Appendix 1: POETRY

ApPENDIX 1: POETRY

EYTAN IN THE STEEL TRAP Fadwa Tuqan

[One morning a child from Kibbutz Ma'oz Hayyim asked, "How much longer must we defend the motherland?" It was an awesome question.]

Under the tree, branching out, spreading and growing ... growing In savage rhythms, Under the "star", as it builds before his very eyes Walls of bloody dreams, Forming a trap, held tightly together with the thread of steel, Trapping him within, denying him movement Eytan, the child, the human being, opens his eyes And asks, Why the trap and the walls? Why the time with amputated legs, clad in khaki and death, Enveloped in smoke rising from flames and from sorrows? If only the "star" could tell the truth, If only it could. But alas! Alas, the "star"!

Eytan, my child You are the victim, drowning in lies, And like Eytan, the harbor is sunk in a sea of lies, Drowned by the bloated dream With the head of a dragon And a thousand arms. Alas, alas! If only you could remain the child, tlle human being! But I shudder, and live in dread That you may grow up inside the trap, In this time of amputated legs, clad in khaki, In cruel death, in smoke and sorrow. 154 ApPENDIX 1

I fear, my child, that the human in you may be smothered, That it may totter and fall- Sinking Sinking Sinking to the bottom of the abyss. (El-Messiri [comp. and trans.] Palestinian Wedding [Washington, DC: Three Continents, 1982])

[ON YOM KIPPUR] Yehuda Amichai

On Yom Kippur in 1967, the Year of Forgetting, I put on my dark holiday clothes and walked to the Old City ofJerusalem For a long time I stood in front of an Arab's hole-in-the-wall Shop, not far from the Damascus Gate, a shop with buttons and zippers and spools of thread in every color and snaps and buckles. A rate light and many colors, like an open Ark. I told him in my heart that my father too had a shop like this, with thread and buttons. I explained to him in my heart about all the decades and the causes and the events, why I am now here and my father's shop was burned there and he is buried here. When I finished, it was time for the Closing of the Gates prayer. He too lowered the shutters and locked the gate and I returned, with all the worshippers, home. (Selected Poetry ofYehuda Amichai, trans. Chana Bloch and Stephen Mitchell [Berkeley, LA, London: University of California Press, 1996], p. 49)

THOSE WHO ARE PASSING BETWEEN PASSING WORDS Mahmud Darwish

a you who are passing between passing words, Pack your names and leave Pull out your hours from our time and leave Steal what you will of images so that you understand What you never will: How a stone from our land builds the ceiling of the sky. a you who are passing between passing words, From you the sword-from us our blood POETRY 155

From you steel and fire-tram us our tlesh From you another tank-from us a stone From you a tear-gas bomb-from us rain Above us as above you, are sky and air So take your share of our blood and leave Go to a dancing dinner party It is tor us to water the roses of the martyrs It is tor us to live, as we like. a you who are passing between passing words, Like bitter dust, go where you wish, but Do not pass between us like flying insects For we have work to do in our land: We have wheat to grow and water with the dew of our bodies And we have what does not please you here: Stones or partridges So take the past, if you wish, to the market of antiquities And restore the skeleton, if you wish, to the hoopoe On a porcelain plate We have what does not please you: we have the future And we have things to do in our land. a you who are passing between passing words, Heap up your delusions in an abandoned hole, and leave Set the clock back to the sovereignty of the Golden Calf Or to the timing of the revolver's music For we have what does not please you here, so leave We have what you do not have: A homeland bleeding out a people who bleed A homeland worthy of oblivion or memory a those who are passing between passing words, It is time that you left Live wherever you wish but not among us It is time you lett Die wherever you wish but not among us For we have work to do in our homeland We have the past here We have the tlrst cry of lite here We have the present, the present and the hlture We have this life and the life-after So get out of our native land Out of our seashore, out of our sea Out of our wheat, out of our salt, out of our wound Out of everything, and get out Of the memories of memory a you who are passing between passing words. (Trans. from the Arabic in Mahmud Darwish, ed. Sabri HafIz [Beirut: Dar al-Fata ai-Arabi, 1994]) pp. 183-186. 156 ApPENDIX 1

TEMPORARY POEM OF My TIME Yehuda Amichai

Hebrew writing and Arabic writing go from east to west, Latin writing from west to east. Languages are like cats: You must not stroke their fur the wrong way. The clouds come from the sea, the hot wind from the desert, The trees bend in the wind, And stones fly from all four winds, Into all four winds. They throw stones, Throw this land, one at the other, But the land always falls back to the land. They throw the land, want to get rid of it, Its stones, its soil, but you can't get rid of it.

