Meditations on <em>The Ungrateful Refugee</em>
15 JANUARY 2022 • By Rana Asfour
The Khaju Bridge in beautiful Isfahan, Iran, home to writer Dina Nayeri until she was nearly nine years old.

 

The Ungrateful Refugee: What Immigrants Never Tell You by Dina Nayeri
Catapult Publishing (2019)
ISBN 1948226421

Rana Asfour

The Ungrateful Refugee is available from Catapult.

Thirty years after American Iranian author Dina Nayeri’s circuitous escape to refuge, from Iran to the United States, and distressed at the increasingly “hostile” and “unhinged” discourse on refugees in 2016, she finally decided to tell her own story as a former refugee in a bid to make sense of the world she’d delivered her daughter into. Her story is one that has, by her own admission, dominated her personality and compelled her every decision for over two decades, finding a way into her two novels, A Teaspoon of Earth and Salt (2013) and Refuge (2017). Her latest, The Ungrateful Refugee, her first foray into non-fiction, was a finalist for the 2019 Kirkus Prize in Nonfiction and winner of the 2020 Clara Johnson Award for Women’s Literature.

In 1985, when Dina was only six years old, her mother, a well-known physician in Isfahan, converted to Christianity in England while on a visit to Dina’s maternal grandmother. And so Maman Moti had left Iran before the revolution, become a Christian and resolved to turn her back on the country and its people. “We had hoped for asylum in England,” writes Nayeri, but, “Maman’s mother, had, I was told, refused to sponsor us … she wanted nothing to do with our post-revolutionary troubles.”

With no recourse but to return to Iran and buoyed by her new faith — with a huge cross dangling in her windshield — Nayeri’s mother joined an underground church and became heavily engaged in proselytizing, handing out tracts to her patients — an act punishable by death in Iran. Despite the parents’ well-respected status in Isfahan, where they had medical offices, friends in high places and degrees from Tehran University —and although Dina’s Baba remained Muslim — it wasn’t enough to protect Maman from arbitrary arrests or to preserve Dina from abuse at school where teachers would constantly pull her aside, “to a bench between the toilet cave and a nightmarish Khomeini mural,” to ask her again and again about her religion. When she would incessantly declare herself her apostate mother’s ally, the abuse worsened. “Villainy starts on native soil,” she writes, “where rotten people can safely be rotten, where governments exist for their protection…Since our return from London, we had lost our native rights; we were exiles in our own city, eyes suddenly open to the magic and promise of the West.”

And so, it wasn’t until 1988, after enduring the Iran-Iraq war, random arrests at the hands of the Gashte-Ershad or “Guidance Patrol” and ultimately a threatening visit from the Sepâh under whose tyranny an unprecedented purge of intellectuals, leftists, and political dissidents disappeared or were massacred, that Dina’s parents finally decided that the time had come for the family to flee. Despite her father’s decision to remain in Iran, he managed, thanks to his influential patients, to secure places for his wife and two children aboard a cargo plane headed to the United Arab Emirates, a flight that would henceforth mark the beginning of their eighteen-month wandering, first as illegal residents in a cockroach-infested apartment in Dubai, then as asylum seekers “fighting boredom” waiting for sponsorship letters in a refugee camp in Italy, until finally heading to Oklahoma after being granted entry into the US — the refuge that would allow them to build their life anew.

Once in an Oklahoma church, a woman said, “Well, I sure do get it. You came for a better life.” I thought I’d pass out—a better life? In Isfahan, we had yellow spray roses, a pool. A glass enclosure shot up through our living room, and inside that was a tree. I had a tree inside my house; I had the papery hands of Morvarid, my friend and nanny, a ninety-year-old village woman; I had my grandmother’s fruit leather and Hotel Koorosh schnitzels and sour cherries and orchards and a farm—life in Iran was a fairytale. In Oklahoma, we lived in an apartment complex for the destitute and disenfranchised. Life was a big gray parking lot with cigarette butts baking in oil puddles, slick children idling in the beating sun, teachers who couldn’t do math. —Dina Nayeri

Once in Oklahoma, Nayeri is ten years old. She spends the first two years learning English and understanding the culture. Despite the family’s feeling of hope that they had found a new place to call home, Nayeri’s initial experiences are brutal. Surrounded by people who know nothing about Iran, her mother faces “professional hostility” as a doctor from Iran as well as requests for her to “perform” her story in its skeletal form: the story of being saved by benevolent Americans.

