“Sadness in My Heart”—a story by Hilal Chouman

A militiaman aims his automatic rifle at opposing forces on the other side of the Green Line, 1982 (courtesy Rare Historical Photos).

3 SEPTEMBER 2023 • By Hilal Chouman, Nashwa Nasreldin
A photo of four fighters from the Lebanese Civil War begins a son’s journey of discovery, in a new translation excerpted from Hilal Chouman’s novel of the same name: Sadness in My Heart.

 

Hilal Chouman

Translated from the Arabic by Nashwa Nasreldin

 

I heard a faint tapping at the door then the knocks grew louder. Someone was calling out, using my first name: “Mr. Youssef! Mr. Youssef!” I opened my eyes and my head immediately began to throb. I discovered that I was in the hotel bed, naked, and that a young man was asleep nearby, fully clothed, covering his face with a pillow. The hotel phone was resting on the floor, its receiver detached. Slowly, I nudged the pillow aside and found Jean’s face. 

The rapping on the door continued and I was able to distinguish the voice. A hotel worker was calling out my name and talking to someone. In my unsteady state, finding a pair of shorts was an effort. I swayed as I attempted to walk, then promptly fell to the floor. I managed to locate the shorts, close to the spot where I landed, so I slipped them on laying down. Then I tried to get up again, leaning on the edges of the bed and the other furniture, and against the walls, until I reached the door. Keeping the chain attached, I cracked the door open, and the faces of the housekeeping employee and Jameel appeared.

“Sorry to wake you this way, Mr. Youssef, but you have a meeting with His Excellency, the minister,” Jameel says.

“What time is it?” I asked, rubbing my head. “I had a lot to drink last night and I don’t feel well. Let’s postpone the meeting.” 

“The minister’s traveling this week. Today’s your only chance to meet him if you don’t want to wait. And…” Jameel added. “It’s the minister, and he specifically asked to see you. I’m sorry. I’m just doing my job.” 

“Okay … give me ten minutes at least, to shower. I’ll come down after that,” I acquiesced, closing the door. 

Rushing to the bathroom, I washed my face twice before I was overcome by the urge to vomit. I threw up into the toilet bowl in bursts. Then I stepped straight into the shower, still swaying. I stood under the shower stream for fifteen minutes, maybe more. After that, I got dressed, pulled out my father’s notebook and tucked it into my jacket pocket. As for the photo of his friends and the will documents, I arranged those in a folder. Glancing at Jean, I could see that he was sleeping deeply, just as I’d left him, unaware of what had gone on in his presence. I left him a note under the telephone set, which I had picked up from the floor and returned to its place by the bed.

When I went down, I found Jameel waiting for me in his car at the hotel entrance. He immediately climbed out and walked around to open the door for me and guide me in.

“You need a coffee, and something to eat,” Jameel said, eyeing me through the rearview mirror. “You can’t meet the minister like that.”

“I just need a few more minutes’ sleep,” I replied, wriggling to try and lie down sideways on my seat. 

The slamming of brakes, and what sounded like Jameel cussing at a driver in front, woke me for a second time. 

“I’m sorry, Mr. Youssef.”

“Don’t worry,” I said, heaving myself back up and looking out of the window. 

Without waiting for me to respond, he continued: “I’ll take you to a place where you can have breakfast.” 

A few minutes later, the car stopped by the seaside promenade and a security officer opened the door for me. 

“Here we are,” Jameel said. “Go and grab a seat inside. Get yourself some breakfast and a coffee. I’ll wait for you here. You have half an hour.”

“You’ll come with me,” I insisted.

“I can’t leave the car. Security precautions.” 

“Park over there, at the front,” I said, getting out of the car. “Keep the keys and ask those guys to keep an eye on it. I won’t go in until you’ve come out.”

I walked over to the coffee shop entrance and waited. Jameel parked and stopped to talk to the young men, pointing at the car. After handing them some cash, he caught me up. From the way Jameel was greeted, it seemed that the waiter knew him. We were led to a table at the far side of the beach, right by the seafront.

 

Pedestrians and cars cross the Barbir Museum checkpoint on the Green Line, 1989 (courtesy Rare Historical Photos).


“I ordered you a
knéfé. It’ll help you get rid of the hangover,” Jameel said, pouring the coffee into my cup and handing it to me. 

