Memory and the Assassination of Lokman Slim

“Ascent” (Holiday Inn), oil on canvas, 140cm x 200cm, 2016, by Tom Young (courtesy of the artist).

14 MARCH 2021 • By Claire Launchbury

Claire Launchbury

 

State-led amnesia in Lebanon instituted by the amnesty of 1991 absolved all but the most serious war crimes committed during fifteen years of civil conflict. The country’s amnesia has kept discourse about “the events” hidden or expressed only in euphemism. It has also facilitated the politically-expedient desire for the state to rework history for its own uses, making the truth ineffable or hidden. No extensive process of truth and reconciliation or a restorative justice program has yet been undertaken in the thirty years since the civil war ended in 1990.

Lokman Slim, who was murdered on the 3rd of February, 2021, was an activist, publisher and a truth seeker who spent his life challenging the non-disclosure of truth. Slim railed against censorship in the publishing house, Dar al-Jadeed, which he founded with his sister, the novelist and activist, Rasha Al-Ameer. Holding up a mirror to those who do not wish to be confronted with the truth of their actions in the past as in the present, as Slim undoubtedly did, is a brave undertaking. Lokman Slim did much to shed light on the murky, undocumented past of the civil war, the Syrian occupation and beyond.

Lokman Slim at his desk (photo Marwan Tahtah).
Lokman Slim at his desk (photo Marwan Tahtah).

Since the thwarted revolution of October 2019, there has been a cataclysmic financial crash which has pushed much of the population below the breadline and a significant minority into abject poverty. On the 4th of August, 2020, the double explosion of ammonium nitrate and other material stored in the port devastated large parts of the historic districts of Beirut and destroyed three hospitals. The Covid-19 pandemic is one crisis among a series of others. It is a cynical reality that Slim’s killers chose to exploit at a moment when both place and space for outrage are near exhaustion: the country is locked down, the population tired, resigned and despairing. There is inevitable concern that his killing marks a renewal of the political assassinations which killed prominent journalists and scholars such as Samir Kassir and Gebran Tuéni in 2005—concern that truth, and its pursuit becomes a death sentence.

Slim was born into a well-known Shia family, the son of Mohsen Slim, a politician and fierce defender of Lebanese independence. Slim’s mother, Salma Merchak Slim, is a Christian from Egypt. His own fiérté laïque as well as his rootedness to Haret Hreik in Dahiyeh, the southern suburbs of Beirut associated in geopolitical shorthand with Hezbollah, confounded many. Sectarian affiliation is not a pre-condition of Lebanon’s modernity but a major constitutive factor in its development and remains the determining factor of the hybrid sovereignties of its political actuality. He would often speak of his “côté protestant” and as friends used to tease him, being secular and Protestant could also be a sectarian position.


Iconic image of war-torn Beirut, circa 1976.
Iconic image of war-torn Beirut, circa 1976.

 

joe cleary literature partition and the nation-state cover.jpgSlim was fearless.

Mahmoud Darwich’s epic account of the Beirut siege, Memory for Forgetfulness, is subtitled in its French translation, Le temps: Beyrouth, le lieu: un jour d’août 1982. This disarray, where place becomes time, and time a place, works to illustrate the complicated politics of memory that have endured in Lebanon since the end of the civil war, as well as the cycles of turbulence which have followed. Borders, such as those wrought by colonial partition or by the fault lines of civil war, like the one that divided Beirut for fifteen years, or the territorial markers for the “war yet to come” leave or anticipate scars. These borders find representation in cultural production as fabulations of geography, according to Joe Cleary in his analysis of literature and partition in Ireland, Israel and Palestine (cf. Literature, Partition and the Nation-State, Cambridge University Press). Cartographic initiations of division, the lines in the sand, are places of discursive invisibility, places where things remain unsaid. Slim’s murder in the south of Lebanon—not near his home—bears witness to Beirut’s fault line being banished to the margins, relocated to a displaced site of trauma outside the city, an unutterable elsewhere.

Both as a challenge to the absence of justice and as a means of articulating discourses that otherwise might be censored, vibrant civil society initiatives have stepped into the void. Cultural responses to this denial of memorial expression have been articulated across literature, cinema and projects driven by an impetus to archive in the absence of an official national record. It is in this field where Lokman Slim’s memory work was exceptional, notably in the projects undertaken by the NGO, UMAM: Documentation and Research, which he founded with his partner in life and work, Monika Borgmann.


German poster of the Slim-Borgmann film shot by Nina Menkes.
German poster of the Slim-Borgmann film shot by Nina Menkes.

Slim and Borgmann produced two award-winning documentary films, Massaker (2004), which collates interviews with perpetrators of the three-day massacre at Sabra and Chatila in September 1982 and Tadmor (Palmyre) (2017) which cast light on the torture of Lebanese prisoners in Syrian jails. UMAM’s wide-ranging mission involves the display of cultural representations of the civil war but also running initiatives which drill down into the painful legacies of the past, such as the missing, torture, crimes against humanity, prisons, as well as smaller scale archiving projects rescuing film and hotel archives which would otherwise be lost.

