{"id":36461,"date":"2025-03-07T14:37:01","date_gmt":"2025-03-07T12:37:01","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=36461"},"modified":"2025-08-19T15:03:07","modified_gmt":"2025-08-19T13:03:07","slug":"why-love-war-resistance","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/why-love-war-resistance\/","title":{"rendered":"Why Love, War & Resistance?"},"content":{"rendered":"
Can love\u00a0act as a transformative force during challenging times, in the face of 2000-pound bombs, drones, AI surveillance, snipers, annexation and expulsion?\"\"<\/h5>\n

<\/h4>\n

TMR<\/h4>\n

\"\"<\/h5>\n

These days, what was once organized as sci-fi or dystopic fiction is now often found on the Current Affairs or Politics shelves of your local bookstore, such that we ask ourselves, are we awake, or are we dreaming<\/em>? Should we be more worried about fighting off the vampires, or the zombies? The fact is we live in a war-torn world where the words apartheid<\/em>, scholasticide<\/em> and genocide<\/em> are in common currency \u2014 and in which practicing the journalism profession has become lethal in the Middle East. Dystopia? How does Israel answer to the reality that it has killed more media workers in 15 months than all the journalists who perished in WWII and the Vietnam war, combined<\/em>?<\/p>\n

So much for international humanitarian law in 2025.<\/p>\n

So, can love\u00a0act as a transformative force during challenging times? Where is the family in such dire circumstances? And for those fighting the revolution in whatever form, what is the impact of resistance on romantic relationships and friendships? Or the challenges faced by people separated by conflict, whether it is those who remain or those who flee? Does love\u00a0for one\u2019s country complicate or enhance personal relationships during times of\u00a0war? But really, what is the power of culture in the face of 2000-pound bombs, drones, AI surveillance, snipers, annexation and expulsion?<\/p>\n

The Markaz Review\u2019s March issue poses far more questions than answers, in essays, fiction, art, photography and even humor, which attempt to make sense of the incomprehensible. In Malu Halasa\u2019s story, \u201cLove and Resistance in Online Persian Dating Shows<\/a>,\u201d there are unbelievable situations in which dates are blindfolded or threatened with cockroaches. Even as these Iranian YouTube game shows go viral with millions of viewers, the regime takes action to shut them down. Meanwhile in Beirut, visual and cultural anthropologist Sabah Haider visits Dahiye and talks to widows and other survivors of this year\u2019s war between Israel and Hezbollah, in \u201cHeartbreak and Commemoration in Beirut\u2019s Southern Suburbs<\/a>.\u201d In the imaginative essay from Palestinian filmmaker and novelist Alia Yunis, \u201cA Conversation Among My Homeland\u2019s Trees<\/a>,\u201d life is seen from the perspective of, among others, the orange, date, and pine trees of Palestine.<\/p>\n

Iskandar Abdallah, a refugee in Berlin from one unjust war, attends a protest against another in Gaza, in \u201cManifesto of Love and Revolution<\/a>.\u201d Still scarred and reminded of his personal trauma as he witnesses new atrocities, he seeks the only shelter available to him \u2014 in love. The Syrian war has cast a long shadow over Syrians, who in fleeing the regime have been scattered around the world. But some of them are connected, whether they know it or not by a lingering emotion, even possibly a love child, as in Anna Lekas Miller\u2019s provocative short story, \u201cThe Monster Is Gone<\/a>.\u201d Both Abdallah and Miller have written previously for The Markaz Review and their new fiction, in Abdallah\u2019s case fictionalized memoir, and in Miller\u2019s a short story that captures the uncertainty of migrants\u2019 lives, they represent a development not only in their own writing, but in the stories The Markaz is intent on publishing.<\/p>\n

Resistance can come in many forms, as seen by Jelena Sofronijevic review of the British Museum\u2019s War Rugs: Afghan\u2019s Knotted History<\/em><\/a>. Men, women and children, some in the refugee camps designed and wove war rugs \u2014 considered some of the best war art of the 20th century. In these, the flowered medallions so typical of \u201cOriental\u201d carpets had been replaced by Russian soldiers, represented as \u201cWhite horned divs\u201d or evil phantoms, from the great Persian classic the Shahnameh<\/em>. This cultural production was produced by internally and externally displaced peoples whose country, lost to them, became populated by foreign soldiers and armaments depicted in the rugs. The issue\u2019s Featured Artist<\/a>, by Naima Morelli, is the Moroccan-Belgium photographer Mous Lamrabat, whose solo show, Homesick<\/em>, in Marrakech, explores belonging and identity amid a different kind of loss. In his stark, highly individual, boldly colored fine art photography, he draws from nostalgia and cultural fusion. His is a practice, which sits between fine art and high fashion, and his distinctive photographs have been featured on the cover of Vogue Arabia.<\/p>\n

Undoubtedly resistance or rather criticism of powerful institutions can come at great personal cost. Kuwaiti writer Nejoud Al-Yagout tells the story of a woman journalist in the excerpt from her novel, \u201cHate Mail, Death Threats from When the Haboob Sings<\/em><\/a>.\u201d The protagonist dared to write an article that challenged the religious status quo in an unspecified Gulf country and suffered for it.<\/p>\n

Also featured in TMR\u2019s LOVE, WAR & RESISTANCE\u2019s issue are graphic novels and short stories. Khalil Gibran\u2019s The Prophet<\/em> is a smash literary hit that has been translated into 100 languages and never been out of print since its publication in 1923. However many Lebanese, like the graphic novelist Zeina Abirached, have always had a love-hate relationship with Gibran\u2019s prose-fables. In the review \u201cIllustrated Intimacy<\/a>,\u201d TMR critic Katie Logan writes about Abirached\u2019s alienation from The Prophet<\/em>. Her new, eponymous graphic novel introduces Gibran\u2019s text to modern audiences, through a journey of visual reimagining.<\/p>\n

An allegorical love story from the farmyard also comes in the graphic form. Lebanese artist Rawand Issa had seen echoes of her own run-ins with \u201clover boy rooster\u201d in the 1943 novel Mudhakkarat Dajjajah<\/em> by the Palestinian novelist Ishaq al-Husayni, first published in Cairo. Issa wrote and drew her story, translated from the Arabic into English by Anam Zafar, and gave it the same title as al-Husayni\u2019s novel, \u201cA Chicken\u2019s Diary<\/a>.\u201d<\/p>\n

Perhaps acts of\u00a0love\u00a0as protest in art, literature, and online dating game shows can\u2019t change outright oppression, but creative expressions like these challenge a worldview that says war, apartheid, and mafia-like shakedowns are the status quo. Now in Gaza a younger generation has been turning to art, making it, and taking the first tentative steps on the long, difficult road to becoming artists.<\/p>\n

Surely the rest of us should take heart and follow their lead.<\/p>\n

\u2014Malu Halasa, Jordan Elgrably<\/h4>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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