“Do you always come here?” I asked him.

“I used to,” he replied, then stared silently at the sea. He didn’t seem to want to talk, so I focused on drinking my coffee. The waiter returned and placed a dish in front of me.

“So good!” I said, in English, once I’d tasted the knéfé.

Suddenly ravenous, I wolfed down half of the food on my plate. Then I slowed down, deciding to press Jameel into opening up to me. 

“Tell me, Jameel, what did you do during the civil war?”

“What everyone else did.”

“I mean, how did you live? How did you protect yourself and your family?”

“I didn’t.”

“Huh?”

“My wife died in the war, and I’m the one who raised my children. After that, I made sure they left the country to study abroad.”

“I’m sorry, I didn’t mean …”

“Judging wars, Mr. Youssef, is easy. You can say that war is evil, and assume that you would find a way to be neutral in the face of its atrocities. But that’s not how it works.”

“But didn’t you think this through during the war?”

“In the early days, maybe. Then, like any system in life, the details consume you until you end up following a daily routine that someone else has forced on you, and it becomes a struggle just to survive. In times of war, societies are pushed to the edge. In times of war, everything becomes personal. Whatever the reasons behind war, sometimes it’s impossible to escape it. And you might be forced to play a part in it. War is an extremely radical experience — it relegates everything that came before it to the ash heap of history, and it seeks to establish a new order, either by repudiating the former order, or endorsing the regime’s unspoken acts. In war, societies are reshaped. Don’t get me wrong, peacetime also comes with its own set of characteristics. This road we drove along wasn’t like this ten years ago. Those towers that devour the road opposite the Corniche tell another tale of the way societies are remodeled.”

“You seem to have a very thorough personal perspective on war, so much so that it sounds like … you might have taken part in it?”

“Of course, I took part. Just like everyone else. I was a member of a party, then a fighter. If you go down to any street right now in Beirut and walk among the people, you’ll come across former fighters. It’s inevitable. The war ended and everyone returned to their bases, safe, or dead, while others were promoted.”

“Promoted, like the minister?”

“Forgive me if I don’t answer that.”

“Okay, so what happened to you afterwards?”

“I wasn’t a member of a party anymore, but I’m still political.”

“Since I decided to come here, I’ve tried to do some research. I read, and the more I read, the more complicated it gets. What I still can’t understand is how societies descend into civil war in the first place.” 

“In war, there’s no such thing as a good person or a bad person.”

“I remember my father, a few years ago, weeping at a news broadcast of demonstrations in the center of the capital.”

“We all wept.”

“Did you go down to those protests?”

“I watched them on TV. But I know people who walked for more than an hour just to reach the square. People like us, Mr. Youssef, grow older, and can no longer endure hope. Each time we build our hopes up we invest in a project that’s doomed to failure. So …”

“So …”

“So, I prefer to watch Netflix and to take care of my cat. Come on … we need to leave or we’ll be late for His Excellency, the minister.”

As he stood up, he turned to me. “Don’t ask these questions to His Excellency,” he cautioned. “And don’t repeat anything we said.”

 

A Lebanese civil war photo shows the overgrown demarcation line in downtown Beirut in 1990 (Rare Historical Photos).


We entered a broad courtyard of a house whose architectural design distinguished it from the buildings that surrounded it. The car stopped near a large wooden door, with security guards gathered in front. Before I stepped out of the car, I couldn’t help but offer an observation that Beirut was full of security guards. Jameel responded with a glare to shut me up.

I waited alone in a large salon on the ground floor. A number of waiters and staff kept coming up to me, asking if I wanted a drink. They informed me that the minister would be a few minutes late. I kept my father’s blue notebook in the pocket of my jacket and began to flick through the photos and the rest of the documents in the folder.

The minister entered with two escorts, so I stood up, placing the folder on the couch near me. 

“Good morning,” the minister said, as he shook my hand.

“Good morning,” I replied.

“Leave us on our own,” the minister gestured to his escorts, who withdrew and closed the door behind them.

The minister sat down, and for a few seconds silence prevailed, before he glanced at his watch: “I can spend 15 minutes with you. You should make the most of them because I’m traveling this week. Have you buried your father?”

“I scattered one set of his ashes and there are six more left for other locations.” 