They throw stones, throw stones at me In 1936, 1938, 1948, 1998, Semites throw at Semites and anti-Semites at anti-Semites, Even men throw and just men throw, Geologists throw and theologists throw, Archaeologists throw and archhooligans throw, Kidneys throw stones and gall bladders throw, Head stones and forehead stones and the heart of a stone, Stones shaped like screaming mouth And stones fitting your eyes Like a pair of glasses, The past throws stones at the future, And all of them fall on the present. Weeping stones and laughing gravel stones, Even God in the Bible threw stones, Even the Urim and Tumim were thrown And got stuck in the breastplate of justice, And Herod threw stones and what came out was a Temple. Oh, the poem of stone sadness Oh, the poem thrown on the stones Oh, the poem of thrown stones. Is there in this land A stone that was never thrown And never built and never overturned And never uncovered and never discovered And never screamed from a wall and never discarded by the builders And never closed on top of a grave and never lay umier lovers And never turned into a cornerstone? POETRY 157

Please do not throw any more stones, You are moving the land, The holy, whole, open land, You are moving it to the sea And the sea doesn't want it The sea says, not in me. Please throw little stones, Throw snail fossils, throw gravel, Justice or injustice from quarries of Midgdal Tsedek, Throw sot!: stones, throw sweet clods, Throw limestones, tllroW clay, Throw sand of tlle seashore, Throw dust of the desert, throw rust, Throw soil, throw wind, Throw air, throw nothing Until your hands weary And even peace will be weary and will be. (Yehuda Amichai: A Life of Poetry, 1948-1994, trans. Benjamin and Barbara Harshav [New York: HarperCollins, 1994], pp. 465-466)

MAHMUD DARWISH Rita and the Rifle

Between Rita and my eyes• A rifle And whoever sees Rita Kneels and prays to the divinity of her honey-colored eyes. And I kissed Rita when she was young And I remember how she clung to me And how her resplendent braided tresses covered my arm I remember Rita As a sparrow remembers its brook Ah, Rita There stand between us a million sparrows and a million memories And trysts Fired on by a rifle. Rita's name was a carnival in my mouth Rita's body was a wedding celebration in my blood And I was lost in Rita for two years And she slept in my arms tor two years And we made pledges over the most resplendent wine-cup 158 ApPENDIX 1

And we burned in the wine of our kisses And We Were Born Again. Ah, Rita What is it that turned my eyes away trom yours? Nothing except a nap or two or honey-colored clouds Before this ritle. What has been done is done o silence of the night, My moon migrated far at dawn In honey-colored eyes And the city swept away all the singers and Rita. Between Rita and my eyes- A ritle. (Mahmud Darwish, Diwan Mahmud Darwish [Beirut: Dar al-Awda, 1978], 1: 308-309)

SPARROWS DIE IN GALILEE -We will meet after a while A year, or two, a generation after And she shot with her camera Twenty gardens and the sparrows of Galilee.

Beyond the sea she set out to search for a new meaning of the truth. -My homeland is a clothes-line For kerchiefs stained with blood shed every minute I stretched on the shore Like sand and palm trees. She doesn't know- o Rita, death and I granted YOll The secret of faded joy at the gate of the Customs House And we were renewed, death and I, On your tlrst frontline And in the window of your house. Death and I are two faces- POETRY 159

Why do you now flee from my face? Why do you flee? And why do you flee from that Which makes of wheat eyelashes for the earth, from that Which makes of the volcano another face for the jasmine? And why do you flee? Nothing but her silence tired me in the night When it would stretch before the door Like the street, like the Old Quarter Have it your way-Rita Silence can be an axe Or frames for the stars Or an aerospace for the birth-pangs of the tree I slurp the kiss from the edge of the knife Come, let's be part of the wholesale killing outside. The bird flocks fell like superfluous leaves In the wells of Time. While I was withdrawing the blue wings. Rita- I am the headstone of the tomb that burgeons on Rita- I am the one into whose flesh the handcufIs dig A shape of the homeland. (Mahmud Darwish, Diwan Mahmud Darwish [Beirut: Dar al-Awda, 1978J, 1: 411-415)

