Radwa Ashour’s Classic <em>Granada</em> Now in a New English Edition

Miriam Hartmann, "Granada, Alhambra II," acrylic on canvas, 80x145cm, 2018 (courtesy Art Majeur).

17 JANUARY 2025 • By Guy Mannes-Abbott
A trilogy of novels form an astonishing work of Arabic and world literature that covers 100 years, against the backdrop of 16th century Andalucia, and reverberates in the wars of conquest and occupation taking place today.

 

Granada: The Complete Trilogy by Radwa Ashour, translated by Kay Heikkinen
Hoopoe 2024
ISBN 9781649033765

 

Guy Mannes-Abbott

 

The arrival of Radwa Ashour’s complete Granada Trilogy (Thulathiyat Ghirnata, 1994–5), in a new English translation by Kay Heikkinen and on the 10th anniversary of Ashour’s death was a big moment. It was published during the ongoing Israeli genocide of Palestinians in Gaza, whereby a long arc completes a circle of horror with the participation of all major “western” powers, which is unfair to the trilogy and its author in some ways but urgently and overwhelmingly appropriate too. Ashour wrote of how images of the US-led bombing of Baghdad in 1991 gave her the image of naked helplessness that Granada begins with. It’s an image of catastrophe from which this trilogy unfolds with irresistible affect, imaginative precision and haunting import.

Hoopoe’s handsome edition comes with a useful introduction by Marina Warner, who refers to the book as “monumental” and a “magnum opus of prose fiction,” both terms that generated hesitance in me as I began to read. However, they suit what is the central and definitive achievement in Ashour’s striking body of work, which stretches across short stories, straight autobiography, novels including novel assemblages of fiction and memoir, three untranslated volumes of critical writing, and excellent translations of husband Mourid Barghoutis poetry into English, not to mention a long career as Professor of English at Ain Shams University in Cairo.

Granada is published Hoopoe/AUC Press.
Granada is published Hoopoe/AUC Press.

If I restrict myself to only one essential accompaniment to Granada, it would have to be Ashour’s last novel The Woman from Tantoura, 2014 (al-Tanturiya, 2010), which shares the same translator and a comparable catastrophe in the ethnic cleansing and erasure of the village of Tantoura near Haifa in coastal Palestine by Zionist militia in 1948.

Fortunately, Ashour’s great novel is garlanded with others situated in regional cultures and historical contexts that necessarily engage catastrophes of finely drawn individual as well as collective kinds, but do so with ever-buoyant resistance. Those stories take place in and out of prisons, on islands, in Paris, throughout Palestine, often in Cairo, in Muslim and post-Muslim Granada, Andalusia, Valencia and Columbus’s so-called “New World.”

Ashour was unavoidably aware of the Nakba of 1948, the catastrophe deepening and widening in 1967, as well as the so-called Gulf War of 1991 when she was writing what became Granada, and yet her trilogy stands independent of all these events. They function as rich allusions and additions to Ashour’s sinewy fictive blend of archival acuity with what Warner describes as, “intimate, empathetic” witness. 


The Fall of Granada

The trilogy is set in the middle of catastrophic events that bring to a conclusion in 1492 seven or eight hundred years of Muslim rule, cultural achievements and dissension, or commence the purgatory of a century-long ending populated by Moriscos (forced converts to Catholicism) that leads to a final expulsion in 1609. After torching Rondo and Málaga, huge well-equipped armies from Castile and Aragon in the north of the Iberian peninsula reach the last bastion of Granada’s independence, the Alhambra Palace, to formalize a treaty of surrender with a ruling elite of wazirs, generals and scholars representing Sultan Muhammad XII.

Granada opens with the sight of a mutely naked woman in the streets that bookseller Abu Jaafar reads as an omen before rumors of bodies seen in the town’s Genil River circulate after just one general refuses to sign the treaty of surrender and storms out of the palace. Visions and prophecies are countered by a flashback to the arrival of a newly orphaned boy named Naeem, whom Abu Jaafar has taken on as an apprentice in his business. Reality intervenes again when a body is retrieved from the river: “The eddies of the river had swallowed up what hope remained, the community had been scattered, and the people had been orphaned.”

Ashour has dropped us right into the middle of turmoil, agitated insecurity and eddying stories in her characteristic way, without official or authorial narrative frameworks. Instead there are stories within stories drawn along by people to people entanglements. With the arrival of another orphan Saad, from a family of Malagan silk-weavers, Ashour offers a typical response to impending erasure:

He became convinced that nothing was ever lost, and that the human mind was a marvelous box …  preserving incalculable, innumerable things: the smell of the sea; his mother’s face; faint yellow rays piercing green vine leaves, wet with raindrops; threads of silk on his father’s loom; his grandfather’s cough in the morning; the laughter of the little girl; the taste of a green almond; a broken jar from which oil flowed; a bead detached from the string of prayer beads, rolling toward him in his hiding place behind the cupboard.

This long quotation exemplifies the undeclared foci of Ashour’s work and this novel in its resoluteness; the scribe or copier’s “radical conservation” as she called it in her essay, “Eyewitness, Scribe, Storyteller” — that was published in 2000. The scrappy smallness of its detail; the preserving and passing-on under impossible circumstances relates to what philosopher Emanuele Coccia describes in The Life of Plants A Metaphysics of Mixture as a “point of life.” That is, “the world is the breath of the living. All cosmic [meaning planetary] knowledge is nothing but a point of life [vie] (and not just a point of view [vue])” with its false god’s eye perspective on things.

Coccia is writing about plant life here as well as Life as such, but this is a useful way to think through Ashour’s ability to engage histories freed of obsolete framings by the merging of essential qualities of life bit by bit in compelling networks of human stories from below and specifically from below surfaces that include the ground. Stylistically this is the “interplay” of dark and light that she attributes to the arabesque (Ashour, 2000), but it embodies more than style.

Meanwhile, as the deadline to comply with those that Ashour only ever calls “the Castilians” looms, the people of Granada “watched the mass emigration of the nobles, the prominent, and the rich. It was a tumult, a fevered face of buying and selling … swords inherited from grandfathers and grandfathers’ grandfathers.” They watch Christopher Columbus’ triumphal parade through the city squares, stirring “enthusiasm and fear of that new, unknown world discovered by the man riding on his horse.” Glass cases of gold dust and ingots are followed by “the captives … people who live in the new world!” who walk “with deliberate steps, their hands tied” retaining “the elegance of their stature” and “colored feathers fixed in bands around their heads.”

The Age of Modernity has commenced!

After the elites flee, Abu Jaafar introduces his world to us by setting out through the gates, down to the river, paying attention to the fortresses and palaces, “cypresses, palms, and stone pines on one side of the river, “figs, olives, pomegranates, walnuts and chestnuts” on the other, noting the buyers and sellers, the perfumers, potters, glassmakers, brass merchants, and goldsmiths, entering the cloth bazaar to contemplate the linens, wools and silks, and finally making his ablutions to pray in the Grand Mosque before returning “to the papermakers quarter where his shop was.”