Dina’s time at school didn’t prove any better than in Iran when it came to bullying, despite spending her teenage years dedicated to diligently fitting in with her environment, “murdering” all connections that tied her to Iran. In the process she was able to shed her accent and attend Harvard — she holds a B.A. from Princeton University and a Master of Education and MBA from Harvard University. So desperate was Nayeri to prove her worthiness as a “palatable immigrant,” that she made no fuss when the kids at school labeled her with vulgarities like “cat-eater,” “terrorist,” and “sand nigger.” Describing that time of her life, Nayeri writes of an “uprooting and transformation without guarantees, of remaking the face and the body, those first murderous refugee steps — the annihilation of the self, then an ascent from the grave.”

Dina Nayeri is the author of two novels and The Ungrateful Refugee, winner of the Geschwister Scholl Preis and finalist for the Los Angeles Times Book Prize, the Kirkus Prize, and Elle Grand Prix des Lectrices, and called by The Guardian “a work of astonishing, insistent importance.” Her essay of the same name was one of The Guardian’s most widely read long reads in 2017, and is taught in schools and anthologized around the world. Read more about her.

Besides her personal experience, Nayeri peppers her book with case studies of refugees and asylum seekers in recent years from Iran, Afghanistan, and Syria currently languishing in camps in Greece waiting indeterminate stretches for their asylum papers to go through. From interviews conducted in 2016, with the help of Paul Hutchings, the cofounder of Refugee Support, a charity that goes from camp to camp erecting stores with their own currency to distribute donated food and clothing — to give ref­ugees their familiar neighborhood grocery, readers get a vivid picture of the bitter truths and tragic circumstances refugees are up against. Nayeri’s cut throat arguments for dismantling the destructive language of disaster often used to describe incoming refugees — deluge, flood, swarm, ungrateful, opportunists, economic migrants and liars — leave readers in no doubt that if anything, refugees are under no obligation to be grateful. Instead, the winner of the UNESCO City of Literature Paul Engle Prize, believes that the “few broken and wretched lives the richest nations take in, should do so graciously,” that opportunism is a lie created by the privileged to shame the suffering strangers, and that the asylum process “like the tax system and property and everything else, is biased against the poor and the uneducated, the very people most likely to be running out of fear.” She makes the argument that in conversations about the refugee crisis, educated people continue to make the “barbaric argument” that open doors will benefit the host nation. The time, she believes, for this outdated colonialist argument has run out: “migrants don’t derive their value from their benefit to the Western-born, and civilized people don’t ask for résumés from the edge of the grave.”

What Nayeri’s experience and that of the other refugees in her book reveal is that stories and storytelling have the power to change lives, both literally and metaphorically. “Everyone has a story, having just slipped out from the grip of a nightmare,” writes Nayeri. However, refugees and asylum seekers are often forced to make their facts fit narrow conceptions of truth in order to become believable and palatable. Instead of finding truth in grieving, fearful eyes, in shaking hands, in the anxiety of children and sorrow of the elderly, the asylum officer — who appropriates the rules of good storytelling — fails to realize when sitting across from a petitioning refugee, that s/he is speaking to a character in the story, and is not the author. Refugees are expected “to tell the story the English way, or the Dutch or American way. Americans enjoy drama; they want to be moved. The Dutch want facts, the English have precedents, stories from each country deemed true that year, that month…Americans like the possibility of a grand success story; they adore exceptionalism and want to make all the greatness American.”

Nayeri maintains that what people crave in a successful survival story is not necessarily the realization of the self or the fulfillment of individuals’ true potential, but a desire for refugees to become them. “To crave transforma­tion from each other — to want others to change into us — seems a natural survival instinct of the ego,” she writes. “But in forcing assimilation, are we asking for performance? We want to see that newcomers are happy, grateful, that they’re trying. But real gratitude is private, it cannot be channeled and it doesn’t present itself loudly, in lofty gestures. And learning to posture is a much quicker pro­cess than transforming — to quell nativist fears we grill burgers and attend church, listen to Coldplay, buy old polo shirts. What if one day, we learn to like those things? Which is a truer moment of change?” she asks. Kindness, she believes, is key. The type in which hosts realize that the toiling, fast-succumbing immigrant is gesturing peace and gratitude —considering all it took to get there — and therefore to relieve them from the obligation of posturing.