THE SLEEPING GARDEN I stealthily pulled my hand away when sleep embraced her I spread a cover over her dreams, Gazed at the honey-color behind closed lids Prayed for the sake of her two miracle-created limbs Leant over her regular pulse, Saw wheaten hair on a marble skin and slumber A drop of my blood wept And I shuddered. A garden lies asleep in my bed. I went towards the door Without turning back where my beloved lay asleep I heard the old echo of her footsteps and the ringing bells of my heart I went towards the door -her key is in her purse and she is like an angel who knows carnal love It was a night of rain in the street and no sound 160 ApPENDIX 1

Except her pulse and the rain. I went toward the door, The door flings open, and I go out. The door closes My shadow goes out behind me. Why should I bid her farewell? From now on I am estranged trom my memories and my home. I went downstairs No sound Except her pulse and the rain. And my tootsteps on the stairs that sloped From her arms to a lust for travel. I reached the tree• Here she kissed me Here I was struck by thunderbolts of silver and carnation Here her world had begun Here her world had ended Here I stood tor seconds of mercury and rain I walked, I hesitated Then walked. I took my steps and my salt-tasted memories Walked with me. No farewell and no tree For desires lay asleep behind the windows All relationships lay asleep All betrayals lay asleep behind the windows Even the interrogators lay asleep And Rita is asleep but her dreams are awake In the morning she will get her kiss And her days Then she will bring me my Arab cotIee And her cafe au lait And inquire tor the umpteenth time about our love And I will answer That I am at the mercy of the hands that bring me my coffee in the morning. Rita is asleep but her dreams are awake "Shall we get married?" "Yes." "When?" "When the violets grow on the soldiers' helmets." POETRY 161

I went through the alleyways, past the post office, the outdoor cafes, The music halls, the ticket off-ices, I love you, Rita. I love you. Sleep while I leave Without a reason, like the birds of prey, I leave Without a reason, like the ineff-ectual gust. I love you, Rita, I love you. Sleep I shall ask, many winters from now I shall ask: Are you still asleep Or awake? Rita-I love you. Rita• I love you. (Mahmud Darwish, Diwan Mahmud Darwish [Beirut: Dar al-Awda, 1978J, 1: 566-569)

IN SEARCH OF YACOVE EVED

Fawaz Turki

Yacove Eved was an Israeli. In the summer Yacove Eved always sat on the rocks in the park at Mount Carmel. Yacove Eved loved the harbor and the boats and the colors as the sun set in the horizon. Whenever I saw Yacove Eved on the rocks Whenever I passed him in the park I always said Salaams Yacove And Yacove Eved Always waved his both his arms And said Shalom Shaaer. Yacove Eved is like me He knows all the stabbed dreams And all the ones who died And who now keep company With the gods, So Yacove Eved and I We sit and talk about this and we watch the harbor. Sometimes Yacove Eved says Slaam Shaaer And I say Shalom Yacove. Yacove is like me 162 ApPENDIX 1

he knows all the lonely travellers All the ones who never returned Whose ships are lost in the sea. Now I do not know where Yacove Eved is and I do not know where to tind him. I have never known anyone by that name But these verses are tor him. (Salma Khadra Jayyusi (ed.), Anthology ofModern Palestinian Literature, [New York, PROTA, 1992J, p.366)

AN ARAB SHEPHERD IS SEARCHING FOR HIS GOAT ON MOUNT ZION Yehuda Amichai

An Arab is searching for his goat on Mount Zion And on the opposite mountain I am searching For my little boy An Arab shepherd and a Jewish father Both in their temporary failure Our voices meet above the Sultan's Pool In the valley between us. Neither of us wants the child or the goat to get caught in the wheels of the terrible Had Gadya machine. Afterwards we found them among the bushes And our voices came back inside us, laughing and crying. Searching for a goat or a son Has always been the beginning of a new religion in these mountains. (Selected Poetry ofYehuda Amichai, trans. Chana Bloch and Stephen Mitchell [Berkeley, LA, London: University of California Press, 1996 J, p. 138) ApPENDIX 2: MAIN THEMES IN

PALESTINIAN FILMS

The following are the main themes in Palestinian films that deal with the Palestinian-Israeli conflict. As mentioned in chapter 5, the informa• tion here is derived from an alphabetical list of Palestinian films on the "Dreams of A Nation" web site. The following list is arranged themat• ically, with films under each rubric arranged in chronological order.

