When a Country is not a Country—the Chimera of Borders

The DMZ at Gimpo (all photos courtesy Ara Oshagan).

17 APRIL 2023 • By Ara Oshagan

This essay is accompanied by three other stories, from Seta Kabranian-Melkonian, Mischa Geracoulis and Mireille Rebeiz, leading up to the annual remembrance of the Armenian Genocide, on April 24th.

 

Artsakh has been colonized and decolonized countless times. But for the past thousand years, since the fall of Ani in 1064 to the Seljuk Turks, Artsakh and the Armenian highlands have been under the grip of settler-colonizers who, over time, have become increasingly more violent. Artsakh in the 20th century reads like a Shakespearean tragedy.

 

Ara Oshagan

 

Perceptions can falter at the demilitarized zone (DMZ) in Gimpo, South Korea.  Double fortified military fences stretch all the way to the horizon and tower over you —menacing, seemingly impenetrable even though transparent. Fortified concrete bunkers are nearby and guards with military-grade weapons are at the ready, just beyond your periphery.

Beyond this fence is the verdant natural estuary of the Han River, easing, ebbing, flowing. It is stunning, deeply colorful, and layered with moving sediment. The thin band of water massages the floor of the estuary, creating a staccato chorus to accompany the racket of waterfowl. It’s a deep whooshing sound, vaguely guttural. It is as if the river is talking to you in an obscure foreign language.

Beyond the estuary, on the other side, is North Korea. The landscape you ponder, the geography across this lush expanse and across an abyss of ideology, is not any different than the one you are standing on. You imagine someone on the opposite side, standing and watching you in an identical posture. You feel as if a certain forbidden dialogue can happen at the border here, where the two Koreas try to connect.

It is hard to envision a border separating the two Koreas, even though it is very much there, more palpable than a wall. All borders are fictive — omnipresent across maps and sometimes part of our consciousness, but impossible to pin down, at once unavoidable and fleeting. They are drawn in the chimeric constructions of history and man, almost always in the chaotic aftermath of war. One day nothing is there and the next an impenetrable wall and armed soldiers guarding it. Or the exact opposite: fortifications and trenches that have existed for generations disappear overnight. Nowhere do you get that sense more than here in Gimpo, at a border that has divided a country and a people who share a language, a history, and a culture. Nowhere else do you see less the need for a border. And nowhere else is the border more fortified and divisive.

A divided country is not a country. It is a country in limbo, in perpetual wait. And a border is not a border like a country is not a country. What does it mean to have a border inside your country? To not be able to even see or cross to the other half? You are disallowed a relationship with your own country, disallowed a relationship with yourself. A border dividing a country divides you from yourself. It creates an identity crisis. One half looking for the other. An incomplete being. A split country is not a country.

The border at the Han River estuary at Gimpo was shaped and reshaped by a history of war and upheaval. A space of contention for centuries, Gimpo first appears in history in 475 AD. Named and renamed, conquered, reconquered, and freed multiple times, it is the famed site of the repulsion of the French in 1866. Japanese imperial occupation in Gimpo began in 1910. The airfield, now the Gimpo International Airport, was built by the Japanese who used Koreans to haul rocks from quarries 10 miles away. After the defeat of Japan and the end of colonization in 1945, the Korean peninsula was summarily split roughly along the 38th parallel by the two occupying armies — the South came under the command of the United States and the North under the Soviet Union. Korea slipped into the shifting sands and battle lines of the Cold War.

At the northern tip of South Korea, Gimpo was the first point of contact of the Korean War in 1950 when North Korea invaded the South. Gimpo airport was attacked within hours of the start of the war, with several military air transport planes destroyed. Three days later, Gimpo was captured. In the subsequent weeks, US and South Korea airstrikes targeted enemy positions in Gimpo and its airfield. In the fall of 1950, after the US landing on Inchon, Gimpo was back in US and South Korean hands. A few short months later, in January of 1951, Gimpo was overrun by Chinese forces supporting the North. A month later, it was back under South Korean control. For three years, retreating armies destroyed everything they could and advancing armies bombed everything they could. By the end of this grisly war in 1953, over 1 million South Korean civilians had died.