Against Impunity

Making people face their preconceptions, challenging their opinions, skewering hypocrisy and demanding independence of mind seems was inspired by his own bold approach to life. In 2005, he founded the NGO Hayya Bina, which worked with women in rural communities to encourage peace-building initiatives, including teaching them English, to develop relationships beyond sectarian allegiances and to have access to discourses beyond the narrow ones they would encounter otherwise. Many of the projects he initiated were designed to hold perpetrators to account to confront them with the truth of their actions. In Massaker, for example, Slim and Borgmann interview six former militia fighters as they talk about their participation in the Sabra and Chatila massacres of Palestinian civilians, women and children. They are shown graphic documentary footage, maps and photos of the decomposing bodies in the aftermath of the massacre. Focusing on the bodies of the perpetrators, their torsos adorned with tattoos, hands with wedding rings clasping rosary beads, their faces remain hidden as they talk, some with regret, some still with harrowing violence, of their actions during those days and nights.


“Life Goes On,” oil on canvas, 100cm x 120cm, 2008 by Tom Young (courtesy of the artist).

Facing the Past

In 2007, Slim and his colleagues began a project to trace and document the missing of the civil war, many of whom were disappeared in Syrian jails or buried in the mass graves under Beirut which are yet to be officially recognized. This multidimensional project involved collaboration with collectives of relatives of the missing and employed researchers to interview families across the country, resulting in a database of 1,250 names. As an extension to the database, an accompanying photo exhibition made up of the portraits it contains toured the country—expanding as it did so—encouraging new cases to be disclosed. Placing multiple portraits of the missing in one place not only broke the silence but it also gave physical shape to the scale of the issue. On April 13, 2010, which marked the 35th anniversary of the start of civil war, the photo exhibition was displayed at the bullet-scarred unfinished cinema in central Beirut known as The Egg (due to its ovoid concrete form). This exhibition forms the background for a striking scene in the 2012 documentary Sleepless Nights by Eliane Raheb. Maryam Saiidi, whose son Maher disappeared at the age of fifteen during a notorious battle between Phalangists and the Lebanese Communist Party in June 1982, is filmed in an increasingly angry confrontation with Assaad Shaftari, a former high-ranking intelligence officer in the Forces Libanaises, who has since publicly atoned for his role in the war. The exhibition portrait of Maher appears over Shaftari’s right shoulder as a silent witness to the pair and their argument. Despite the confrontation, no confirmation of Maher’s fate is ever offered and Saiidi continues her life, stalled, unresolved and unable to live beyond her son’s disappearance.

As a development of their work on the disappeared, Slim and Borgmann’s 2019 documentary Tadmor goes much further than simply bearing witness to the humiliation and torture Lebanese prisoners endured at the notorious Syrian jail. Conventional documentary interviews are interpolated with scenes where the former prisoners staged everyday scenes of their incarceration. Slim and Borgmann explain that this evolved from the interviews where they found that prisoners started to mime or recreate their testimony when words were not enough. Together they worked first to make a touring stage performance, then filmed the scenes at an abandoned school outside Beirut. Batons used to beat them are made out of foam as they re-enacted dormitory inspections, cleaning and, in a notable scene, eating. In both Tadmor and Massaker, Slim and Borgmann achieve extraordinary levels of trust with the participants in their documentaries, enabling them to articulate their own truth.

At the time of his murder, Slim was working on a large-scale multi-site project on prisons across the Middle East and North Africa, the MENA Prison Forum. Collating testimony, research, reports from across the region, indeed beyond into cases in Europe, and the Forum produces resources such as a prison lingo dictionary as well as an index of literature, film and academic work on the topic. Not content with simply archiving the past, Slim was motivated by its impact in the world beyond, so the final part of the project concentrates on outreach and advocacy, including a university syllabus on history, cultures and practices in prisons in the region.

Artist and graphic designer, Abraham Zeitoun who worked with Slim on an exhibition which challenged Lebanese identities in the context of hostility to refugees arriving from Syria, describes encountering an intimidating intellect, who batted away obstacles and refused to countenance problems.  “And Lebanese…” was an evolving exhibition based on archival work at UMAM that sought to explore the varied and disparate roots of some of the most “Lebanese” public figures in the form of a series of portraits of people of renown from Saint Maroun to Fairouz who it was demonstrated were not really Lebanese at all. In order to interrogate the competing self-images Lebanon has of itself, the portraits were exhibited at right angles to the wall enclosing people within the display in front and behind forcing them to face whatever “Lebanese” might have meant, means and might mean in the future. In particular, it demonstrated that these multicultural identities were no different to those seeking asylum within its borders and expanded beyond a small nation-state on the East coast of the Mediterranean.


The remnants of the bus in the Ain el-Rammaneh massacre that many believe launched Lebanon's civil war, 1975-1990 (photos courtesy Claire Launchbury).
The remnants of the bus in the Ain el-Rammaneh massacre that many believe launched Lebanon’s civil war, 1975-1990 (photos courtesy Claire Launchbury).