“He didn’t change … Your father is an old comrade. I remember how, once, right before he emigrated, or maybe after, I can’t remember, he called me and said something about death and ashes. It was a very moving conversation. I thought he only said that because he was feeling emotional at that particular time. But it looks like he went through with his old promise.”

I didn’t know what to say. Had my father told him, years ago, that he would want to be cremated? I decided to break the silence by pulling out the photograph and offering it to him. He stared at it briefly then sighed and began to speak, without waiting for me to comment. 

“They told me about this photo. Your father took it of us during the war. I didn’t know that he kept it with him. He used to love cameras and photography, but he never showed the photos to anyone.”

“Can I ask what happened to the people in the photograph?”

“Listen, I will tell you in brief, but I won’t discuss this subject again … Myself — Elie Nassar — Sami Boutros, George Karam, and your father, four comrades who went their separate ways. Sami committed suicide; he fell into a chronic depression after his son was killed in the war and his other son kidnapped. One day, we woke up to the news that he’d thrown himself off a balcony. And he wasn’t the only one. Your father didn’t tell you anything about him, right?”

I shook my head. I didn’t feel there was room for me to ask questions. It seemed that the entire matter had sprung up out of nowhere and that I hadn’t known my father at all. The minister continued to talk, as if I was invisible. He asked questions and answered them himself, digressed, and explained whatever he wanted to explain. It seemed that he’d come to this meeting determined to share his story. 

“Maybe he didn’t tell you because he didn’t want you to know,” he added. “Your father often behaved oddly.”


Life before the meeting with the minister was very different to that which followed.

I had entered with a hangover, and emerged with a civil war headache. What I had tried to avoid, had occurred. What I had tried to ignore, was not only revealed; it could no longer be hidden. I sat on a wooden chair at the entrance to the building and thought about what Nassar had said. Everything he had disclosed made sense, and would be corroborated by my father’s diligent tracking of Lebanese news, as well as information he received from Lebanon, and the Lebanese friends who visited him in Berlin.

Nassar said they were four: him, Sami, George, and my father — friends, of weapons, marching and war. And according to him, they were defending the country’s identity and survival in the face of the other project.

“We came out of the war defeated. We should have stopped denying it and admit to our defeat, so we could return. We wasted time convincing ourselves that we hadn’t been defeated and that the others would soon fail, that the people would demand our return. But none of that happened. We didn’t read the political conditions accurately, nor fall in with the regime. Sami felt that he’d lost his two sons for nothing, so he became depressed and committed suicide. George decided to switch alliances, and to ride the wave of the times and … I don’t want to talk about him now because he’s in a dishonorable state. As for your father and I, we ended up in voluntary exile at the right time. Me in Paris, and him in Berlin. We kept talking, even though your father didn’t say much about his life. I found out through acquaintances who used to visit him that he got married, had a son, and divorced. He wasn’t aware of how much I knew about him. I didn’t embarrass him by asking anything personal. I contented myself with generic questions and he would usually respond. 

Then our phone calls cut off until whatever happened, happened, in 2005. Hariri’s assassination was the fatal blow to the regime that exiled us, and represented the downfall of the regime that we had all been waiting for. Fourteen years of oppression, exile, and anticipation that was only ended by the regime itself, through rampant arrogance. Events sometimes catch you by surprise; they occur randomly, in a way you may never have expected, and produce results that can be organized and presented. I called your father; I told him that it was a good opportunity, the chance we’d been waiting for, I relayed the reassurances we received, and I begged him to return, like we did. We would begin where we left off. We would erase the years of defeat and anticipation. He refused. He didn’t oppose us returning, but wouldn’t join us. I couldn’t understand why he took this decision, and I’d never known him to be inconsistent.

During the war, your father was the “different” one of the lot, and he’d always be several steps ahead of the rest of us. So I put it down to that. When I began to help build the political movement, I called him several times. His responses were dry and I sensed that he didn’t want me to discuss anything with him or to consult him in such matters. I respected this about him. Then I became occupied with the general responsibilities that I had taken on, so I stopped calling. I didn’t know that he’d died until they told me that you were arriving at the airport. He died quietly, without any of his friends knowing. Clearly, he wanted to deny us any chance of commemorating his death, and to disappear, silently. That was true to form. Even thinking about this is moving. The time we spent together passes before my eyes in a flash. Can I ask you if he left anything else behind, other than this photo?”