Dignity, not shame, should be the dominion of refugees and asylum seekers, and that is what lies at the heart of this book. “Whether born into safety or danger, sometimes people need to be rescued … after rescue, they need balance, work and rest, love, home. They need a chance to figure themselves out. The painful work of forging a new face must be slow, starting within.” Refugees, like most outsiders, won’t help themselves be seen, with an instinct to self-sanitize and to hide their moral struggles, for the benefit of the powerful. This shame, she explains, has contributed to a cynical, sedated world wherein being a fully realized human is the privilege of whites, Christians, and the native-born. Ensuring dignity for those in need, advocates Nayeri, means that we all have a duty to step up, as individuals and governments, to work harder to welcome refugees, and to help them thrive if we are to create multicultural communities that are ready for the future. We owe it to them to ask ourselves painful questions: Why is it, that to some, help must always come with a slap on the wrist? Why do we ask the desperate to strip off their dignity as the price of that help? And why is it that if you are born in the Third World, and you dare to make a move before you are shattered, then your dreams are deemed suspicious, “you are a carpetbagger, an opportunist, a thief and you are reaching above your station?”

In the last part of the book Nayeri returns to her story and feels that being a former child refugee has turned her into a nomad, a chameleon, a person who constantly craves resettlement and the urge to start over — since leaving Iran, Nayeri has lived in the US, the UK and France. Inhabiting different places has given her a clear view in recent years on how people’s attitudes and the governments’ sense of duty towards refugees have shifted considerably when compared with the time her family sought refuge in the West. Today, the acrimonious vitriol springing from “nativist fury” has grown not only louder but become more dangerous. Waits in camp for asylum papers are longer, competing dangerously against finite resources. “What,” she asks, “is hell enough for the West to feel responsible, not just as perpetrators of much of the madness, but as primary beneficiaries of the planet’s bounty?”

 

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 Book Club,... Read more

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<em>White Torture</em> Prison Interviews Condemn Solitary Confinement
Art

Displacement, Migration are at the Heart of Istanbul Exhibit

13 FEBRUARY 2023 • By Jennifer Hattam
Displacement, Migration are at the Heart of Istanbul Exhibit
Featured excerpt

Fiction: Inaam Kachachi’s The Dispersal, or Tashari

5 FEBRUARY 2023 • By Inaam Kachachi
Fiction: Inaam Kachachi’s <em>The Dispersal</em>, or <em>Tashari</em>
Fiction

“The Truck to Berlin”—Fiction from Hassan Blasim

5 FEBRUARY 2023 • By Hassan Blasim
“The Truck to Berlin”—Fiction from Hassan Blasim
Columns

Letters From Tehran: Braving Tehran’s Roundabout, Maidan Valiasr

30 JANUARY 2023 • By TMR
Letters From Tehran: Braving Tehran’s Roundabout, Maidan Valiasr
Book Reviews

Editor’s Picks: Magical Realism in Iranian Lit

30 JANUARY 2023 • By Rana Asfour
Editor’s Picks: Magical Realism in Iranian Lit
Book Reviews

End of an Era: Al Saqi Bookshop in London Closes

16 JANUARY 2023 • By Malu Halasa
End of an Era: Al Saqi Bookshop in London Closes
Columns

Everyone has a Stake in Morocco’s Football Team

15 DECEMBER 2022 • By Brahim El Guabli, Aomar Boum
Everyone has a Stake in Morocco’s Football Team
Featured article

Don’t Be a Stooge for the Regime—Iranians Reject State-Controlled Media!