The Korean War in Gimpo and across the current border ebbed and flowed like the river itself. The land, the river, the people, the whole ecosystem was ever-shifting, destroyed and replenished, and destroyed again. The sediments and soil of the Han River, the landscape, and the communities at the border are all witnesses to that war, and carry with them that embedded history. The villages near the border are now part of the Civilian Control Zone (CCZ), and their calmness belies their tumultuous history. They are monitored only slightly less than the border itself. And up until very recently, North Korean propaganda broadcasts were beamed across the DMZ to these villages. Some facilities in the CCZ have built concrete walls in front of their north-facing entrances to guard against surprise artillery attack.

Once a border, always a border.

In the final armistice of 1953 that ended the Korean War, the Han River estuary became part of the border itself, as part of the Demilitarized Zone (DMZ). In the agreement, this zone, the estuary north of Gimpo, was designated as neutral — a free zone for civilian maritime travel and commercial shipping. For military and political reasons, neither the North nor the South has complied with this agreement, and both sides have forged ahead to arm their borders with barbed wire and heavy weaponry. This is what we see today: a thin but heavily fortified membrane on either side of a space that has been untouched by man for nearly 70 years. It is an unintended pristine sanctuary rich in wildlife, pregnant with war.

Gimpo, a region which used to be surrounded on three sides by water, is now hemmed in by a perimeter of barbed wire. The Han River estuary cannot be approached. Its three ports stand unused and inaccessible; its fishermen do not fish; its residents do not wade into the water. Gimpo has lost its river, the life-source and healing power of water. Its sole connection to the world now is through the south, through the municipality of Seoul. Gimpo has lost its independence and resembles a being with only one lung — unable to take full, deep breaths and open its arms and connect to the world. Gimpo is faced with an identity crisis, compounded by the border and a divided country.

The border permeates all. But all borders are not created equal.

Just east of the current-day Armenian republic is the eastern edge of the Armenian highlands. Beyond those final fierce mountains, the flatlands of Azerbaijan begin, leading to the Caspian Sea and then to Turkmenistan and Afghanistan beyond. Perched on that eastern edge is the indigenous Armenian region of Nagorno-Karabakh, or Artsakh to Armenians. Its cliffs are vertical, its forests lush, and its mountainscapes stunning. At the edge of the cliffs of Jdrdouz in Shushi, you are left breathless and feel as if you are at the edge of the planet: here land runs out and outer space begins.

Within this rectilinear landscape, indigenous Armenians have lived for millennia. According to Greek historian Strabo, the Armenians populated these loamy lands at least since the 2nd century BC. And foreign invaders have come and gone for just as long. Artsakh has been colonized and decolonized countless times. But for the past thousand years, since the fall of Ani in 1064 to the Seljuk Turks, Artsakh and the Armenian highlands have been under the grip of settler-colonizers who, over time, have become increasingly more violent. Artsakh in the 20th century reads like a Shakespearean tragedy.

After the First World War, with the formation of the Soviet Union in the early 1920s, the Bolsheviks effectively enabled Azerbaijan to colonize a region which had a 94% Armenian indigenous population. In the ensuing decades, Armenian language, culture, art, and history were severely suppressed, and in some regions nearly erased completely — not unlike what had happened in Korea at the hands of the Japanese. The Armenians of the region never ceased to demand autonomy or integration with Armenia from the Soviet authorities — but to no avail. On paper, they enjoyed an autonomous status with distinct borders. In practice, they were ethnically cleansed in a number of towns, such as in Shushi in March of 1920; the violent Azerbaijani response altered that town’s demographic composition from an Armenian majority to an Azeri one. In 1923, the Soviet Union turned Artsakh, or Nagorno-Karabakh, into an autonomous Oblast within the Soviet Socialist Republic of Azerbaijan, which was adjacent to the Soviet Socialist Republic of Armenia.

In 1988, with the impending collapse of the Soviet Union, the majority Armenians of Artsakh voted to secede from the union and proclaimed independence. The Azerbaijani response was simple: a repeat of the violence seen in Shushi. Extremist groups started to attack Armenian civilians living in Azerbaijan. First was the Armenian neighborhood of Sumgait — the third largest city in Azerbaijan. For three days, Armenians were beaten, raped, and killed in the streets and in their homes, as local police stood nearby. A similar massacre followed in the town of Ganja, the second largest city, and then a large-scale slaughter took place in Azerbaijan’s capital city of Baku. Particularly violent, with reports of dismemberment and Armenians burned alive, this slaughter and riot lasted seven days. It stopped only when Soviet troops entered the city and violently imposed order. In Artsakh and in Armenia proper, Armenian militias responded by expelling large numbers of Azeri civilians and in some cases resorting to retaliatory killings.