We meet Abu Jaafar’s family, generations of which animate the coming century and hundreds of pages, most notably his daughter and spiritual heiress Salima, the principle character of the first part of the trilogy, in whom Abu Jaafar and Radwa Ashour place their hopes. In childhood Salima queries Columbuss recent discovery, saying it is not a “new” but “different world.” Ashour continued, “When she wanted something, she kept on asking for it and insisting, never flagging or tiring, and she did not give up or allow anyone to stop her until she got it.” Abu Jaafar lives for Salima’s mind; “a mill that never ceased turning, observing, contemplating, questioning and becoming absorbed in thought” and begs his son Hasan to become “a great writer like Ibn al-Khatib, so they will record your name together with Granada’s in every book.”

Cardinal Jimenez arrives to tighten the occupier’s grip in 1499, staging the conversion of Hamid al-Thaghri — rebel of Rondo and Málaga — in “the mosque of Albaicin, now named the Church of San Salvador.” Thaghri’s mortified followers “had built a small, warm room for him in their hearts … which he filled with his heroic feats and his justice.” The Castilians begin raiding books from mosques and schools, “the Alhambra and Jewish Granada,” gathering them in carts from all quarters. Abu Jaafar and other booksellers respond by securing their books in “a number of places; mountain caves, the ruins of abandoned houses, and basements of homes,” but the Castilians burn many more cartloads in the main square at unbearable cost. 

 

Record what?

In Ashour’s excellent and often quoted essay subtitled, “My Experience as a Novelist,” her credo is contained in the main title: “Eyewitness, Scribe and Storyteller.” This references an obsession to record “as the ancestors did. Record what? A geographical space dense with a resonant history, a composite of past and present, overlapping territories constitutive of an emotional and moral space for self-awareness and self-definition.” She identifies this as a generational trait in response to 1967; when her generation was “denied and disfigured,” making their writing “a retrieval of a human will negated.” The town of Granada has a particular resonance in Arabic and Palestinian literature — think of Darwish’s “Andalusia of the possible” — but for Ashour it provided, as she writes in her essay, “a means to explore my fears, impotence and also the chances of survival through resistance.”

In Granada, both of Abu Jaafar’s children marry. Salima marries Saad and they become distant as she buries herself in books and he leaves to join the rebels in the mountains. Hasan, her pragmatic brother, marries Maryama, daughter of a “praise singer.” While Maryama develops a reputation for acts of cunning defiance, Salima has larger if equally constrained visions:

She was stifling in the prison of a vile time when acquiring books was a crime subject to punishment… she waited until night descended and the household went to bed, then she lit the lamp and read and her prison grew larger, expanding gradually until the bars disappeared in the light of the sun that shone from the book and from her intellect.

This is a prison of time itself, she says cannily but “bitterly, staring into an ancient time that took its children by the hand to large libraries, to the patronage of a wise ruler, to travel that could satisfy the heart’s longing for the scholars of Egypt and Syria.” She returns most often to Avicenna’s The Canon of Medicine amongst her ten meager books and searches for more. In these ways, “she heeds the vile age… and then she does not.”

Critic Eric Calderwood in On Earth or in Poems, the Many Lives of al-Andalus explores the import of Salima’s bookishness, expanding on Ashour’s notion of “radical conservation” to excellent effect. He reminds us that “as a model for Salima’s education, Abu Jaafar looks to the example of Aisha bint Ahmad, one of the illustrious adības of al-Andalus. Salima thus emerges as a figure of ‘radical conservation,’” an homage to these historic “foremothers” and a continuity rather than a “rupture from tradition.”

This expands the significance of Ashour naming Saad and Salima’s daughter Aisha — the product of a fleeting return from Saad’s rebel base — in the early 16th century. Hassan records his niece’s birth officially with a Castilian name; “Esperanza (hope). Sometimes he would call her Aisha, sometimes Esperanza, and Amal (hope, in Arabic) a thousand times.” Meanwhile the Castilians renew demands to convert or depart. Maryama persuades the family with her stark refusal to leave, even at the cost of “an entire life whose vocabulary had become accusations and sins!”

 

The Prison of Time

Saad is caught, tortured and imprisoned for three years, during which “desolation … you see your loved ones more, because there is plenty of time, and because they come to you out of concern for you in your trial and allow you to contemplate their faces as long as you like.”

In “On Sticks, Straws, and Lanterns: Reading Radwa Ashour in an Egyptian Prison,’’ former Egyptian political prisoner Abdelrahman ElGendy wrote of how valuable Ashour’s insights about prison time were to him inside Egypt’s notorious Tora Maximum Security Prison. “Her words shaped — even saved — my life in prison,’ he wrote, specifying her essays and The Woman from Tantoura, which transported him to its “core” beyond mere historical recovery; “its scents, tastes, the distinct feel of its dust kissing ones bare feet.”

ElGendy continued: “Radwas work prompted me to question: Where do untold stories go? If they never find an ear, do they cease to exist?” This prompted his own writing against the “radical hopelessness” he felt, the acceptance of which was also liberating. He cites Ashour again, from her late as-yet-untranslated memoir Athqal Min Radwa (2013), written during the January 2011 revolution while battling cancer: “Theres always a chance to crown our efforts with an outcome other than defeat, so long as we resolve not to die before weve sought to live.” Untold or unrehearsed stories reside in boxes within boxes invoked as tools of “radical conservation.” Granada’s Saad bears prison time, as Ashour wrote, “because that amazing box in his head was able to give him jewels that glittered and shone in the darkness of the prison.”

In Granada it is now 1527 and Saad has been released only to discover that Salima has been taken in by the Inquisition on charges relating to “black magic.” We know the date because it is on the judgment pronouncing her guilt, after proceedings that Salima regards as “an absurd game run by eccentric idiots.” Punishment is death by fire, which is scheduled for the same square that Granada’s books were burned in earlier. 

The first part of the trilogy ends here, with Aisha being told a familiar story by Maryama about a tree in heaven that harbors as many green leaves as “people on the earth.” It is “a large tree, Aisha, and leaves fall from it and other leaves grow, without stopping.”

 

Return. Depart. Remain.

The remaining shorter books of the trilogy, Maryama and The Departure, center on Maryama and nephew Ali, the son of Aisha and Maryama’s son Hisham. Granada has become a saga of “errancy,” in Saidiya Hartman’s usage: “the social poiesis that sustains the dispossessed” in their search for ‘‘a place better than here’’ while inhabit[ing] the world in ways inimical to those deemed proper and respectable.” It turns out that the “village Sheikh” of al-Jaarfariya knew other members of Ali’s family, who first fled to the village and then to Fez, and offers sanctuary to Ali too. “Then the days passed and one morning he noticed that though he was ‘the stranger’ he was no longer strange. He had begun to cultivate the earth, waiting for the season of olives to pay his debts, buy his clothes, and make sure of his provisions.”

I can only imagine reading this thirty years ago and now recall the ways in which Ashour has written about closed regimes of literal prisons and non-literal imprisonment in Blue Lorries (Faraj, 2008), from which the protagonist Nada emerges hurt but defiant, strong and uncowed, having “sought to live.” Ashour is unerringly good inside these minds and those like Ruqayya’s, the central character in The Woman from Tantoura, facing dispossession, displacement, and death from every direction in the early days turning to years of the Nakba, and yet always making the same gamble on living. Ashour’s work embodies this refusal to abandon, this same story within a story to be radically conserved in a chest within a chest for future planting in freshened earth.