15 DECEMBER 2022 • By Malu Halasa
Don’t Be a Stooge for the Regime—Iranians Reject State-Controlled Media!
Columns

Siri Hustvedt & Ahdaf Souief Write Letters to Imprisoned Writer Narges Mohammadi

15 DECEMBER 2022 • By TMR
Siri Hustvedt & Ahdaf Souief Write Letters to Imprisoned Writer Narges Mohammadi
Film

The Swimmers and the Mardini Sisters: a True Liberation Tale

15 DECEMBER 2022 • By Rana Haddad
<em>The Swimmers</em> and the Mardini Sisters: a True Liberation Tale
Essays

Sexploitation or Cinematic Art? The Case of Abdellatif Kechiche

15 DECEMBER 2022 • By Viola Shafik
Sexploitation or Cinematic Art? The Case of Abdellatif Kechiche
Music

Revolutionary Hit Parade: 12+1 Protest Songs from Iran

15 DECEMBER 2022 • By Malu Halasa
Revolutionary Hit Parade: 12+1 Protest Songs from Iran
Film

Imprisoned Director Jafar Panahi’s No Bears

15 DECEMBER 2022 • By Clive Bell
Imprisoned Director Jafar Panahi’s <em>No Bears</em>
Art

Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine

12 DECEMBER 2022 • By Jordan Elgrably
Museums in Exile—MO.CO’s show for Chile, Sarajevo & Palestine
Opinion

Historic Game on the Horizon: US Faces Iran Once More

28 NOVEMBER 2022 • By Mireille Rebeiz
Film

You Resemble Me Deconstructs a Muslim Life That Ends Radically

21 NOVEMBER 2022 • By Jordan Elgrably
<em>You Resemble Me</em> Deconstructs a Muslim Life That Ends Radically
Columns

The Game of Self—How I Wrote The Buddha of Suburbia

15 NOVEMBER 2022 • By Hanif Kureishi
The Game of Self—How I Wrote <em>The Buddha of Suburbia</em>
Film Reviews

Why Muslim Palestinian “Mo” Preferred Catholic Confession to Therapy

7 NOVEMBER 2022 • By Sarah Eltantawi
Why Muslim Palestinian “Mo” Preferred Catholic Confession to Therapy
Opinion

Fragile Freedom, Fragile States in the Muslim World

24 OCTOBER 2022 • By I. Rida Mahmood
Fragile Freedom, Fragile States in the Muslim World
Opinion

Letter From Tehran: On the Pain of Others, Once Again

24 OCTOBER 2022 • By Sara Mokhavat
Letter From Tehran: On the Pain of Others, Once Again
Poetry

The Heroine Forugh Farrokhzad—”Only Voice Remains”

15 OCTOBER 2022 • By Sholeh Wolpé
The Heroine Forugh Farrokhzad—”Only Voice Remains”
Poetry

We Say Salt from To Speak in Salt

15 OCTOBER 2022 • By Becky Thompson
We Say Salt from <em>To Speak in Salt</em>
Art

#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles

15 OCTOBER 2022 • By Rachid Bouhamidi
#MahsaAmini—Art by Rachid Bouhamidi, Los Angeles
Art & Photography

Homage to Mahsa Jhina Amini & the Women-Led Call for Freedom

15 OCTOBER 2022 • By TMR
Homage to Mahsa Jhina Amini & the Women-Led Call for Freedom
Art

Defiance—an essay from Sara Mokhavat

15 OCTOBER 2022 • By Sara Mokhavat, Salar Abdoh
Defiance—an essay from Sara Mokhavat
Book Reviews

A London Murder Mystery Leads to Jihadis and Syria

3 OCTOBER 2022 • By Ghazi Gheblawi
A London Murder Mystery Leads to Jihadis and Syria
Centerpiece

“What Are You Doing in Berlin?”—a short story by Ahmed Awny

15 SEPTEMBER 2022 • By Ahmed Awny, Rana Asfour
“What Are You Doing in Berlin?”—a short story by Ahmed Awny
Fiction

“Another German”—a short story by Ahmed Awadalla

15 SEPTEMBER 2022 • By Ahmed Awadalla
“Another German”—a short story by Ahmed Awadalla
Film

Ziad Kalthoum: Trajectory of a Syrian Filmmaker

15 SEPTEMBER 2022 • By Viola Shafik
Ziad Kalthoum: Trajectory of a Syrian Filmmaker
Art & Photography

Shirin Mohammad: Portrait of an Artist Between Berlin & Tehran

15 SEPTEMBER 2022 • By Noushin Afzali
Shirin Mohammad: Portrait of an Artist Between Berlin & Tehran
Essays

Exile, Music, Hope & Nostalgia Among Berlin’s Arab Immigrants

15 SEPTEMBER 2022 • By Diana Abbani
Exile, Music, Hope & Nostalgia Among Berlin’s Arab Immigrants
Book Reviews

After Nine Years in Detention, an Iraqi is Finally Granted Asylum

22 AUGUST 2022 • By Rana Asfour
After Nine Years in Detention, an Iraqi is Finally Granted Asylum
Film

Two Syrian Brothers Find Themselves in “We Are From There”

22 AUGUST 2022 • By Angélique Crux
Two Syrian Brothers Find Themselves in “We Are From There”
Columns

Salman Rushdie, Aziz Nesin and our Lingering Fatwas

22 AUGUST 2022 • By Sahand Sahebdivani
Salman Rushdie, Aziz Nesin and our Lingering Fatwas
Essays

Independent Algeria 60 Years Later: The Untold Story

25 JULY 2022 • By Fouad Mami
Independent Algeria 60 Years Later: The Untold Story
Art

Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest

18 JULY 2022 • By Nada Ghosn
Abundant Middle Eastern Talent at the ’22 Avignon Theatre Fest
Editorial

Editorial: Is the World Driving Us Mad?