Against this backdrop of extreme violence, full-scale war between Azerbaijan and the Armenians of Artsakh erupted. Backed by a newly independent Armenia, the Armenians beat back and ousted a much larger and better-equipped Azerbaijani army and decolonized their land. The Armenians and Azeris both paid a high price — estimated 30,000 dead — via warfare, ethnic cleansing, and outright massacres by both sides. Civilians were expelled from their homes: 300,000-500,000 Armenians and nearly 800,000 Azeris, creating a massive refugee problem that is still largely unresolved. Nagorno Karbakh was left without any Azeri residents and a plethora of ghost towns and villages. But the Armenians triumphed on the battlefield, restored their country to a state of wholeness, and reaffirmed their identity. They shook off 70 years of erasure, set up a border, and dug trenches to defend themselves.

Over the next 30 years, the indigenous Armenians of Artsakh held free elections, elected presidents and parliamentarians, and established a complete government infrastructure — replete with a country emblem, a diplomatic corps, and a military. A democratic country by any measure. And they rebuilt their war-torn land, brick by brick. Difficult economic conditions hampered progress. And the geopolitics of the region was such that no other nation would recognize them as a nation. The international community, pushed by Turkey, Israel, and the US, insisted on recognizing the pre-1992 borders, which placed Artsakh inside Azerbaijan. Artsakh did not appear on any map as a country — it was merely a region inside Azerbaijan. A de facto, but not de jure, country.

Not unlike Gimpo, Artsakh also had a militarized and fortified border: an eight-foot deep trench running all the way around the country. A territory hemmed in on three sides by this border: its only view of the world through Armenia via a narrow strip of land called the Lachin corridor. For 30 years, this border stood as physical demarcation on the landscape, a scar, a trench, and fortifications to keep the Azerbaijani army out, a safeguard against re-colonization. An impenetrable border by most measures. But at the same time, it was not a border at all, as it was unrecognized by any other nation, even by Armenia. On world maps and international negotiating tables, Artsakh had no borders — period.  Despite several peace efforts by the Organization of Security of Co-operation in Europe Minsk Group, Artsakh was never allowed a seat at the negotiating table. Artsakh had a physical border, but not a political one. Artsakh was a country that was not a country.

In September 2020, Azerbaijan attacked Artsakh. It overran its borders in six short weeks and re-colonized large parts of Artsakh itself. What had been there, fortified, built up for over 30 years, was gone overnight. Like a chimera. Like fiction. Could the line of demarcation that encircled Artsakh even be called a border? What do you call something so precarious and brittle that it can be swept aside with such minimal effort? Didn’t the Armenians realize the border they had created was not a border at all? Over the span of 30 years of independence, a national amnesia had set in regarding what this line of demarcation around Artsakh represented. The fragility of the border had become muddled and lost. For 30 short years, Armenians had imagined a future for themselves. They had imagined a reversal of a nearly 1,000-year history of loss, erasure, and colonization. Armenians had imagined a border and a possibility.

Korean and Armenian borders and political realities have certain parallels and abiding similarities. Both societies have lived through the indignities of oppressive colonization. Both peoples have seen the extreme violence of war for multiple generations — destruction and rebuilding and destruction again. The memories of these traumas persist today. Both nations are now split: Korea between North and South, Armenia/Artsakh between homeland and diaspora. One arising from the Korea War, the other from the Armenian Genocide and subsequent wars for nearly 100 years. Both nations still face concerted attempts at erasure of heinous past crimes against them by their colonizers. The Turkish state still denies the Armenian Genocide ever happened. And the Japanese government denies it had any culpability for the “Comfort Women” system of sex slavery during WWII. These denials are still happening now, 70 and 100 years later.

Borders — militarized, chimeral, invisible, imagined, uncrossable — are part of the very fabric of these nations. Armenians and Koreans carry their border with them.

In 2007, I was at the border in Artsakh, in a bunker on the front lines. Through a slit in the heavily fortified bunker wall, you could see the flatlands leading to the adversary’s positions. In terms of geography, the ground that stretched to the other border was not unlike the border in Gimpo. The level river expanse covers more or less a similar space, a flatness extending from your feet outward. I met a young man, an Artsakh soldier, in that bunker. He was at the ready, rifle in hand, with a shy uncertain smile masked by innate self-assurance. Yes, his eyes said, I am here, I have a weapon, but I have no idea if this is an actual border, or if the enemy will attack in five minutes or five years or five decades. But I am here.