 

Chaotic and/or Composite Terrain

Radwa Ashour has written of being “born in Manila el-Rawdah, an elongated stretch of land which knits the two sides of the river in Cairo” with views of Pharaonic pyramids, Byzantine, Islamic and Coptic monuments and of dwelling in multiple languages. At the southern tip of the island stands “one of the oldest Islamic monuments in Egypt” the “Nilometre” or “al-Mequiass,” vital for land irrigation. Thus, “to tell my story was to include that composite experience which constantly incorporated the old in the new.” Or, once again, “a composite of past and present, overlapping territories constitutive of an emotional and moral space for self-awareness and self-definition.” The way in which these composite elements subvert all boundaries is also a description of Ashour’s work as crystallized so powerfully in Granada.

There may be a further dimension to this in Michel Serres’ figure of the harpedonaptai, “whose role was to venture with their measuring rope onto the muddy floodplains of the Nile, after seasonal floodwaters had abated,” as I wrote in a previous essay. Serres grew up on the Garonne river outside Bordeaux, working on his father’s dredger against the regular flooding there. He continued in The Natural Contract, “Since the flood erased the limits and markers of tillable fields, properties disappeared at the same time. Returning to the now chaotic terrain, the harpedonaptai redistribute them and thus give new birth to law.”

If we assemble “radical conservation,” creative resistance, “social poeisis,” and muddy redistribution together, we can imagine routes, even horizons, beyond the endgames of Modernity in climatic breakdown and genocidal horror. Granada is primarily an astonishing work of Arabic and world literature, but in the nowness of a translation for the 2020s, it’s also a marker of the catastrophic moment from which all our presents emerge. Read it to enjoy Ashour’s brilliant conjuring of points of life at Granada’s height and precipitous fall, but also as a resource for what is to come if, as she said before her own death, “we resolve not to die before weve sought to live.”

 

Guy Mannes-Abbott

Guy Mannes-Abbott Guy Mannes-Abbott is the author of In Ramallah, Running (2012). His work often performs in visual art contexts, including a collaboration with Bombay-based studio CAMP on a film, The Country of the Blind (Folkestone Triennial, 2011). He once taught theory... Read more

Join Our Community

TMR exists thanks to its readers and supporters. By sharing our stories and celebrating cultural pluralism, we aim to counter racism, xenophobia, and exclusion with knowledge, empathy, and artistic expression.

Learn more

RELATED

short story

Come See the Peacock

3 OCTOBER 2025 • By Aya Chalabee
Come See the Peacock
Essays

Lament For My Dear Cousin and Friend in Tulkarm

3 OCTOBER 2025 • By Thoth
Lament For My Dear Cousin and Friend in Tulkarm
Columns

Longing for Love in a Time of Genocide

26 SEPTEMBER 2025 • By Souseh
Longing for Love in a Time of Genocide
Fiction

Diba’s House

26 SEPTEMBER 2025 • By Sara Masry
Diba’s House
Featured article

Together for Palestine — Truly Historic

19 SEPTEMBER 2025 • By TMR
Together for Palestine — Truly Historic
Book Reviews

How the Media Fails Armenia and Palestine

19 SEPTEMBER 2025 • By Gabriel Polley
How the Media Fails Armenia and Palestine
Book Reviews

Reading The Orchards of Basra

12 SEPTEMBER 2025 • By Jacob Wirtschafter
Reading <em>The Orchards of Basra</em>
Film Reviews

New Documentaries from Palestine, Sudan, Afghanistan, and Iran

12 SEPTEMBER 2025 • By Yassin El-Moudden
New Documentaries from Palestine, Sudan, Afghanistan, and Iran
Fiction

A Safe Place

5 SEPTEMBER 2025 • By Farah Ahamed
A Safe Place
Poetry

Mai Serhan on the poems in CAIRO: the undelivered letters

31 AUGUST 2025 • By Mai Serhan
Mai Serhan on the poems in <em>CAIRO: the undelivered letters</em>
Film

Once Upon a Time in Gaza Wants to Be an Indie Western

29 AUGUST 2025 • By Karim Goury
<em>Once Upon a Time in Gaza</em> Wants to Be an Indie Western
Essays

From Stitch to Symbol: The Power of Palestinian Tatreez

22 AUGUST 2025 • By Joanna Barakat
From Stitch to Symbol: The Power of Palestinian Tatreez
Book Reviews

Brutally Honest Exploration of Taboo Subjects in Empty Cages

8 AUGUST 2025 • By Ahmed Naji
Brutally Honest Exploration of Taboo Subjects in <em>Empty Cages</em>
Uncategorized

Amal Doesn’t Even Know What a Banana Is: Child Malnutrition in Gaza

1 AUGUST 2025 • By Asem Al Jerjawi
Amal Doesn’t Even Know What a Banana Is: Child Malnutrition in Gaza
Essays

“A Love That Endures”: How Tamer and Sabreen Defied War and Death

25 JULY 2025 • By Husam Maarouf
“A Love That Endures”: How Tamer and Sabreen Defied War and Death
Art & Photography

August World Picks from the Editors

25 JULY 2025 • By TMR
August World Picks from the Editors
Featured article

“Silence is Not the Way”—Arab Writers Against Israel’s Genocide

18 JULY 2025 • By Jordan Elgrably
“Silence is Not the Way”—Arab Writers Against Israel’s Genocide
Essays

Architecture and Political Memory

4 JULY 2025 • By Meriam Othman
Architecture and Political Memory
Book Reviews

Palestine’s Places and Memorials Are Not Forgotten

4 JULY 2025 • By Gabriel Polley
Palestine’s Places and Memorials Are Not <em>Forgotten</em>
Essays

Unwritten Stories from Palestine

4 JULY 2025 • By Thoth
Unwritten Stories from Palestine
Essays

A Voice That Defied Silence: The Legacy of Dr. Refaat Al-Areer

4 JULY 2025 • By Taqwa Ahmed Al-Wawi
A Voice That Defied Silence: The Legacy of Dr. Refaat Al-Areer
Art & Photography

Cairo: A Downtown in Search of Lost Global City Status

13 JUNE 2025 • By Iason Athanasiadis
Cairo: A Downtown in Search of Lost Global City Status
Essays

Doaa: From a Dreamworld to the Ashes of Displacement

30 MAY 2025 • By Taqwa Ahmed Al-Wawi
Doaa: From a Dreamworld to the Ashes of Displacement
Books

Editors’ 2025 Palestinian Lit List

15 MAY 2025 • By TMR
Editors’ 2025 Palestinian Lit List
Books

Poet Mosab Abu Toha Wins Pulitzer Prize for Essays on Gaza

9 MAY 2025 • By Jordan Elgrably
Poet Mosab Abu Toha Wins Pulitzer Prize for Essays on Gaza
Editorial

For Our 50th Issue, Writers Reflect on Going Home

2 MAY 2025 • By TMR
For Our 50th Issue, Writers Reflect on Going Home
Art

Neither Here Nor There

2 MAY 2025 • By Myriam Cohenca
Neither Here Nor There
Art

Return to Iraq: Sama Alshaibi’s ‘طرس’