(1) Occupation (ihtilal)-a major theme (45 films); (2) Life-story (hayat) and identity formation (haJViyya) (16 films); (3) Refugees (16 films); (4) Exile (manfa) (9 films); (5) Return (aJVda) (7 films); (6) Women (7 films); (7) The 1948 national disaster (nakba) and history (4 films); (8) Arab Palestinian citizens ofIsrael (arab al-dakhi; "Arabs of the interior") (3 films); (9) Reconcilement and peace (sulh and salaam) (2 films); (10) Forbidden love (1 film); (11) International solidarity with the Palestinians (1 film).

Occupation (1) Under the Rubble codirected by Mai Masri and Jean Chamoun (Lebanon, 1983), Arabic. This is a documentary on the 1982 Israeli invasion of Lebanon and siege of Beirut. (2) Wedding in Galilee, directed by Michel Khleifi (Belgium, 1987), in Arabic and Hebrew with English subtitles. This is a classic in Palestinian feature filmmaldng. A traditional Palestinian wedding is affected when, as a stipulation for granting a permit for the celebration, a local Israeli military commander demands to be invited. (3) We are GodJs Soldiers, directed by Hanna Musleh (1993). Filmed in 1992, tl1is study ofIslamic movements in tl1e Gaza Strip 164 ApPENDIX 2

includes interviews with some of the Hamas leaders expelled in 1992 as well as a clear definition of the role of women. The story of two brothers, one a supporter of the PLO's Fatah and the other favoring the Hamas movement, adds personalization. (4) Curfew, directed by Rashid Masharawi (Palestine, 1994). The film presents a unique dramatization of the human cost of the Arab-Israeli conflict. Set during an endless curfew in a quiet Palestinian quarter of occupied Gaza, the film evokes the pressures and displacements of life under siege: the spookily quiet streets; the mounting despair and frustration; the tear-gas clouds and elec• tricity outages; the crackle of loudspeakers and the headlights sweeping the night. Curfew conveys the Palestinian side of the Middle East crisis, but its insights would be equally valid for any place where civil liberties are routinely suppressed and ordinary life is not permitted to be ordinary. (5) Tale of Three Jewels, directed by Michel Khleifi, fiction (Belgium/ Palestine, 1995). A mixture of realism and allegory set against the backdrop of the Palestinian uprising in Gaza. Youssef, a 12-year• old Palestinian boy, tries to win the love of Aida, a Gypsy girl. Aida offers her heart, but on the condition that Youssef finds her grand• mother's lost jewels. Youssef is so smitten with Aida that he embarks on a mystical pursuit, which leads him to a wise old man, a mysterious scroll, death, and resurrection. (6) Little Hands, directed by Abdel Salam Shehadeh (Palestine, 1996). A documentary exploring the phenomenon of child labor in Gaza. The film tells the moving stories of four children, examining the economic, social, and political conditions that have led them into the workforce at a young age, and the impact and implications for their families, society, and their future. (7) The Milky Way, directed by Ali Nassar (Israel, 1997), in Arabic and Hebrew with English subtitles. A story set in a Palestinian village inside Israel during 1964 when the Israeli military rule of the Galilee region was still in effect. The film presents vignettes of life under military rule. (8) The Arab Dream, directed by Elia Sulieman, (Palestine/France, 1998). This film is a journey through Jerusalem, Nazareth, and Ramallah. It samples instances of everyday injustices, and responses to them. (9) The Challenge, directed by Nizar Hassan (Palestine, 2000). Commissioned for the Arab Screen Festival of March 2000 as part of a series of films on the much-publicized killing of Mohamed al-Dorra, The Challenge (the Challenge), is an account of the MAIN THEMES IN PALESTINIAN FILMS 165