I now wonder where this young man (who is no longer young) is today. Was he still in the military during the 2020 invasion, 13 years later? Did he imagine a future in this country that is not a country? Did he imagine a time when that flatland could become a space of cooperation and understanding, shared by the two nations? Did he dream of a time when Armenians and Azerbaijanis could live peacefully among each other?

In a similar dream, one can perhaps see the Han River Estuary also as a space of sharing: crossed by North Koreans traveling south and Southerners traveling north. Can borders be spaces of cooperation and sharing, rather than division and conflict? Can the verdant and harmonious natural habitat of the DMZ be a model of human harmony? One can imagine the deeply colorful and layered geography of the Han River estuary without barbed wire fences or heavy military fortification on either side. One can imagine Gimpo breathing again and its ships shuttling between its ports. One can perhaps imagine Korea restored to itself and Artsakh decolonized once again.

 

Ara Oshagan

Ara Oshagan Ara Oshagan is a multidisciplinary visual artist, curator and cultural worker whose work sits at the fraught intersection of legacies of violence, diasporic identity, narrative, memory, community, and displacement.  He has published two books of photography and created multiple critically-acclaimed... 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.

RELATED

Fiction

War and War

26 SEPTEMBER 2025 • By Hussain A. Ayoub
War and War
Book Reviews

How the Media Fails Armenia and Palestine

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

Why Out of Our Minds?

5 SEPTEMBER 2025 • By Lina Mounzer
Why <em>Out of Our Minds</em>?
Centerpiece

Trauma After Gaza

5 SEPTEMBER 2025 • By Joelle Abi-Rached
Trauma After 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

Aida Šehović on the 30th Anniversary of the Srebrenica Genocide

18 JULY 2025 • By Claudia Mende
Aida Šehović on the 30th Anniversary of the Srebrenica Genocide
Poetry

Nasser Rabah on Poetry and Gaza

4 JULY 2025 • By Nasser Rabah
Nasser Rabah on Poetry and Gaza
Columns

Afraid for Our Children’s Future, How Do We Talk About War?

20 JUNE 2025 • By Souseh
Afraid for Our Children’s Future, How Do We Talk About War?
Beirut

Contretemps, a Bold Film on Lebanon’s Crises

16 MAY 2025 • By Jim Quilty
Contretemps, a Bold Film on Lebanon’s Crises
Art

Afghanistan’s Histories of Conflict, Resistance & Desires

7 MARCH 2025 • By Jelena Sofronijevic
Afghanistan’s Histories of Conflict, Resistance & Desires
Art

Finding Emptiness: Gaza Artist Taysir Batniji in Beirut

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

Annahita Mahdavi West: Two Poems

19 DECEMBER 2024 • By Annahita Mahdavi West
Annahita Mahdavi West: Two Poems
Essays

A Jewish Meditation on the Palestinian Genocide

15 NOVEMBER 2024 • By Sheryl Ono
A Jewish Meditation on the Palestinian Genocide
Beirut

The Haunting Reality of Beirut, My City

8 NOVEMBER 2024 • By Roger Assaf, Zeina Hashem Beck
The Haunting Reality of <em>Beirut, My City</em>
Opinion

Should a Climate-Destroying Dictatorship Host a Climate-Saving Conference?

25 OCTOBER 2024 • By Lucine Kasbarian
Should a Climate-Destroying Dictatorship Host a Climate-Saving Conference?
Fiction

“Deferred Sorrow”—fiction from Haidar Al Ghazali

5 JULY 2024 • By Haidar Al Ghazali, Rana Asfour
“Deferred Sorrow”—fiction from Haidar Al Ghazali
Book Reviews

Is Amin Maalouf’s Latest Novel, On the Isle of Antioch, a Parody?

14 JUNE 2024 • By Farah-Silvana Kanaan
Is Amin Maalouf’s Latest Novel, <em>On the Isle of Antioch</em>, a Parody?
Centerpiece

Dare Not Speak—a One-Act Play

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

What Is Home?—Gazans Redefine Place Amid Displacement

31 MAY 2024 • By Nadine Aranki
What Is Home?—Gazans Redefine Place Amid Displacement
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
Essays

Israel’s Environmental and Economic Warfare on Lebanon

3 MARCH 2024 • By Michelle Eid
Israel’s Environmental and Economic Warfare on Lebanon
Columns

Genocide: “That bell can’t be unrung. That thought can’t be unthunk.”