2 MAY 2025 • By Yasmine Al Awa, Sama Alshaibi
Return to Iraq: Sama Alshaibi’s ‘طرس’
Film

Gaza, Sudan, Israel/Palestine Documentaries Show in Thessaloniki

28 MARCH 2025 • By Iason Athanasiadis
Gaza, Sudan, Israel/Palestine Documentaries Show in Thessaloniki
Essays

A Conversation Among My Homeland’s Trees

7 MARCH 2025 • By Alia Yunis
A Conversation Among My Homeland’s Trees
Art

Finding Emptiness: Gaza Artist Taysir Batniji in Beirut

21 FEBRUARY 2025 • By Jim Quilty
Finding Emptiness: Gaza Artist Taysir Batniji in Beirut
Book Reviews

Omar El Akkad & Mohammed El-Kurd: Liberalism in a Time of Genocide

14 FEBRUARY 2025 • By Rebecca Ruth Gould
Omar El Akkad & Mohammed El-Kurd: Liberalism in a Time of Genocide
Centerpiece

Ravaged by Fire

7 FEBRUARY 2025 • By Francisco Letelier
Ravaged by Fire
Book Reviews

Memories of Palestine through Contemporary Media

7 FEBRUARY 2025 • By Malu Halasa
Memories of Palestine through Contemporary Media
Essays

Flight Plans: From Gaza to Singapore

7 FEBRUARY 2025 • By Chin-chin Yap
Flight Plans: From Gaza to Singapore
Cuisine

“Culinary Palestine”—Fadi Kattan in an excerpt from Sumud

31 JANUARY 2025 • By Fadi Kattan
“Culinary Palestine”—Fadi Kattan in an excerpt from <em>Sumud</em>
Arabic

Huda Fakhreddine & Yasmeen Hanoosh: Translating Arabic & Gaza

17 JANUARY 2025 • By Yasmeen Hanoosh, Huda Fakhreddine
Huda Fakhreddine & Yasmeen Hanoosh: Translating Arabic & Gaza
Book Reviews

Radwa Ashour’s Classic Granada Now in a New English Edition

17 JANUARY 2025 • By Guy Mannes-Abbott
Radwa Ashour’s Classic <em>Granada</em> Now in a New English Edition
Book Reviews

Maya Abu Al-Hayyat’s Defiant Exploration of Palestinian Life

20 DECEMBER 2024 • By Zahra Hankir
Maya Abu Al-Hayyat’s Defiant Exploration of Palestinian Life
Book Reviews

30 Recommended Books on Syria

13 DECEMBER 2024 • By TMR
30 Recommended Books on Syria
Centerpiece

“Not a Picture, a Precise Kick”—metafiction

6 DECEMBER 2024 • By Mansoura Ez-Eldin, Fatima El-Kalay
“Not a Picture, a Precise Kick”—metafiction
Art & Photography

Palestine Features in Larissa Sansour’s Sci-Fi Future

6 DECEMBER 2024 • By Larissa Sansour
Palestine Features in Larissa Sansour’s Sci-Fi Future
Books

The Time-Travels of the Man who Sold Pickles and Sweets—an Excerpt

6 DECEMBER 2024 • By Khairy Shalaby, Michael Cooperson
<em>The Time-Travels of the Man who Sold Pickles and Sweets</em>—an Excerpt
Books

Susan Abulhawa at Oxford Union on Palestine/Israel

6 DECEMBER 2024 • By Susan Abulhawa
Susan Abulhawa at Oxford Union on Palestine/Israel
Art

Basel Abbas & Ruanne Abou-Rahme: Palestinian artists at Copenhagen’s Glyptotek

22 NOVEMBER 2024 • By Arie Amaya-Akkermans
Basel Abbas & Ruanne Abou-Rahme: Palestinian artists at Copenhagen’s Glyptotek
Art & Photography

The Palestinian Gazelle

1 NOVEMBER 2024 • By Manal Mahamid
The Palestinian Gazelle
Book Reviews

The Hybrid—The Case of Michael Vatikiotis

18 OCTOBER 2024 • By Rana Haddad
The Hybrid—The Case of Michael Vatikiotis
Essays

Palestine, the Land of Grapes and Wine

11 OCTOBER 2024 • By Fadi Kattan, Anna Patrowicz
Palestine, the Land of Grapes and Wine
Art

Witnessing Catastrophe: a Painter in Lebanon

4 OCTOBER 2024 • By Ziad Suidan
Witnessing Catastrophe: a Painter in Lebanon
Art

Visuals and Voices: Palestine Will Not Be a Palimpsest

4 OCTOBER 2024 • By Malu Halasa
Visuals and Voices: Palestine Will Not Be a Palimpsest
Essays

Shamrocks & Watermelons: Palestine Politics in Belfast

4 OCTOBER 2024 • By Stuart Bailie
Shamrocks & Watermelons: Palestine Politics in Belfast
Opinion

Everything Has Changed, Nothing Has Changed

4 OCTOBER 2024 • By Amal Ghandour
Everything Has Changed, Nothing Has Changed
Art

Activism in the Landscape: Environmental Arts & Resistance in Palestine

4 OCTOBER 2024 • By Katie Logan
Activism in the Landscape: Environmental Arts & Resistance in Palestine
Poetry

Poems by Nasser Rabah, Amanee Izhaq and Mai Al-Nakib

4 OCTOBER 2024 • By Nasser Rabah, Amanee Izhaq, Mai Al-Nakib, Wiam El-Tamami
Poems by Nasser Rabah, Amanee Izhaq and Mai Al-Nakib
Centerpiece

Mohammad Hafez Ragab: Upsetting the Guards of Cairo

6 SEPTEMBER 2024 • By Maha Al Aswad, Rana Asfour
Mohammad Hafez Ragab: Upsetting the Guards of Cairo
Book Reviews

Egypt’s Gatekeeper—President or Despot?