director's own drastically aborted attempts to meet with his crew in Ramallah to discuss the possibility of making the short film in question. The meeting is complicated by the fact that Hassan happens to be an Israeli citizen. (10) Upside Down, directed by Rashid Masharawi (Palestine, 2000). A creative and humoristic dramatization of the Palestinian condition, allegorized through a national dish, Magloubeh. (11) Umm Jabir, directed by Mohamad Ayache (Palestine, 2000). This is the story of a mother from Gaza who campaigns to improve the conditions of Palestinian prisoners in Israeli prisons, and to bring about their freedom. Even after the establishment of the Palestinian Authority her sons remain incarcerated. (12) Waiting for Light, directed by Rawan Damen (Palestine, 2000). Easter in Palestine has a special meaning. This documentary film follows two Christian women from Ramallall in the West Bank during Holy Week. They express their feelings about not being permitted to attend the celebrations in Jerusalem (16 km from Ramallall), and how they wait with fellow Christians for the Holy Light to come from Jerusalem. Traditional Easter customs are also shown, together with special events that took place during Easter Week. (13) Our Nights and Our Mornings, directed by Ibdaa Video Workshop (Palestine, 2001). During the summer of2001 a three• week intensive video workshop was conducted with young people aged 11-13 at Ibdaa Cultural Center in D heisheh refugee camp in Bethlehem. The young people were involved in every step of the process, from developing an idea to storyboarding, shooting, and editing. They made three short videos, including Our Nights and Our Mornings, which is an experimental piece exploring the young people's dreams and morning thoughts. (14) Jerusalem~f High Cost of Living, directed by Hazim Bitar (Palestine/USA, 2001). A few weeks after the beginning of the final stage in the Palestinian-Israeli peace process, a Palestinian American filmmal(er embarks on a journey back to his ancestral city, Jerusalem. Instead of finding his Israeli neighbors mobilizing for peace, he encounters unexpected hostility. It is an ominous sign. Days later, the Jerusalem Uprising breal(s out after Sharon's fateful incursion into the Noble Sanctuary (Al-Aqsa). The filmmal(er finds himself in the eye of the storm as a witness to the tragedies of fellow Palestinian Jerusalemites who are gunned down mercilessly by Israeli soldiers before his very eyes. At the Maqasid Hospital in Jerusalem the filmmal(er lives the drama of a number ofT erusalem 166 ApPENDIX 2

families as they cope with death, injury, and injustice. As the toll mount's, one person symbolizes the tragic losses of the first day of the Intifada. On Friday September 29, 2000, the 23-year-old Osama Mohammad Jaddah, an African Palestinian from the Old City ofJerusalem, is on his way to give blood, but is gunned down by an Israeli sniper at the Maqasid Hospital. According to the Israeli media, his mother Wafa has sent him to die for a cash reward and a photo opportunity. This couldn't be further from the truth. (15) Staying Alive) directed by Ghada Terawi, documentary (Palestine/Switzerland, 2001). An examination ofthe motives of Palestinian youths who risk their lives to throw stones at Israeli soldiers. The director asks: Why don't they fear death or injury? How aware are they of what is happening around them? What political thoughts drive them to go and possibly fight to their deaths? (16) Light at the End ofthe Tunnel, directed by Sub hi Zobaidi (Palestine, 2001 ).Since 1967 thousands of Palestinians have been incarcerated in Israeli prisons. After the Oslo Accords, some were released. These women and men had a difficult time readapting after years of reclusion. Four men and four women share their difficulties with integration into a new life, their traumas, and the tensions that exist in their families within a new Palestinian society. (17) Looking Awry, directed by Sobhi al-Zobaidi, (Palestine, 2001), in Arabic with English subtitles. A Palestinian filmmaker is commis• sioned by an American organization to make a documentary film, which is to depict Jerusalem as a city of peace and coexistence between Jews and Arabs. But while making the film, the film• maker keeps running into situations that are very different from what he is trying to depict. The reality of things on the ground proves to be much stronger than its representation. (18) Newstime, directed by Azza El-Hassan (Palestine, 2001). This doc• umentary film celebrates life's little details, and at the same time reveals the layers of our relationship with death and life. The film is a diary of the director's life and that of four boys who live in her neighborhood. As political reality worsens, the five characters find that their life's small details are taken over by political events. (19) Once Again: Five Palestinian Human Rights Stories (Palestine, 2001) produced by the Institute of Modern Media, Al Quds University, directed by George Khleifi. Shorts by Ismael Habbash, Najwa Najjar, Abdel Salam Shehadeh, Tawfiq Abu Wael, and Nada el-Yassir. MAIN THEMES IN PALESTINIAN FILMS 167