15 JULY 2022 • By TMR
Editorial: Is the World Driving Us Mad?
Centerpiece

Big Laleh, Little Laleh—memoir by Shokouh Moghimi

15 JULY 2022 • By Shokouh Moghimi, Salar Abdoh
Big Laleh, Little Laleh—memoir by Shokouh Moghimi
Art

Abd el Kader at the Mucem: a colonial vision of the Emir

11 JULY 2022 • By Pierre Daum
Abd el Kader at the Mucem: a colonial vision of the Emir
Book Reviews

Leaving One’s Country in Mai Al-Nakib’s “An Unlasting Home”

27 JUNE 2022 • By Rana Asfour
Leaving One’s Country in Mai Al-Nakib’s “An Unlasting Home”
Music

Roxana Vilk’s Personal History of Iranian Music

20 JUNE 2022 • By Melissa Chemam
Roxana Vilk’s Personal History of Iranian Music
Columns

World Refugee Day — What We Owe Each Other

20 JUNE 2022 • By Jordan Elgrably
World Refugee Day — What We Owe Each Other
Film

Saeed Taji Farouky: “Strange Cities Are Familiar”

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

“The Salamander”—fiction from Sarah AlKahly-Mills

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

Algeria and Albert Camus

6 JUNE 2022 • By Oliver Gloag
Algeria and Albert Camus
Opinion

France’s new Culture Minister Meets with Racist Taunts

23 MAY 2022 • By Rosa Branche
France’s new Culture Minister Meets with Racist Taunts
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”
Featured excerpt

Arguments Toward a Universal Palestinian Identity

11 MAY 2022 • By Maurice Ebileeni
Arguments Toward a Universal Palestinian Identity
Book Reviews

Joumana Haddad’s The Book of Queens: a Review

18 APRIL 2022 • By Laila Halaby
Joumana Haddad’s <em>The Book of Queens</em>: a Review
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
Book Reviews

Abū Ḥamza’s Bread

15 APRIL 2022 • By Philip Grant
Abū Ḥamza’s Bread
Columns

Not Just Any Rice: Persian Kateh over Chelo

15 APRIL 2022 • By Maryam Mortaz, A.J. Naddaff
Not Just Any Rice: Persian Kateh over Chelo
Columns

Music in the Middle East: Bring Back Peace

21 MARCH 2022 • By Melissa Chemam
Music in the Middle East: Bring Back Peace
Essays

Mariupol, Ukraine and the Crime of Hospital Bombing

17 MARCH 2022 • By Neve Gordon, Nicola Perugini
Mariupol, Ukraine and the Crime of Hospital Bombing
Latest Reviews

Three Love Poems by Rumi, Translated by Haleh Liza Gafori

15 MARCH 2022 • By Haleh Liza Gafori
Three Love Poems by Rumi, Translated by Haleh Liza Gafori
Book Reviews

The Art of Remembrance in Abacus of Loss

15 MARCH 2022 • By Sherine Elbanhawy
The Art of Remembrance in <em>Abacus of Loss</em>
Opinion

Ukraine War Reminds Refugees Some Are More Equal Than Others

7 MARCH 2022 • By Anna Lekas Miller
Ukraine War Reminds Refugees Some Are More Equal Than Others
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
Editorial

Refuge, or the Inherent Dignity of Every Human Being

15 JANUARY 2022 • By Jordan Elgrably
Refuge, or the Inherent Dignity of Every Human Being
Columns

Getting to the Other Side: a Kurdish Migrant Story

15 JANUARY 2022 • By Iason Athanasiadis
Getting to the Other Side: a Kurdish Migrant Story
Film Reviews

“Europa,” Iraq’s Entry in the 94th annual Oscars, Frames Epic Refugee Struggle

15 JANUARY 2022 • By Thomas Dallal
“Europa,” Iraq’s Entry in the 94th annual Oscars, Frames Epic Refugee Struggle
Art & Photography

Refugees of Afghanistan in Iran: a Photo Essay by Peyman Hooshmandzadeh

15 JANUARY 2022 • By Peyman Hooshmandzadeh, Salar Abdoh
Refugees of Afghanistan in Iran: a Photo Essay by Peyman Hooshmandzadeh
Book Reviews