6 SEPTEMBER 2024 • By Elias Feroz
Egypt’s Gatekeeper—President or Despot?
Fiction

“Dear Sniper” —a short story by Ali Ramthan Hussein

6 SEPTEMBER 2024 • By Ali Ramthan Hussein, Essam M. Al-Jassim
“Dear Sniper” —a short story by Ali Ramthan Hussein
Books

“Kill the Music”—an excerpt from a new novel by Badar Salem

16 AUGUST 2024 • By Badar Salem
“Kill the Music”—an excerpt from a new novel by Badar Salem
Film

World Picks from the Editors: AUGUST

2 AUGUST 2024 • By TMR
World Picks from the Editors: AUGUST
Art & Photography

World Picks from the Editors: July 15 — August 2

12 JULY 2024 • By TMR
World Picks from the Editors: July 15 — August 2
Art

Deena Mohamed

5 JULY 2024 • By Katie Logan
Deena Mohamed
Fiction

“The Cockroaches”—flash fiction

5 JULY 2024 • By Stanko Uyi Srsen
“The Cockroaches”—flash fiction
Book Reviews

Upheavals of Beauty and Oppression in The Oud Player of Cairo

28 JUNE 2024 • By Tala Jarjour
Upheavals of Beauty and Oppression in <em>The Oud Player of Cairo</em>
Centerpiece

Dare Not Speak—a One-Act Play

7 JUNE 2024 • By Hassan Abdulrazzak
<em>Dare Not Speak</em>—a One-Act Play
Books

Palestine, Political Theatre & the Performance of Queer Solidarity in Jean Genet’s Prisoner of Love

7 JUNE 2024 • By Saleem Haddad
Palestine, Political Theatre & the Performance of Queer Solidarity in Jean Genet’s <em>Prisoner of Love</em>
Essays

A Small Kernel of Human Kindness: Some Notes on Solidarity and Resistance

24 MAY 2024 • By Nancy Kricorian
A Small Kernel of Human Kindness: Some Notes on Solidarity and Resistance
Art

Demarcations of Identity: Rushdi Anwar

10 MAY 2024 • By Malu Halasa
Demarcations of Identity: Rushdi Anwar
Editorial

Why FORGETTING?

3 MAY 2024 • By Malu Halasa, Jordan Elgrably
Why FORGETTING?
Centerpiece

Memory Archive: Between Remembering and Forgetting

3 MAY 2024 • By Mai Al-Nakib
Memory Archive: Between Remembering and Forgetting
Essays

Regarding the Photographs of Others—An Iraqi Journey Toward Remembering

3 MAY 2024 • By Nabil Salih
Regarding the Photographs of Others—An Iraqi Journey Toward Remembering
Art & Photography

Not Forgotten, Not (All) Erased: Palestine’s Sacred Shrines

3 MAY 2024 • By Gabriel Polley
Not Forgotten, Not (All) Erased: Palestine’s Sacred Shrines
Book Reviews

Palestinian Culture, Under Assault, Celebrated in New Cookbook

3 MAY 2024 • By Mischa Geracoulis
Palestinian Culture, Under Assault, Celebrated in New Cookbook
Art

Malak Mattar: No Words, Only Scenes of Ruin

26 APRIL 2024 • By Nadine Nour el Din
Malak Mattar: No Words, Only Scenes of Ruin
Opinion

Censorship over Gaza and Palestine Roils the Arts Community

12 APRIL 2024 • By Hassan Abdulrazzak
Censorship over Gaza and Palestine Roils the Arts Community
Art

Past Disquiet at the Palais de Tokyo in Paris

1 APRIL 2024 • By Kristine Khouri, Rasha Salti
<em>Past Disquiet</em> at the Palais de Tokyo in Paris
Essays

Undoing Colonial Geographies from Paris with Ariella Aïsha Azoulay

1 APRIL 2024 • By Sasha Moujaes, Jordan Elgrably
Undoing Colonial Geographies from Paris with Ariella Aïsha Azoulay
Book Reviews

Feurat Alani: Paris, Fallujah and Recovered Memory

1 APRIL 2024 • By Nada Ghosn, Rana Asfour
Feurat Alani: Paris, Fallujah and Recovered Memory
Book Reviews

Fady Joudah’s […] Dares Us to Listen to Palestinian Words—and Silences

25 MARCH 2024 • By Eman Quotah
Fady Joudah’s <em>[…]</em> Dares Us to Listen to Palestinian Words—and Silences
Art & Photography

Will Artists Against Genocide Boycott the Venice Biennale?

18 MARCH 2024 • By Hadani Ditmars
Will Artists Against Genocide Boycott the Venice Biennale?
Books

Four Books to Revolutionize Your Thinking

3 MARCH 2024 • By Rana Asfour
Four Books to Revolutionize Your Thinking
Essays

The Story of the Keffiyeh

3 MARCH 2024 • By Rajrupa Das
The Story of the Keffiyeh
Essays

Messages from Gaza Now / 5

26 FEBRUARY 2024 • By Hossam Madhoun
Messages from Gaza Now / 5
Weekly

World Picks from the Editors: Feb 23 — Mar 7

23 FEBRUARY 2024 • By TMR
World Picks from the Editors: Feb 23 — Mar 7
Art & Photography

The Body, Intimacy and Technology in the Middle East

4 FEBRUARY 2024 • By Naima Morelli
The Body, Intimacy and Technology in the Middle East
Essays

Tears of the Patriarch

4 FEBRUARY 2024 • By Dina Wahba
Tears of the Patriarch
Columns

Driving in Palestine Now is More Dangerous Than Ever

29 JANUARY 2024 • By TMR
Driving in Palestine Now is More Dangerous Than Ever
Featured article

Israel-Palestine: Peace Under Occupation?

29 JANUARY 2024 • By Laëtitia Soula
Israel-Palestine: Peace Under Occupation?
Books

Illuminated Reading for 2024: Our Anticipated Titles

22 JANUARY 2024 • By TMR
Illuminated Reading for 2024: Our Anticipated Titles
Fiction

“New Reasons”—a short story by Samira Azzam

15 JANUARY 2024 • By Samira Azzam, Ranya Abdelrahman
“New Reasons”—a short story by Samira Azzam
Essays

Jesus Was Palestinian, But Bethlehem Suspends Christmas

25 DECEMBER 2023 • By Ahmed Twaij
Jesus Was Palestinian, But Bethlehem Suspends Christmas
Columns

Messages from Gaza Now / 2

18 DECEMBER 2023 • By Hossam Madhoun
Messages from Gaza Now / 2
Music

We Will Sing Until the Pain Goes Away—a Palestinian Playlist

18 DECEMBER 2023 • By Brianna Halasa
We Will Sing Until the Pain Goes Away—a Palestinian Playlist
Featured excerpt

Almost Every Day—from the novel by Mohammed Abdelnabi

3 DECEMBER 2023 • By Mohammed Abdelnabi, Nada Faris
<em>Almost Every Day</em>—from the novel by Mohammed Abdelnabi
Arabic