(20) Waiting for Saladin, directed by Tawfiq Abu Wael (Palestine, 2001). It is Arab East Jerusalem in the year 2000. Palestinians wait for the Messiah, Godot, or Saladin? What's the difference? The film shows the lives of Palestinian residents of East Jerusalem under occupation, without the most elementary rights, despite being considered citizens ofIsrael. (21) This is Not Living, directed by Alia Arasoughly, documentary (Palestine, 2001), Arabic with English subtitles. Exploring the devastating effects of military occupation, terror, and isolation, tllis deeply moving piece explores tlle lives of eight Palestinian women and their struggle to live normal lives amidst tlle degrad• ing drama of war. Representing a diverse cross-section of Palestinian society-from a news editor to a domestic worker to a housewife-they candidly speak about tlleir daily encounters Witll violence and their marginalization in the ideological debate concerning tlle Israeli-Palestinian conflict. (22) Wedding in Ramallah, directed by Sheline Salama (Palestine/ Australia, 2002). A Wedding in Ramallah begins in 2000, when Israeli-Palestinian relations seemed to be on the upswing. It shows us tlle arranged marriage of Bass am and Maryam; Bassam, forced to leave tlle country because of suspected militancy, lives in Amelica, while Maryam stays home and struggles to get her visa to join him. But tlle situation deteriorates as fighting resumes. Altll0ugh she finally does get to Amelica, it comes at an enormous cost. Witll no English and no Palestinian community, she must learn to live in urban isolation. Maryam goes crazy witll boredom. A Wedding in Ramallah shows a way of life cruelly disrupted and is essential for putting a face on tlle current Middle East Clisis. (23) The Green Bird, directed by Liana Badr (Palestine, 2002). "To make tllis film, I didn't look far-I met tlle everyday children in my street and neighborhood. I wanted to find a space where tlley could express their dreams. It is in the imagination that children struggle against tlle extermination tllat tllreatens tlleir people." (24) Debris, directed by Abdel Salam Shehada (Palestine, 2002), Arabic with English subtitles. A Palestinian family's land, once covered with olive trees and crops, has been bulldozed by Israeli forces. Debris is not simply the story of a farmer whose house is bulldozed and whose farm is destroyed. Debris is a fantasy ... of dreams of flying far away in order to touch tlle sky, to break out of tlle despair of reality. Debris is tlle story of an entire generation who have inherited humiliation and ignominy. It is a story of men crymg. 168 ApPENDIX 2

(25) Divine Intervention, directed by Elia Suleiman (Palestine, 2002). In Nazareth, under a guise of normalcy, the town embraces folly. The Palestinian people, unable to act on their feelings of oppression, take out their hostilities on one another. A love story takes place between two Palestinians: a man living in Jerusalem and a woman living in Ramallah. The man shifts between his ailing father and his love life, trying to keep both alive. Because of the political situation, the woman's freedom of movement ends at the Israeli army checkpoint between the two cities. Barred from crossing, the lovers' intimate encounters take place on a deserted lot right beside the checkpoint. The lovers are unable to exempt reality from occupation. They are unable to preserve their intimacy in the face of a siege. A complicity of solemn desire begins to generate violent repercussions and, against the odds, their angry hearts counterattack with spasms of spectacular fantasy. The film won the Jury Prize of the 2002 Cannes Film Festival. (26) Dignified Life, directed by Hanna Musleh (Palestine, 2002). A camera follows four handicapped children and their families through the margins of a society that struggles for autonomy and independence. (27) Ticket to Jerusalem, directed by Rashid Masharawi (Palestine/the Netherlands, 2002). A Palestinian couple, Jabar and Sana, live in a refugee camp near Ramallah. Sana volunteers with the emer• gency service of the Red Crescent Society. Jaber is unemployed and with no job prospects in the immediate future. He immerses himself in his passion, running a mobile cinema for children throughout the West Bank. One day an opportunity to organize a screening in the Old City ofJerusalem is made available to him. Despite the numerous obstacles that face him, he is determined to keep his commitment. (28) Local, directed by Imad Ahmed, Ismail Habash, Raed Al Helou, documentary (Palestine, 2002). The three filmmakers, who work as TV news cameramen in Ramallah, are caught in their offices when the Israeli military occupies the city in March 2002. This film is a chronicle of the days they spend inside, under curfew, as the siege of Arafat's compound drags on. It follows the mundane realities of trying to live under a military curfew with humor and dignity, and ends with their escape from the office. (29) Night of Soldiers, directed by Mohammed al Swalmeh (Palestine, 2002). A short film offering an impressionistic glimpse into the experience of Palestinians in Ramallah living under military siege. MAIN THEMES IN PALESTINIAN FILMS 169