From retrieving and exhibiting the bus involved the April 13, 1975 Ain el-Rammaneh massacre that many point to as having launched the civil war, to projects with global reach, Slim’s pioneering work, involved publishing censored texts and protecting archives at risk. He was a founding member of the group which developed the international principles for providing safe havens for archives at risk, advising across the world where archives were sensitive due to their human rights content.

Lokman’s work sheds unflinching light on oppression and atrocity. He was tremendous, engaging and delightful company, a cynic who loved, a dissenter who reformed. While his legacy continues in the fearless work of Monika and their organization, he was a friend whose loss will always be unconscionable.


“Eternity’s Gate”—the gate to Lokman Slim’s house in Herat Hreik on the day of his memorial earlier this year, with mourners gathering. Oil on canvas, 50cm x 40cm, 2021, by Tom Young (courtesy of the artist).


An earlier version of Claire Launchbury’s article was published by Le Monde Diplomatique‘s English edition in March 2021.

Claire Launchbury

Claire Launchbury

Claire Launchbury is a writer based in Lebanon and the UK. She has undertaken academic work on Lebanon since 2011, holding visiting positions at the Université Saint-Joseph and the Center for Arab and Middle Eastern Studies at AUB. She tweets @LaunchburyClai1.

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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
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
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
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”
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

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
Essays

Nawal El-Saadawi, a Heroine in Prison

15 OCTOBER 2022 • By Ibrahim Fawzy
Nawal El-Saadawi, a Heroine in Prison
Book Reviews

Cassette Tapes Once Captured Egypt’s Popular Culture

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

Kader Attia, Berlin Biennale’s Curator

15 SEPTEMBER 2022 • By Melissa Chemam
Kader Attia, Berlin Biennale’s Curator
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”
Book Reviews

Questionable Thinking on the Syrian Revolution

1 AUGUST 2022 • By Fouad Mami
Questionable Thinking on the Syrian Revolution
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
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”
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
Columns

World Refugee Day — What We Owe Each Other

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

Rabih Alameddine: “Remembering Nasser”

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

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

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

Saeed Taji Farouky: “Strange Cities Are Familiar”

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

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

15 JUNE 2022 • By Dima Mikhayel Matta
Dima Mikhayel Matta: “This Text Is a Very Lonely Document”
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
Columns

Libyan, Palestinian and Syrian Family Dinners in London

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

Mariupol, Ukraine and the Crime of Hospital Bombing

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

Fiction: “Skin Calluses” by Khalil Younes

15 MARCH 2022 • By Khalil Younes
Fiction: “Skin Calluses” by Khalil Younes
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
Columns

“There’s Nothing Worse Than War”

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

Children in Search of Refuge: a Photographic Essay

15 JANUARY 2022 • By Iason Athanasiadis
Children in Search of Refuge: a Photographic Essay
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
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
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
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
Beirut

Sudden Journeys: The Villa Salameh Bequest

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

Syria Through British Eyes

29 NOVEMBER 2021 • By Rana Haddad
Syria Through British Eyes
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?
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

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
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

Displaced: From Beirut to Los Angeles to Beirut

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

Why Resistance Is Foundational to Kurdish Literature

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

Summer of ‘21 Reading—Notes from the Editors

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

Syria’s Ruling Elite— A Master Class in Wasta

14 JUNE 2021 • By Lawrence Joffe
Syria’s Ruling Elite— A Master Class in Wasta
Weekly

The Maps of Our Destruction: Two Novels on Syria

30 MAY 2021 • By Rana Asfour
The Maps of Our Destruction: Two Novels on Syria
Weekly

War Diary: The End of Innocence

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

We Are All at the Border Now

14 MAY 2021 • By Todd Miller
We Are All at the Border Now
Essays

From Damascus to Birmingham, a Selected Glossary

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

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

9 MAY 2021 • By Rana Asfour
Editorial

Why TRUTH? الحقيقه

15 MARCH 2021 • By Jordan Elgrably
Why TRUTH? الحقيقه
Columns

Memory and the Assassination of Lokman Slim

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

The Freedom You Want

14 MARCH 2021 • By Mohja Kahf
The Freedom You Want
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
TMR 6 • Revolutions

The Revolution Sees its Shadow 10 Years Later

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

Ten Years of Hope and Blood

14 FEBRUARY 2021 • By Robert Solé
Ten Years of Hope and Blood
TMR 5 • Water

Watch Water Films & Donate to Water Organizations

16 JANUARY 2021 • By TMR
Watch Water Films & Donate to Water Organizations
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

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

14 DECEMBER 2020 • By Nat Muller
Trembling Landscapes: Between Reality and Fiction: Eleven Artists from the Middle East*
TMR 4 • Small & Indie Presses

Freedom is femininity: Faraj Bayrakdar

14 DECEMBER 2020 • By Faraj Bayrakdar
Freedom is femininity: Faraj Bayrakdar
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
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
Beirut

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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