santiago: a Culture of Wine and Empanadas

15 APRIL, 2022 • By Francisco Letelier
On the Streets of Santiago: a Culture of Wine and Empanadas
Columns

Ma’moul: Toward a Philosophy of Food

15 APRIL, 2022 • By Fadi Kattan
Ma’moul: Toward a Philosophy of Food
Latest Reviews

Food in Palestine: Five Videos From Nasser Atta

15 APRIL, 2022 • By Nasser Atta
Food in Palestine: Five Videos From Nasser Atta
Columns

Libyan, Palestinian and Syrian Family Dinners in London

15 APRIL, 2022 • By Layla Maghribi
Libyan, Palestinian and Syrian Family Dinners in London
Art

“A Tunisian Revolt” — the Rebel Power of Arab Comics

21 FEBRUARY, 2022 • By Nada Ghosn
“A Tunisian Revolt” — the Rebel Power of Arab Comics
Essays

Taming the Immigrant: Musings of a Writer in Exile

15 JANUARY, 2022 • By Ahmed Naji, Rana Asfour
Taming the Immigrant: Musings of a Writer in Exile
Book Reviews

Meditations on The Ungrateful Refugee

15 JANUARY, 2022 • By Rana Asfour
Meditations on <em>The Ungrateful Refugee</em>
Book Reviews

Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world

10 JANUARY, 2022 • By Rana Asfour
Temptations of the Imagination: how Jana Elhassan and Samar Yazbek transmogrify the world
Essays

Objective Brits, Subjective Syrians

6 DECEMBER, 2021 • By Rana Haddad
Objective Brits, Subjective Syrians
Beirut

Sudden Journeys: The Villa Salameh Bequest

29 NOVEMBER, 2021 • By Jenine Abboushi
Sudden Journeys: The Villa Salameh Bequest
Book Reviews

From Jerusalem to a Kingdom by the Sea

29 NOVEMBER, 2021 • By Rana Asfour
From Jerusalem to a Kingdom by the Sea
Film Reviews

Victims of Discrimination Never Forget in The Forgotten Ones

1 NOVEMBER, 2021 • By Jordan Elgrably
Victims of Discrimination Never Forget in <em>The Forgotten Ones</em>
Interviews

The Anguish of Being Lebanese: Interview with Author Racha Mounaged

18 OCTOBER, 2021 • By A.J. Naddaff
The Anguish of Being Lebanese: Interview with Author Racha Mounaged
Book Reviews

Poetry: Mohammed El-Kurd’s Rifqa Reviewed

15 OCTOBER, 2021 • By India Hixon Radfar
Poetry: Mohammed El-Kurd’s <em>Rifqa</em> Reviewed
Columns

The Story of Jericho Sheikh Daoud and His Beloved Mansaf

15 OCTOBER, 2021 • By Fadi Kattan
The Story of Jericho Sheikh Daoud and His Beloved Mansaf
Essays

My Amazigh Indigeneity (the Bifurcated Roots of a Native Moroccan)

15 SEPTEMBER, 2021 • By Brahim El Guabli
My Amazigh Indigeneity (the Bifurcated Roots of a Native Moroccan)
Weekly

Palestinian Akram Musallam Writes of Loss and Memory

29 AUGUST, 2021 • By khulud khamis
Palestinian Akram Musallam Writes of Loss and Memory
Editorial

Why COMIX? An Emerging Medium of Writing the Middle East and North Africa

15 AUGUST, 2021 • By Aomar Boum
Why COMIX? An Emerging Medium of Writing the Middle East and North Africa
Latest Reviews

Rebellion Resurrected: The Will of Youth Against History

15 AUGUST, 2021 • By George Jad Khoury
Rebellion Resurrected: The Will of Youth Against History
Latest Reviews

Beginnings, the Life & Times of “Slim” aka Menouar Merabtene

15 AUGUST, 2021 • By Menouar Merabtene
Beginnings, the Life & Times of “Slim” aka Menouar Merabtene
Latest Reviews

Libya’s Exiled Satirist, Hasan “Alsatoor” Dhaimish

15 AUGUST, 2021 • By TMR
Libya’s Exiled Satirist, Hasan “Alsatoor” Dhaimish
Memoir

“Guns and Figs” from Heba Hayek’s new Gaza book

1 AUGUST, 2021 • By Heba Hayek
“Guns and Figs” from Heba Hayek’s new Gaza book
Fiction

Gazan Skies, from the novel “Out of It”

14 JULY, 2021 • By Selma Dabbagh
Gazan Skies, from the novel “Out of It”
Essays

Gaza IS Palestine

14 JULY, 2021 • By Jenine Abboushi
Gaza IS Palestine
Weekly

A New Book on Music, Palestine-Israel & the “Three State Solution”