I presented him with the map of where the ashes would be scattered, which he took from me and scrutinized. 

“Did he leave anything else?” Nassar persisted.

“Nothing,” I said, deciding not to tell him about the notebook in my pocket.

 

Hilal Chouman

Hilal Chouman Hilal Chouman is a Lebanese novelist and writer born in Beirut. He studied communications and electronics engineering at Jâmi'at Bâyrut Al-Arabiya, and obtained an MSc in aerospace communication systems and satellite communications. Chouman has written five novels in Arabic: Stories... Read more

Nashwa Nasreldin

Nashwa Nasreldin Nashwa Nasreldin is a writer, editor, and translator of Arabic literature whose book translations include the collaborative novel by nine refugee writers, Shatila Stories, and a co-translation of Samar Yazbek’s memoir, The Crossing: My Journey to the Shattered Heart of Syria.... Read more

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13 MARCH 2023 • By Ghida Ismail
The Forced Disappearance of Street Vendors in Beirut
Fiction

“Counter Strike”—a story by MK HARB

5 MARCH 2023 • By MK Harb
“Counter Strike”—a story by MK HARB
Fiction

“Mother Remembered”—Fiction by Samir El-Youssef

5 MARCH 2023 • By Samir El-Youssef
“Mother Remembered”—Fiction by Samir El-Youssef
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
Beirut

The Curious Case of Middle Lebanon

13 FEBRUARY 2023 • By Amal Ghandour
The Curious Case of Middle Lebanon
Beirut

Arab Women’s War Stories, Oral Histories from Lebanon

13 FEBRUARY 2023 • By Evelyne Accad
Arab Women’s War Stories, Oral Histories from Lebanon
Book Reviews

Sabyl Ghoussoub Heads for Beirut in Search of Himself

23 JANUARY 2023 • By Adil Bouhelal
Sabyl Ghoussoub Heads for Beirut in Search of Himself
Art

On Lebanon and Lamia Joreige’s “Uncertain Times”

23 JANUARY 2023 • By Arie Amaya-Akkermans
On Lebanon and Lamia Joreige’s “Uncertain Times”
Fiction

Broken Glass, a short story

15 DECEMBER 2022 • By Sarah AlKahly-Mills
<em>Broken Glass</em>, a short story
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>
Art & Photography

Our Shared Future: Marwa Arsanios’ “Reverse Shot”

28 NOVEMBER 2022 • By Mariam Elnozahy
Our Shared Future: Marwa Arsanios’ “Reverse Shot”
Columns

For Electronica Artist Hadi Zeidan, Dance Clubs are Analogous to Churches

24 OCTOBER 2022 • By Melissa Chemam
For Electronica Artist Hadi Zeidan, Dance Clubs are Analogous to Churches
Fiction

“Ride On, Shooting Star”—fiction from May Haddad

15 OCTOBER 2022 • By May Haddad
“Ride On, Shooting Star”—fiction from May Haddad
Film

Ziad Kalthoum: Trajectory of a Syrian Filmmaker

15 SEPTEMBER 2022 • By Viola Shafik
Ziad Kalthoum: Trajectory of a Syrian Filmmaker
Essays

Kairo Koshary, Berlin’s Egyptian Food Truck

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

The Mystery of Tycoon Michel Baida in Old Arab Berlin

15 SEPTEMBER 2022 • By Irit Neidhardt
The Mystery of Tycoon Michel Baida in Old Arab Berlin
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
Art & Photography

16 Formidable Lebanese Photographers in an Abbey

5 SEPTEMBER 2022 • By Nada Ghosn
16 Formidable Lebanese Photographers in an Abbey
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”
Music Reviews

Hot Summer Playlist: “Diaspora Dreams” Drops

8 AUGUST 2022 • By Mischa Geracoulis
Hot Summer Playlist: “Diaspora Dreams” Drops
Editorial

Editorial: Is the World Driving Us Mad?