Poet Ahmad Almallah

9 NOVEMBER 2023 • By Ahmad Almallah
Poet Ahmad Almallah
Opinion

Palestine’s Pen against Israel’s Swords of Injustice

6 NOVEMBER 2023 • By Mai Al-Nakib
Palestine’s Pen against Israel’s Swords of Injustice
Art

Ammar Khammash’s Sustainable Architecture

5 NOVEMBER 2023 • By Mischa Geracoulis
Ammar Khammash’s Sustainable Architecture
Essays

On Fathers, Daughters and the Genocide in Gaza 

30 OCTOBER 2023 • By Deema K Shehabi
On Fathers, Daughters and the Genocide in Gaza 
Editorial

Palestine and the Unspeakable

16 OCTOBER 2023 • By Lina Mounzer
Palestine and the Unspeakable
Art

Vera Tamari’s Lifetime of Palestinian Art

16 OCTOBER 2023 • By Taline Voskeritchian
Vera Tamari’s Lifetime of Palestinian Art
Book Reviews

A Day in the Life of Abed Salama: A Palestine Story

16 OCTOBER 2023 • By Dalia Hatuqa
<em>A Day in the Life of Abed Salama</em>: A Palestine Story
Weekly

World Picks from the Editors, Oct 13 — Oct 27, 2023

12 OCTOBER 2023 • By TMR
World Picks from the Editors, Oct 13 — Oct 27, 2023
Poetry

Home: New Arabic Poems in Translation

11 OCTOBER 2023 • By Sarah Coolidge
<em>Home</em>: New Arabic Poems in Translation
Books

Edward Said: Writing in the Service of Life 

9 OCTOBER 2023 • By Layla AlAmmar
Edward Said: Writing in the Service of Life 
Books

Fairouz: The Peacemaker and Champion of Palestine

1 OCTOBER 2023 • By Dima Issa
Fairouz: The Peacemaker and Champion of Palestine
Book Reviews

The Mystery of Enayat al-Zayyat in Iman Mersal’s Tour de Force

25 SEPTEMBER 2023 • By Selma Dabbagh
The Mystery of Enayat al-Zayyat in Iman Mersal’s Tour de Force
Book Reviews

Saqi’s Revenant: Sahar Khalifeh’s Classic Nablus Novel Wild Thorns

25 SEPTEMBER 2023 • By Noshin Bokth
Saqi’s Revenant: Sahar Khalifeh’s Classic Nablus Novel <em>Wild Thorns</em>
Book Reviews

Kurdish Novel Explores Nightmarish Isolation in Eastern Anatolia

18 SEPTEMBER 2023 • By Kaya Genç
Kurdish Novel Explores Nightmarish Isolation in Eastern Anatolia
Fiction

“The Beggar King”—a short story by Michael Scott Moore

11 SEPTEMBER 2023 • By Michael Scott Moore
“The Beggar King”—a short story by Michael Scott Moore
Essays

They and I, in Budapest

3 SEPTEMBER 2023 • By Nadine Yasser
They and I, in Budapest
Essays

A Day in the Life of a Saturday Market Trawler in Cairo

3 SEPTEMBER 2023 • By Karoline Kamel, Rana Asfour
A Day in the Life of a Saturday Market Trawler in Cairo
Book Reviews

Laila Halaby’s The Weight of Ghosts is a Haunting Memoir

28 AUGUST 2023 • By Thérèse Soukar Chehade
Laila Halaby’s <em>The Weight of Ghosts</em> is a Haunting Memoir
Book Reviews

What’s the Solution for Jews and Palestine in the Face of Apartheid Zionism?

21 AUGUST 2023 • By Jonathan Ofir
What’s the Solution for Jews and Palestine in the Face of Apartheid Zionism?
Books

Books That Will Chase me in the Afterlife

14 AUGUST 2023 • By Mohammad Rabie
Books That Will Chase me in the Afterlife
Book Reviews

Ilan Pappé on Tahrir Hamdi’s Imagining Palestine

7 AUGUST 2023 • By Ilan Pappé
Ilan Pappé on Tahrir Hamdi’s <em> Imagining Palestine</em>
Art

What Palestine Brings to the World—a Major Paris Exhibition

31 JULY 2023 • By Sasha Moujaes
<em>What Palestine Brings to the World</em>—a Major Paris Exhibition
A Day in the Life

A Day in the Life: Cairo

24 JULY 2023 • By Sarah Eltantawi
A Day in the Life: Cairo
Book Reviews

Why Isn’t Ghaith Abdul-Ahad a Household Name?

10 JULY 2023 • By Iason Athanasiadis
Why Isn’t Ghaith Abdul-Ahad a Household Name?
Essays

Rebels of the Alpujarras: a House in Granada

2 JULY 2023 • By Doreen Metzner
Rebels of the Alpujarras: a House in Granada
Cities

In Shahrazad’s Hammam—fiction by Ahmed Awadalla

2 JULY 2023 • By Ahmed Awadalla
In Shahrazad’s Hammam—fiction by Ahmed Awadalla
Fiction

Tears from a Glass Eye—a story by Samira Azzam

2 JULY 2023 • By Samira Azzam, Ranya Abdelrahman
Tears from a Glass Eye—a story by Samira Azzam
Book Reviews

Youssef Rakha Practices Literary Deception in Emissaries

19 JUNE 2023 • By Zein El-Amine
Youssef Rakha Practices Literary Deception in <em>Emissaries</em>
Arabic

Arab Theatre Grapples With Climate Change, Borders, War & Love

4 JUNE 2023 • By Hassan Abdulrazzak
Arab Theatre Grapples With Climate Change, Borders, War & Love
Essays

Alien Entities in the Desert

4 JUNE 2023 • By Dror Shohet
Alien Entities in the Desert
Featured Artist

Nasrin Abu Baker: The Markaz Review Featured Artist, June 2023

4 JUNE 2023 • By TMR
Nasrin Abu Baker: The Markaz Review Featured Artist, June 2023
Islam

From Pawns to Global Powers: Middle East Nations Strike Back

29 MAY 2023 • By Chas Freeman, Jr.
From Pawns to Global Powers: Middle East Nations Strike Back
Book Reviews

How Bethlehem Evolved From Jerusalem’s Sleepy Backwater to a Global Town

15 MAY 2023 • By Karim Kattan
How Bethlehem Evolved From Jerusalem’s Sleepy Backwater to a Global Town
Book Reviews

Radius Recounts a History of Sexual Assault in Tahrir Square

15 MAY 2023 • By Sally AlHaq
<em>Radius</em> Recounts a History of Sexual Assault in Tahrir Square
TMR Conversations

TMR CONVERSATIONS: Amal Ghandour Interviews Raja Shehadeh

11 MAY 2023 • By Amal Ghandour, Raja Shehadeh
TMR CONVERSATIONS: Amal Ghandour Interviews Raja Shehadeh
Essays

Working the News: a Short History of Al Jazeera’s First 30 Years

1 MAY 2023 • By Iason Athanasiadis
Working the News: a Short History of Al Jazeera’s First 30 Years
Film

Seven Winters in Tehran and the Execution of Reyhaneh Jabbari

10 APRIL 2023 • By Malu Halasa
<em>Seven Winters in Tehran</em> and the Execution of Reyhaneh Jabbari
Film

Hanging Gardens and the New Iraqi Cinema Scene

27 MARCH 2023 • By Laura Silvia Battaglia
<em>Hanging Gardens</em> and the New Iraqi Cinema Scene
Arabic

The Politics of Wishful Thinking: Deena Mohamed’s Shubeik Lubeik

13 MARCH 2023 • By Katie Logan
The Politics of Wishful Thinking: Deena Mohamed’s <em>Shubeik Lubeik</em>
Book Reviews

In Search of Fathers: Raja Shehadeh’s Palestinian Memoir

13 MARCH 2023 • By Amal Ghandour
In Search of Fathers: Raja Shehadeh’s Palestinian Memoir
Centerpiece

Broken Home: Britain in the Time of Migration

5 MARCH 2023 • By Malu Halasa
Broken Home: Britain in the Time of Migration
Essays

More Photographs Taken From The Pocket of a Dead Arab

5 MARCH 2023 • By Saeed Taji Farouky
More Photographs Taken From The Pocket of a Dead Arab
Cities

The Odyssey That Forged a Stronger Athenian

5 MARCH 2023 • By Iason Athanasiadis
The Odyssey That Forged a Stronger Athenian
Cities

Coming of Age in a Revolution

5 MARCH 2023 • By Lushik Lotus Lee
Coming of Age in a Revolution
Essays

Home Under Siege: a Palestine Photo Essay

5 MARCH 2023 • By Anam Raheem
Home Under Siege: a Palestine Photo Essay
Columns

Sudden Journeys: Deluge at Wadi Feynan

6 FEBRUARY 2023 • By Jenine Abboushi
Sudden Journeys: Deluge at Wadi Feynan
TV Review

Palestinian Territories Under Siege But Season 4 of Fauda Goes to Brussels and Beirut Instead