28 JUNE, 2021 • By Mark LeVine
A New Book on Music, Palestine-Israel & the “Three State Solution”
Interviews

Q & A with Nili Belkind on “Music in Conflict” in Palestine-Israel

27 JUNE, 2021 • By Mark LeVine
Q & A with Nili Belkind on “Music in Conflict” in Palestine-Israel
Weekly

Palestine in the World: “Palestine: A Socialist Introduction”

6 JUNE, 2021 • By Jenine Abboushi
Palestine in the World: “Palestine: A Socialist Introduction”
Art & Photography

Walls, Graffiti and Youth Culture in Egypt, Libya & Tunisia

14 MAY, 2021 • By Claudia Wiens
Walls, Graffiti and Youth Culture in Egypt, Libya & Tunisia
Art

Beautiful/Ugly: Against Aestheticizing Israel’s Separation Wall

14 MAY, 2021 • By Malu Halasa
Essays

From Damascus to Birmingham, a Selected Glossary

14 MAY, 2021 • By Frances Zaid
From Damascus to Birmingham, a Selected Glossary
Weekly

In Search of Knowledge, Mazid Travels to Baghdad, Jerusalem, Cairo, Granada and Córdoba

2 MAY, 2021 • By Eman Quotah
In Search of Knowledge, Mazid Travels to Baghdad, Jerusalem, Cairo, Granada and Córdoba
Book Reviews

Three North African Novels Dance Between Colonial & Postcolonial Worlds

25 APRIL, 2021 • By Rana Asfour
Three North African Novels Dance Between Colonial & Postcolonial Worlds
Book Reviews

Being Jewish and Muslim Together: Remembering Our Legacy

28 MARCH, 2021 • By Joyce Zonana
Being Jewish and Muslim Together: Remembering Our Legacy
TMR 7 • Truth?

Poetry Against the State

14 MARCH, 2021 • By Gil Anidjar
Poetry Against the State
TMR 6 • Revolutions

Revolution in Art, a review of “Reflections” at the British Museum

14 FEBRUARY, 2021 • By Malu Halasa
Revolution in Art, a review of “Reflections” at the British Museum
Weekly

Francofeminism: a Postcolonial History

14 FEBRUARY, 2021 • By TMR
Francofeminism: a Postcolonial History
TMR 6 • Revolutions

The Revolution Sees its Shadow 10 Years Later

14 FEBRUARY, 2021 • By Mischa Geracoulis
The Revolution Sees its Shadow 10 Years Later
TMR 6 • Revolutions

Ten Years of Hope and Blood

14 FEBRUARY, 2021 • By Robert Solé
Ten Years of Hope and Blood
Book Reviews

The Howling of the Dog: Adania Shibli’s “Minor Detail”

30 DECEMBER, 2020 • By Layla AlAmmar
The Howling of the Dog: Adania Shibli’s “Minor Detail”
TMR 4 • Small & Indie Presses

Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*

14 DECEMBER, 2020 • By Nat Muller
Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*
Film

Threading the Needle: Najwa Najjar’s “Between Heaven and Earth”

14 DECEMBER, 2020 • By Ammiel Alcalay
Threading the Needle: Najwa Najjar’s “Between Heaven and Earth”
TMR 3 • Racism & Identity

Why is Arabic Provoking such Controversy in France?

15 NOVEMBER, 2020 • By Melissa Chemam
Why is Arabic Provoking such Controversy in France?
Centerpiece

The Road to Jerusalem, Then and Now

15 NOVEMBER, 2020 • By Raja Shehadeh
The Road to Jerusalem, Then and Now
TMR 3 • Racism & Identity

Systemic Racism in Tunisia Hasn’t Gone Away

15 NOVEMBER, 2020 • By TMR
Systemic Racism in Tunisia Hasn’t Gone Away
Book Reviews

Falastin, Sami Tamimi’s “Palestinian Modern”

15 OCTOBER, 2020 • By N.A. Mansour
Falastin, Sami Tamimi’s “Palestinian Modern”
World Picks

World Art, Music & Zoom Beat the Pandemic Blues

28 SEPTEMBER, 2020 • By Malu Halasa
World Art, Music & Zoom Beat the Pandemic Blues
Music

Emel Mathlouthi Returns with The Tunis Diaries

22 SEPTEMBER, 2020 • By TMR
Emel Mathlouthi Returns with The Tunis Diaries
Book Reviews

Poetic Exploration of Illness Conveys Trauma

14 SEPTEMBER, 2020 • By India Hixon Radfar
Poetic Exploration of Illness Conveys Trauma
Columns

Why Non-Arabs Should Read Hisham Matar’s “The Return”

3 AUGUST, 2017 • By Jordan Elgrably
Why Non-Arabs Should Read Hisham Matar’s “The Return”

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