Meditations on The Ungrateful Refugee

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

Fiction: Refugees in Serbia, an excerpt from “Silence is a Sense” by Layla AlAmmar

15 JANUARY 2022 • By Layla AlAmmar
Fiction: Refugees in Serbia, an excerpt from “Silence is a Sense” by Layla AlAmmar
Interviews

The Fabulous Omid Djalili on Good Times and the World

15 DECEMBER 2021 • By Jordan Elgrably
The Fabulous Omid Djalili on Good Times and the World
Essays

Objective Brits, Subjective Syrians

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

From Jerusalem to a Kingdom by the Sea

29 NOVEMBER 2021 • By Rana Asfour
From Jerusalem to a Kingdom by the Sea
Columns

Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum

1 NOVEMBER 2021 • By Iason Athanasiadis
Refugees Detained in Thessonaliki’s Diavata Camp Await Asylum
Interviews

Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism

15 OCTOBER 2021 • By Jordan Elgrably
Interview With Prisoner X, Accused by the Bashar Al-Assad Regime of Terrorism
Art & Photography

Hasteem, We Are Here: The Collective for Black Iranians

15 SEPTEMBER 2021 • By Maryam Sophia Jahanbin
Hasteem, We Are Here: The Collective for Black Iranians
Essays

Why Resistance Is Foundational to Kurdish Literature

15 SEPTEMBER 2021 • By Ava Homa
Why Resistance Is Foundational to Kurdish Literature
Featured excerpt

The Harrowing Life of Kurdish Freedom Activist Kobra Banehi

15 SEPTEMBER 2021 • By Kobra Banehi, Jordan Elgrably
The Harrowing Life of Kurdish Freedom Activist Kobra Banehi
Essays

Voyage of Lost Keys, an Armenian art installation

15 SEPTEMBER 2021 • By Aimée Papazian
Voyage of Lost Keys, an Armenian art installation
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

Women Comic Artists, from Afghanistan to Morocco

15 AUGUST 2021 • By Sherine Hamdy
Women Comic Artists, from Afghanistan to Morocco
Weekly

Heba Hayek’s Gaza Memories

1 AUGUST 2021 • By Shereen Malherbe
Heba Hayek’s Gaza Memories
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
Weekly

Summer of ‘21 Reading—Notes from the Editors

25 JULY 2021 • By TMR
Summer of ‘21 Reading—Notes from the Editors
Fiction

Gazan Skies, from the novel “Out of It”

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

No Exit

14 JULY 2021 • By Allam Zedan
No Exit
Weekly

The Unfinished Presidency of Jimmy Carter

4 JULY 2021 • By Maryam Zar
The Unfinished Presidency of Jimmy Carter
Book Reviews

ISIS and the Absurdity of War in the Age of Twitter

4 JULY 2021 • By Jessica Proett
ISIS and the Absurdity of War in the Age of Twitter
Weekly

World Picks: May – June 2021

16 MAY 2021 • By Lawrence Joffe
World Picks: May – June 2021
Editorial

Why WALLS?

14 MAY 2021 • By Jordan Elgrably
Why WALLS?
Art

The Murals of “Education is Not a Crime”

14 MAY 2021 • By Saleem Vaillancourt
The Murals of “Education is Not a Crime”
Essays

The Wall We Can’t Tell You About

14 MAY 2021 • By Jean Lamore
The Wall We Can’t Tell You About
Latest Reviews

The World Grows Blackthorn Walls

14 MAY 2021 • By Sholeh Wolpé
The World Grows Blackthorn Walls
Essays

From Damascus to Birmingham, a Selected Glossary

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

A Home Across the Azure Sea

14 MAY 2021 • By Aida Y. Haddad
A Home Across the Azure Sea
Weekly

World Picks: April – May 2021

18 APRIL 2021 • By Malu Halasa
World Picks: April – May 2021
TMR 7 • Truth?

The Crash, Covid-19 and Other Iranian Stories

14 MARCH 2021 • By Malu Halasa
The Crash, Covid-19 and Other Iranian Stories
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
Book Reviews

The Polyphony of a Syrian Refugee Speaks Volumes

25 JANUARY 2021 • By Farah Abdessamad
The Polyphony of a Syrian Refugee Speaks Volumes
TMR 4 • Small & Indie Presses

Hassan Blasim’s “God 99”

14 DECEMBER 2020 • By Hassan Blasim
Hassan Blasim’s “God 99”
What We're Into

Dismantlings and Exile

14 SEPTEMBER 2020 • By Francisco Letelier
Dismantlings and Exile
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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