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

Where to Now, Ya Asfoura?—a story by Sarah AlKahly-Mills

15 JULY 2022 • By Sarah AlKahly-Mills
Where to Now, Ya Asfoura?—a story by Sarah AlKahly-Mills
Film

Lebanon in a Loop: A Retrospective of “Waves ’98”

15 JULY 2022 • By Youssef Manessa
Lebanon in a Loop: A Retrospective of “Waves ’98”
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”
Columns

Why I left Lebanon and Became a Transitional Citizen

27 JUNE 2022 • By Myriam Dalal
Why I left Lebanon and Became a Transitional Citizen
Featured excerpt

Joumana Haddad: “Victim #232”

15 JUNE 2022 • By Joumana Haddad, Rana Asfour
Joumana Haddad: “Victim #232”
Fiction

Rabih Alameddine: “Remembering Nasser”

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

“The Salamander”—fiction from Sarah AlKahly-Mills

15 JUNE 2022 • By Sarah AlKahly-Mills
“The Salamander”—fiction from Sarah AlKahly-Mills
Art & Photography

Film Review: “Memory Box” on Lebanon Merges Art & Cinema

13 JUNE 2022 • By Arie Amaya-Akkermans
Film Review: “Memory Box” on Lebanon Merges Art & Cinema
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”
Beirut

Fairouz is the Voice of Lebanon, Symbol of Hope in a Weary Land

25 APRIL 2022 • By Melissa Chemam
Fairouz is the Voice of Lebanon, Symbol of Hope in a Weary Land
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
Art & Photography

Ghosts of Beirut: a Review of “displaced”

11 APRIL 2022 • By Karén Jallatyan
Ghosts of Beirut: a Review of “displaced”
Columns

Music in the Middle East: Bring Back Peace

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

“Gluttony” from Abbas Beydoun’s “Frankenstein’s Mirrors”

15 MARCH 2022 • By Abbas Baydoun, Lily Sadowsky
“Gluttony” from Abbas Beydoun’s “Frankenstein’s Mirrors”
Poetry

Three Poems of Love and Desire by Nouri Al-Jarrah

15 MARCH 2022 • By Nouri Al-Jarrah
Three Poems of Love and Desire by Nouri Al-Jarrah
Fiction

Fiction from “Free Fall”: I fled the city as a murderer whose crime had just been uncovered

15 JANUARY 2022 • By Abeer Esber, Nouha Homad
Fiction from “Free Fall”: I fled the city as a murderer whose crime had just been uncovered
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
Columns

Sudden Journeys: From Munich with Love and Realpolitik

27 DECEMBER 2021 • By Jenine Abboushi
Sudden Journeys: From Munich with Love and Realpolitik
Columns

My Lebanese Landlord, Lebanese Bankdits, and German Racism

15 DECEMBER 2021 • By Tariq Mehmood
My Lebanese Landlord, Lebanese Bankdits, and German Racism
Fiction

Three Levantine Tales

15 DECEMBER 2021 • By Nouha Homad
Three Levantine Tales
Comix

Lebanon at the Point of Drowning in Its Own…

15 DECEMBER 2021 • By Raja Abu Kasm, Rahil Mohsin
Lebanon at the Point of Drowning in Its Own…
Comix

How to Hide in Lebanon as a Western Foreigner

15 DECEMBER 2021 • By Nadiyah Abdullatif, Anam Zafar
How to Hide in Lebanon as a Western Foreigner
Columns

Sudden Journeys: The Villa Salameh Bequest

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

Electronic Music in Riyadh?

22 NOVEMBER 2021 • By Melissa Chemam
Electronic Music in Riyadh?
Art

Etel Adnan’s Sun and Sea: In Remembrance

19 NOVEMBER 2021 • By Arie Amaya-Akkermans
Etel Adnan’s Sun and Sea: In Remembrance
Columns

Burning Forests, Burning Nations

15 NOVEMBER 2021 • By Hadani Ditmars
Burning Forests, Burning Nations
Book Reviews

Diary of the Collapse—Charif Majdalani on Lebanon’s Trials by Fire

15 NOVEMBER 2021 • By A.J. Naddaff
<em>Diary of the Collapse</em>—Charif Majdalani on Lebanon’s Trials by Fire
Book Reviews

The Vanishing: Are Arab Christians an Endangered Minority?