6 FEBRUARY 2023 • By Brett Kline
Palestinian Territories Under Siege But Season 4 of <em>Fauda</em> Goes to Brussels and Beirut Instead
Poetry Markaz

Dunya Mikhail Knows Her Poetry Will Not Save You

5 FEBRUARY 2023 • By Dunya Mikhail
Dunya Mikhail Knows Her Poetry Will Not Save You
Columns

Tiba al-Ali: A Death Foretold on Social Media

5 FEBRUARY 2023 • By Malu Halasa
Tiba al-Ali: A Death Foretold on Social Media
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
Centerpiece

Iraqi Diaspora Playwrights Hassan Abdulrazzak & Jasmine Naziha Jones: Use Your Anger as Fuel

5 FEBRUARY 2023 • By Hassan Abdulrazzak, Jasmine Naziha Jones
Iraqi Diaspora Playwrights Hassan Abdulrazzak & Jasmine Naziha Jones: Use Your Anger as Fuel
Interviews

Zahra Ali, Pioneer of Feminist Studies on Iraq

5 FEBRUARY 2023 • By Nada Ghosn
Zahra Ali, Pioneer of Feminist Studies on Iraq
Book Reviews

 The Watermelon Boys on Iraq, War, Colonization and Familial Love

5 FEBRUARY 2023 • By Rachel Campbell
<em> The Watermelon Boys</em> on Iraq, War, Colonization and Familial Love
Art

The Creative Resistance in Palestinian Art

26 DECEMBER 2022 • By Malu Halasa
The Creative Resistance in Palestinian Art
Art

Art World Picks: Albraehe, Kerem Yavuz, Zeghidour, Amer & Tatah

12 DECEMBER 2022 • By TMR
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
Art

Where is the Palestinian National Museum of Modern and Contemporary Art?

12 DECEMBER 2022 • By Nora Ounnas Leroy
Where is the Palestinian National Museum of Modern and Contemporary Art?
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 3

5 DECEMBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 3
Book Reviews

Fida Jiryis on Palestine in Stranger in My Own Land

28 NOVEMBER 2022 • By Diana Buttu
Fida Jiryis on Palestine in <em>Stranger in My Own Land</em>
Fiction

“Eleazar”—a short story by Karim Kattan

15 NOVEMBER 2022 • By Karim Kattan
“Eleazar”—a short story by Karim Kattan
Film

The Chess Moves of Tarik Saleh’s Spy Thriller, Boy From Heaven

15 NOVEMBER 2022 • By Karim Goury
The Chess Moves of Tarik Saleh’s Spy Thriller, <em>Boy From Heaven</em>
Opinion

Fragile Freedom, Fragile States in the Muslim World

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

Interview with Ahed Tamimi, an Icon of the Palestinian Resistance

15 OCTOBER 2022 • By Nora Lester Murad
Interview with Ahed Tamimi, an Icon of the Palestinian Resistance
Book Reviews

Cassette Tapes Once Captured Egypt’s Popular Culture

10 OCTOBER 2022 • By Mariam Elnozahy
Cassette Tapes Once Captured Egypt’s Popular Culture
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 1

26 SEPTEMBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 1
Book Reviews

The Egyptian Revolution and “The Republic of False Truths”

26 SEPTEMBER 2022 • By Aimee Dassa Kligman
The Egyptian Revolution and “The Republic of False Truths”
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
Columns

Phoneless in Filthy Berlin

15 SEPTEMBER 2022 • By Maisan Hamdan, Rana Asfour
Phoneless in Filthy Berlin
Essays

Kairo Koshary, Berlin’s Egyptian Food Truck

15 SEPTEMBER 2022 • By Mohamed Radwan
Kairo Koshary, Berlin’s Egyptian Food Truck
Art

On Ali Yass’s Die Flut (The Flood)

15 SEPTEMBER 2022 • By Ala Younis
On Ali Yass’s Die Flut (The Flood)
Art & Photography

Photographer Mohamed Badarne (Palestine) and his U48 Project

15 SEPTEMBER 2022 • By Viola Shafik
Photographer Mohamed Badarne (Palestine) and his U48 Project
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
Editorial

Editorial: Is the World Driving Us Mad?

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

Poetry as a Form of Madness—Review of a Friendship

15 JULY 2022 • By Youssef Rakha
Poetry as a Form of Madness—Review of a Friendship
Book Reviews

Alaa Abd El-Fattah—the Revolutionary el-Sissi Fears Most?

11 JULY 2022 • By Fouad Mami
Alaa Abd El-Fattah—the Revolutionary el-Sissi Fears Most?
Book Reviews

Traps and Shadows in Noor Naga’s Egypt Novel

20 JUNE 2022 • By Ahmed Naji
Traps and Shadows in Noor Naga’s Egypt Novel
Art & Photography

Featured Artist: Steve Sabella, Beyond Palestine

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

Selma Dabbagh: “Trash”

15 JUNE 2022 • By Selma Dabbagh
Selma Dabbagh: “Trash”
Featured excerpt

Hawra Al-Nadawi: “Tuesday and the Green Movement”

15 JUNE 2022 • By Hawra Al-Nadawi, Alice Guthrie
Hawra Al-Nadawi: “Tuesday and the Green Movement”
Fiction

“The Suffering Mother of the Whole World”—a story by Amany Kamal Eldin

15 JUNE 2022 • By Amany Kamal Eldin
“The Suffering Mother of the Whole World”—a story by Amany Kamal Eldin
Film

Film Review: Maysoon Pachachi’s “Our River…Our Sky” in Iraq

30 MAY 2022 • By Nadje Al-Ali
Film Review: Maysoon Pachachi’s “Our River…Our Sky” in Iraq
Art

Baghdad Art Scene Springs to Life as Iraq Seeks Renewal

23 MAY 2022 • By Hadani Ditmars
Baghdad Art Scene Springs to Life as Iraq Seeks Renewal
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
Opinion