(30) Palestinian Windows, directed by Ala Abu-Ghoush, Dima Abu• Ghoush, Allmad Habash, Esmail Habbash, and Mohammad Jaber (Palestine, 2002). Five short films made by young Palestinian direc• tors. Each has chosen his/her window to show part of daily life in Palestine dlUing the long siege of the West Bank and Gaza. (31) Humus al-Bid, directed by Rashid Masharawi (Palestine, 2003). Layla is a Palestinian girl who lives in Paris. Her parents live in Palestine. She follows her parents' news closely through widely transmitted daily TV reports: pictures about war, starva• tion, and disasters occurring worldwide, but especially in her homeland. She writes a letter to her parents telling them that she has decided to stop listening to the TV news and to prepare hummus (a popular Arabic dish that is well known in Palestine) to welcome the feast. (32) Like Twenty ImpoJ:ribles, directed by Annemarie Jacir (Palestine/ USA, 2003). In a landscape now disrupted by military check• points, a group of Palestinian filmmakers attempt to reach Jerusalem. When they decide to avoid a closed checkpoint by tal(• ing an unused side road the landscape unravels, and the passen• gers are slowly taken apart by the mundane brutality of military occupation. Like Twenty Impossibles is both a visual poem and a narrative, questioning the space between fiction and reality, and the politics of art and resistance. (33) Ramallah Short Cuts, directed by Suha Arraf (Palestine, 2003), documentary. "The central street of the city of Ramallah in the Occupied Territories is alive 24 hours a day. Its rich and colorful human landscape encapsulates the sociopolitical state of the Palestinian people-their anger, sorrow, joys and the banali• ties of daily life, in the midst of their struggle for independence" ( S uha Arraf) . (34) Tear ofPeace, directed by George Musleh (Palestine, 2003). Tear of Peace is a film that tells the story of the pain and suffeling of a Palestinian family since the nakba in 1948. After the 1967 war they moved to Jordan, and later on to Syria, Lebanon, Sudan, and Libya. The family moves again to the city of Arilla (Jericho) after the Gaza-Arilla Accord. After the outbreak of the first Intifada, one of the members of the family is killed. The Israeli defense forces demolish the family's house, which they built with their own hands, and arrest their second son. The family now live in a tent next to their demolished house. (35) Jeremy Hardy vs. the Iwaeli Army, directed by Leila Sansour, documentary (UK/Palestine, 2002). British comedian Jeremy 170 ApPENDIX 2

Hardy makes a rash decision to travel to Palestine in March 2002 just before the invasion of Bethlehem and the siege of the Church of the Nativity. He joins a campaign to protect Palestinian farmers against the hostility of settlers, but finds him• self caught up in the events of the invasion. He decides to return later, but this time-in a manner of speaking-to take on the Israeli army. (36) jenin) jenin, directed by Muhammad Bakri, documentary (Palestine, 2002). A few days after the April 2001 invasion of the Jenin refugee camp by the Israeli military, a camera crew shoots fortage at the site: it captures the camp at a time when the people still have not fully understood what has happened. The film is not an informational report about these events, but a description of the traces left by events that marked the souls of the inhabitants. It depicts resistance, heroism, and victory despite disasters, despite victims, and despite the destruction oflives. (37) Destruction, directed by Nizar Hassan (Palestine, 2003). An Israeli soldier views a documentary about the aftermath of the Israeli invasion of the J enin refugee camp. He is one of the drivers of the bulldozers that caused massive destruction in the camp. The camera moves between demolished homes and alleys, echoing the hopes and fears of the Palestinian people and their basic right to live in peace. This is the story of simple dreams being wiped out by the invasion. (38) Obstacle, directed by Nida Sinnokrot, documentary (Palestine/ USA, 2003). In June of 2002, on the brink of the US war on Iraq, the construction of a 230-mile barrier began. Though it is referred to as a "security fence" by Israel, the form changes along the route, and near large cities it is actually a concrete wall twice as high as the former Berlin Wall. Obstacle is a feature documen• tary that explores the Palestinian-Israeli conflict by tracing the construction of the Israeli "apartheid Wall". The wall serves as a thematic backbone, from which the documentary examines several key issues: the silent yet critical war over natural resources, the threat to peace posed by Israeli settlements, and the idea of "trans• fer" now openly discussed as a way to purge Palestinians from their ancestral land. Obstacle also explores the importance of the Israeli left, the many internationals in solidarity with Palestinians, and the emergence of a nonviolent resistance movement. The film's unique approach immerses the viewer in the confusion and des• peration the Palestinians encounter daily as they seek to under• stand this wall's impact on their lives. MAIN THEMES IN PALESTINIAN FILMS 171