3 MARCH 2024 • By Amal Ghandour
Genocide: “That bell can’t be unrung. That thought can’t be unthunk.”
Art

Issam Kourbaj’s Love Letter to Syria in Cambridge

12 FEBRUARY 2024 • By Sophie Kazan Makhlouf
Issam Kourbaj’s Love Letter to Syria in Cambridge
Editorial

Shoot That Poison Arrow to My Heart: The LSD Editorial

4 FEBRUARY 2024 • By Malu Halasa
Shoot That Poison Arrow to My Heart: The LSD Editorial
Book Reviews

Love Across Borders—on Romance, Restrictions and Happy Endings

4 FEBRUARY 2024 • By Lina Mounzer
<em>Love Across Borders</em>—on Romance, Restrictions and Happy Endings
Essays

A Century of Sergei Parajanov: Conjurer of Cinematic Worlds

29 JANUARY 2024 • By William Gourlay
A Century of Sergei Parajanov: Conjurer of Cinematic Worlds
Featured article

Israel-Palestine: Peace Under Occupation?

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

Brian Turner: 3 Poems From Three New Books

14 JANUARY 2024 • By Brian Turner
Brian Turner: 3 Poems From Three New Books
Art & Photography

Cyprus: Return to Petrofani with Ali Cherri & Vicky Pericleous

8 JANUARY 2024 • By Arie Amaya-Akkermans
Cyprus: Return to Petrofani with Ali Cherri & Vicky Pericleous
Books

Inside Hamas: From Resistance to Regime

25 DECEMBER 2023 • By Paola Caridi
Inside <em>Hamas: From Resistance to Regime</em>
Editorial

Why Endings & Beginnings?

3 DECEMBER 2023 • By Jordan Elgrably
Why Endings & Beginnings?
Beirut

“The Summer They Heard Music”—a short story by MK Harb

3 DECEMBER 2023 • By MK Harb
“The Summer They Heard Music”—a short story by MK Harb
Fiction

“I, Hanan”—a Gazan tale of survival by Joumana Haddad

3 DECEMBER 2023 • By Joumana Haddad
“I, Hanan”—a Gazan tale of survival by Joumana Haddad
Art

Hanan Eshaq

3 DECEMBER 2023 • By Hanan Eshaq
Hanan Eshaq
Art & Photography

Palestinian Artists & Anti-War Supporters of Gaza Cancelled

27 NOVEMBER 2023 • By Nada Ghosn
Palestinian Artists & Anti-War Supporters of Gaza Cancelled
Opinion

Beautiful October 7th Art Belies the Horrors of War

13 NOVEMBER 2023 • By Mark LeVine
Beautiful October 7th Art Belies the Horrors of War
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
Books

Domicide—War on the City

5 NOVEMBER 2023 • By Ammar Azzouz
<em>Domicide</em>—War on the City
Essays

On Fathers, Daughters and the Genocide in Gaza 

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

October 7 and the First Days of the War

23 OCTOBER 2023 • By Robin Yassin-Kassab
October 7 and the First Days of the War
Essays

Forging Peace for Artsakh—The Debacle of Nagorno Karabagh

16 OCTOBER 2023 • By Seta Kabranian-Melkonian
Forging Peace for Artsakh—The Debacle of Nagorno Karabagh
Art & Photography

Adel Abidin, October 2023

1 OCTOBER 2023 • By TMR
Adel Abidin, October 2023
Poetry

Three Poems from Pantea Amin Tofangchi’s Glazed With War

3 AUGUST 2023 • By Pantea Amin Tofangchi
Three Poems from Pantea Amin Tofangchi’s <em>Glazed With War</em>
Book Reviews

Can the Kurdish Women’s Movement Transform the Middle East?