Palestinians and Israelis Will Commemorate the Nakba Together

25 APRIL 2022 • By Rana Salman, Yonatan Gher
Palestinians and Israelis Will Commemorate the Nakba Together
Interviews

Conversations on Food and Race with Andy Shallal

15 APRIL 2022 • By Jordan Elgrably
Conversations on Food and Race with Andy Shallal
Book Reviews

Abū Ḥamza’s Bread

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

Green Almonds in Ramallah

15 APRIL 2022 • By Wafa Shami
Green Almonds in Ramallah
Columns

Libyan, Palestinian and Syrian Family Dinners in London

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

Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed

28 MARCH 2022 • By Sherine Elbanhawy
Mohamed Metwalli’s “A Song by the Aegean Sea” Reviewed
Art

Artist Hayv Kahraman’s “Gut Feelings” Exhibition Reviewed

28 MARCH 2022 • By Melissa Chemam
Artist Hayv Kahraman’s “Gut Feelings” Exhibition Reviewed
Film Reviews

Palestine in Pieces: Hany Abu-Assad’s Huda’s Salon

21 MARCH 2022 • By Jordan Elgrably
Palestine in Pieces: Hany Abu-Assad’s <em>Huda’s Salon</em>
Opinion

U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine

21 MARCH 2022 • By Yossi Khen, Jeff Warner
U.S. Sanctions Russia for its Invasion of Ukraine; Now Sanction Israel for its Occupation of Palestine
Columns

“There’s Nothing Worse Than War”

24 FEBRUARY 2022 • By Jordan Elgrably
“There’s Nothing Worse Than War”
Art

Silver Stories from Artist Micaela Amateau Amato

15 FEBRUARY 2022 • By Micaela Amateau Amato
Silver Stories from Artist Micaela Amateau Amato
Art

(G)Hosting the Past: On Michael Rakowitz’s “Reapparitions”

7 FEBRUARY 2022 • By Arie Amaya-Akkermans
(G)Hosting the Past: On Michael Rakowitz’s “Reapparitions”
Art & Photography

Mapping an Escape from Cairo’s Hyperreality through informal Instagram archives

24 JANUARY 2022 • By Yahia Dabbous
Mapping an Escape from Cairo’s Hyperreality through informal Instagram archives
Featured article

Settling: Towards an Arabic translation of the English word “Home”

15 JANUARY 2022 • By Hisham Bustani, Alice Guthrie
Settling: Towards an Arabic translation of the English word “Home”
Fiction

“Turkish Delights”—fiction from Omar Foda

15 DECEMBER 2021 • By Omar Foda
“Turkish Delights”—fiction from Omar Foda
Fiction

Three Levantine Tales

15 DECEMBER 2021 • By Nouha Homad
Three Levantine Tales
Beirut

Sudden Journeys: The Villa Salameh Bequest

29 NOVEMBER 2021 • By Jenine Abboushi
Sudden Journeys: The Villa Salameh Bequest
Centerpiece

The Untold Story of Zakaria Zubeidi

15 OCTOBER 2021 • By Ramzy Baroud
The Untold Story of Zakaria Zubeidi
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
Film Reviews

Will Love Triumph in the Midst of Gaza’s 14-Year Siege?

11 OCTOBER 2021 • By Jordan Elgrably
Will Love Triumph in the Midst of Gaza’s 14-Year Siege?
Essays

The Complexity of Belonging: Reflections of a Female Copt

15 SEPTEMBER 2021 • By Nevine Abraham
The Complexity of Belonging: Reflections of a Female Copt
Latest Reviews

Shelf Life: The Irreverent Nadia Wassef

15 SEPTEMBER 2021 • By Sherine Elbanhawy
Shelf Life: The Irreverent Nadia Wassef
Weekly

Reading Egypt from the Outside In, Youssef Rakha’s “Baraa and Zaman”

24 AUGUST 2021 • By Sherifa Zuhur
Reading Egypt from the Outside In, Youssef Rakha’s “Baraa and Zaman”
Columns

Afghanistan Falls to the Taliban

16 AUGUST 2021 • By Hadani Ditmars
Afghanistan Falls to the Taliban
Book Reviews

Egypt Dreams of Revolution, a Review of “Slipping”

8 AUGUST 2021 • By Farah Abdessamad
Egypt Dreams of Revolution, a Review of “Slipping”
Essays

Gaza, You and Me

14 JULY 2021 • By Abdallah Salha
Gaza, You and Me
Essays

Making a Film in Gaza

14 JULY 2021 • By Elana Golden
Making a Film in Gaza
Weekly

Arab Women and The Thousand and One Nights

30 MAY 2021 • By Malu Halasa
Arab Women and The Thousand and One Nights
Weekly

Midnight in Cairo: The Divas of Egypt’s Roaring 20s

16 MAY 2021 • By Selma Dabbagh
Midnight in Cairo: The Divas of Egypt’s Roaring 20s
Book Reviews

The Triumph of Love and the Palestinian Revolution

16 MAY 2021 • By Fouad Mami
Essays

Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?

14 MAY 2021 • By Taylor Miller, TMR
Is Tel Aviv’s Neve Tzedek, Too, Occupied Territory?
Essays

Between Thorns and Thistles in Bil’in

14 MAY 2021 • By Francisco Letelier
Between Thorns and Thistles in Bil’in
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
Weekly

“I Advance in Defeat”, the Poems of Najwan Darwish

28 MARCH 2021 • By Patrick James Dunagan
“I Advance in Defeat”, the Poems of Najwan Darwish
Columns

The Truth About Iraq: Memory, Trauma and the End of an Era

14 MARCH 2021 • By Hadani Ditmars
The Truth About Iraq: Memory, Trauma and the End of an Era
TMR 7 • Truth?

Poetry Against the State

14 MARCH 2021 • By Gil Anidjar
Poetry Against the State
Poetry

A visual poem from Hala Alyan: Gaza

14 MARCH 2021 • By TMR
A visual poem from Hala Alyan: Gaza
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
TMR 5 • Water

Iraq and the Arab World on the Edge of the Abyss

14 JANUARY 2021 • By Osama Esber
Iraq and the Arab World on the Edge of the Abyss
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”
Weekly

Cairo 1941: Excerpt from “A Land Like You”

27 DECEMBER 2020 • By TMR
Cairo 1941: Excerpt from “A Land Like You”
TMR 4 • Small & Indie Presses

Hassan Blasim’s “God 99”

14 DECEMBER 2020 • By Hassan Blasim
Hassan Blasim’s “God 99”
TMR 4 • Small & Indie Presses

Children of the Ghetto, My Name Is Adam

14 DECEMBER 2020 • By Elias Khoury
Children of the Ghetto, My Name Is Adam
Centerpiece

The Road to Jerusalem, Then and Now

15 NOVEMBER 2020 • By Raja Shehadeh
The Road to Jerusalem, Then and Now
Book Reviews

Egypt—Abandoned but not Forgotten

4 OCTOBER 2020 • By Ella Shohat
Egypt—Abandoned but not Forgotten
World Picks

Interlink Proposes 4 New Arab Novels

22 SEPTEMBER 2020 • By TMR
Interlink Proposes 4 New Arab Novels
Film Reviews

American Sniper—a Botched Film That Demonizes Iraqis

1 MARCH 2015 • By Jordan Elgrably
<em>American Sniper</em>—a Botched Film That Demonizes Iraqis

Leave a Comment

Your email address will not be published. Required fields are marked *

fifteen + seven =

Scroll to Top