15 NOVEMBER 2021 • By Hadani Ditmars
The Vanishing: Are Arab Christians an Endangered Minority?
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

Racha Mounaged’s Debut Novel Captures Trauma of Lebanese Civil War

18 OCTOBER 2021 • By A.J. Naddaff
Racha Mounaged’s Debut Novel Captures Trauma of Lebanese Civil War
Featured excerpt

Memoirs of a Militant, My Years in the Khiam Women’s Prison

15 OCTOBER 2021 • By Nawal Qasim Baidoun
Memoirs of a Militant, My Years in the Khiam Women’s Prison
Art & Photography

Displaced: From Beirut to Los Angeles to Beirut

15 SEPTEMBER 2021 • By Ara Oshagan
Displaced: From Beirut to Los Angeles to Beirut
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

Women Comic Artists, from Afghanistan to Morocco

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

World Picks: August 2021

12 AUGUST 2021 • By Lawrence Joffe
World Picks: August 2021
Columns

Beirut Drag Queens Lead the Way for Arab LGBTQ+ Visibility

8 AUGUST 2021 • By Anonymous
Beirut Drag Queens Lead the Way for Arab LGBTQ+ Visibility
Columns

Remember 18:07 and Light a Flame for Beirut

4 AUGUST 2021 • By Jordan Elgrably
Remember 18:07 and Light a Flame for Beirut
Art & Photography

Gaza’s Shababek Gallery for Contemporary Art

14 JULY 2021 • By Yara Chaalan
Gaza’s Shababek Gallery for Contemporary Art
Columns

The Semantics of Gaza, War and Truth

14 JULY 2021 • By Mischa Geracoulis
The Semantics of Gaza, War and Truth
Columns

Lebanon’s Wasta Has Contributed to the Country’s Collapse

14 JUNE 2021 • By Samir El-Youssef
Lebanon’s Wasta Has Contributed to the Country’s Collapse
Columns

Lebanese Oppose Corruption with a Game of Wasta

14 JUNE 2021 • By Victoria Schneider
Lebanese Oppose Corruption with a Game of Wasta
Weekly

War Diary: The End of Innocence

23 MAY 2021 • By Arie Amaya-Akkermans
War Diary: The End of Innocence
Essays

Reviving Hammam Al Jadeed

14 MAY 2021 • By Tom Young
Reviving Hammam Al Jadeed
Art

The Labyrinth of Memory

14 MAY 2021 • By Ziad Suidan
The Labyrinth of Memory
Weekly

Beirut Brings a Fragmented Family Together in “The Arsonists’ City”

9 MAY 2021 • By Rana Asfour
Columns

Memory and the Assassination of Lokman Slim

14 MARCH 2021 • By Claire Launchbury
Memory and the Assassination of Lokman Slim
Weekly

Hanane Hajj Ali, Portrait of a Theatrical Trailblazer

14 FEBRUARY 2021 • By Nada Ghosn
Hanane Hajj Ali, Portrait of a Theatrical Trailblazer
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
Film Reviews

Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography

10 JANUARY 2021 • By Rana Asfour
Muhammad Malas, Syria’s Auteur, is the subject of a Film Biography
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
TMR 3 • Racism & Identity

Find the Others: on Becoming an Arab Writer in English

15 NOVEMBER 2020 • By Rewa Zeinati
TMR 3 • Racism & Identity

I am the Hyphen

15 NOVEMBER 2020 • By Sarah AlKahly-Mills
I am the Hyphen
World Picks

World Art, Music & Zoom Beat the Pandemic Blues

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

An Outsider’s Long Goodbye

15 SEPTEMBER 2020 • By Annia Ciezadlo
An Outsider’s Long Goodbye
Beirut

Wajdi Mouawad, Just the Playwright for Our Dystopian World

15 SEPTEMBER 2020 • By Melissa Chemam
Wajdi Mouawad, Just the Playwright for Our Dystopian World
Beirut

Beirut In Pieces

15 SEPTEMBER 2020 • By Jenine Abboushi
Beirut In Pieces
Art

Beirut Comix Tell the Story

15 SEPTEMBER 2020 • By Lina Ghaibeh & George Khoury
Beirut Comix Tell the Story
Editorial

Beirut, Beirut

15 SEPTEMBER 2020 • By Jordan Elgrably
Beirut

It’s Time for a Public Forum on Lebanon

15 SEPTEMBER 2020 • By Wajdi Mouawad
It’s Time for a Public Forum on Lebanon
Book Reviews

Salvaging the shipwreck of humanity in Amin Maalouf’s Adrift

15 SEPTEMBER 2020 • By Sarah AlKahly-Mills
Salvaging the shipwreck of humanity in Amin Maalouf’s <em>Adrift</em>

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