31 JULY 2023 • By Matthew Broomfield
Can the Kurdish Women’s Movement Transform the Middle East?
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?
Opinion

The End of the Palestinian State? Jenin Is Only the Beginning

10 JULY 2023 • By Yousef M. Aljamal
The End of the Palestinian State? Jenin Is Only the Beginning
Essays

“My Mother is a Tree”—a story by Aliyeh Ataei

2 JULY 2023 • By Aliyeh Ataei, Siavash Saadlou
“My Mother is a Tree”—a story by Aliyeh Ataei
Fiction

STAMP ME—a monologue by Yussef El Guindi

2 JULY 2023 • By Yussef El Guindi
STAMP ME—a monologue by Yussef El Guindi
Editorial

EARTH: Our Only Home

4 JUNE 2023 • By Jordan Elgrably
EARTH: Our Only Home
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
Opinion

Nurredin Amro’s Epic Battle to Save His Home From Demolition

24 APRIL 2023 • By Nora Lester Murad
Nurredin Amro’s Epic Battle to Save His Home From Demolition
Essays

When a Country is not a Country—the Chimera of Borders

17 APRIL 2023 • By Ara Oshagan
When a Country is not a Country—the Chimera of Borders
Essays

Artsakh and the Truth About the Legend of Monte Melkonian

17 APRIL 2023 • By Seta Kabranian-Melkonian
Artsakh and the Truth About the Legend of Monte Melkonian
Beirut

Tel Aviv-Beirut, a Film on War, Love & Borders

20 MARCH 2023 • By Karim Goury
<em>Tel Aviv-Beirut</em>, a Film on War, Love & Borders
Beirut

Interview with Michale Boganim, Director of Tel Aviv-Beirut

20 MARCH 2023 • By Karim Goury
Interview with Michale Boganim, Director of <em>Tel Aviv-Beirut</em>
Essays

Home Under Siege: a Palestine Photo Essay

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

Yemen War Survivors Speak in What Have You Left Behind?

20 FEBRUARY 2023 • By Saliha Haddad
Yemen War Survivors Speak in <em>What Have You Left Behind?</em>
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

Mohamed Makhzangi Despairs at Man’s Cruelty to Animals

26 DECEMBER 2022 • By Saliha Haddad
Mohamed Makhzangi Despairs at Man’s Cruelty to Animals
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
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 2

31 OCTOBER 2022 • By Jenine Abboushi
Sudden Journeys: Israel’s Intimate Separations—Part 2
Editorial

You Don’t Have to Be A Super Hero to Be a Heroine

15 OCTOBER 2022 • By TMR
You Don’t Have to Be A Super Hero to Be a Heroine
Columns

Sudden Journeys: Israel’s Intimate Separations—Part 1

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

Ziad Kalthoum: Trajectory of a Syrian Filmmaker

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

Phoneless in Filthy Berlin

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

Hot Summer Playlist: “Diaspora Dreams” Drops

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

Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album

18 JULY 2022 • By Melissa Chemam
Tunisia’s Imed Alibi Crosses Borders in new “Frigya” Electronica Album
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
Film Reviews

War and Trauma in Yemen: Asim Abdulaziz’s “1941”

15 JULY 2022 • By Farah Abdessamad
War and Trauma in Yemen: Asim Abdulaziz’s “1941”
Featured excerpt

“Intellectuals”—fiction from Hisham Bustani

15 JUNE 2022 • By Hisham Bustani
“Intellectuals”—fiction from Hisham Bustani
Film

Art Film Depicts the Landlocked Drama of Nagorno-Karabakh

2 MAY 2022 • By Taline Voskeritchian
Art Film Depicts the Landlocked Drama of Nagorno-Karabakh
Art & Photography

Ghosts of Beirut: a Review of “displaced”

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

Nowruz and The Sins of the New Day

21 MARCH 2022 • By Maha Tourbah
Nowruz and The Sins of the New Day
Art

Fiction: “Skin Calluses” by Khalil Younes

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

“There’s Nothing Worse Than War”

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

Climate Disasters Hasten the Advent of a World Refugee Crisis

15 NOVEMBER 2021 • By Omar El Akkad
Climate Disasters Hasten the Advent of a World Refugee Crisis
Art & Photography

Displaced: From Beirut to Los Angeles to Beirut

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

Malak Mattar — Gaza Artist and Survivor

14 JULY 2021 • By Jordan Elgrably
Malak Mattar — Gaza Artist and Survivor
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
Editorial

Why WALLS?

14 MAY 2021 • By Jordan Elgrably
Why WALLS?
Art

The Murals of Yemen’s Haifa Subay

14 MAY 2021 • By Farah Abdessamad
The Murals of Yemen’s Haifa Subay

Leave a Comment

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

13 − 10 =

Scroll to Top