(39) Roadblocks, directed by Hanna Elias (Palestine/USA, 2002). At the time of filming there were 274 Israeli checkpoints in autonomous Palestinian areas. Crossing them presents a real difficulty for thousands of Palestinians, young and old, who are separated-one village from another, one neighborhood from another. The film explores the effect of these checkpoints on the daily lives of five individuals. (40) I Am Little Angel, directed by Hanna Musleh (Palestine, 2000). Shot in Bethlehem during the second Intifada, this documentary tells the touching story of three children who by force of events have become victims of the indiscriminate violence by the occu• pation forces. As they and their families grapple with the trauma and its ramifications, the viewer gets a unique chance of witness• ing the scale and magnitude of the tragedy of the Palestinian people, children and adults alike. (41) Tale of Three Mohammeds, directed by Nasri Zakharia (USA, 2003). This fiction feature film provides a tragicomic look at the consequences of hysteria over terrorism on a series of Arab• American characters. ( 42) For Archives Only, directed by Enas 1. Muthaffar (Egypt! Palestine, 2001), documentary. This film provides an illustration of the Intifada's psychological impact on Palestinian children, showing five stories of five kids trying to portray what the word "occupation" nleans. (43) Four Songs for Palestine, directed by Nada el-Yassir, fiction (Palestine, 2001). Every day is a bad-news day in a tiny place in this world called Palestine. Death has become very much part of daily life on the West Bank and Gaza. A Palestinian woman goes through the daily routines of eating, drinking, and feeding her son while the news of the conflict permeates her mundane chores. ( 44) Diary ofan Arts Competition, directed by Omar Al-Qattan, doc• umentary (UK/Palestine, 2002). In the early autumn of 2002 seven young Palestinian artists gather in Ramallall to present their work in a group exhibition for an arts competition. Three others, unable to attend because of the total closure of the Gaza Strip where they live, send their work through the French and British diplomatic bags. Three jurors brave the closures and travel to Ramallah from Jerusalem, Cuba, and France. The film is a video diary, which recounts the events surrounding the exhibition and explores some aspects of art's relationship with resistance, politics, and violence. 172 ApPENDIX 2

Life-Story and Identity Formation (1) Sahar)s Wedding (1991), directed by Hanna Musleh. The chroni• de of a wedding in a Palestinian village under Israeli occupation, this film provides a portrait not only of the bride and groom, but also of their immediate relatives. Attitudes to marriage, woman's role in the family and society, and politics are seen undergoing great changes. Despite the military presence, there is hope for the future (cf. Wedding in Galilee) directed by Michel Khleifi). (2) Heaven Before I Die, directed by Izidore Musallam (Canada, 1997), fiction. A tale oflife and love unfolding in Toronto, where the handsome but sheltered Jacob arrives from Palestine. Culture shock sets in when Jacob is taken under the wing of the beautiful petty thief Selma. When the young man's innocence meets the realities of modern life chaos ensues, love fills the air, and a special magic begins. Co-starring Omar Sharif, with special appearances by Joe Bologna and Burt Young. (3) Fadwa: A Palestinian Poet, directed by Liana Badr (Palestine, 1999). The film traces the life of the great Palestinian woman poet Fadwa Tuqan. ( 4) Oh) Grandmother, directed by Enas 1. Mudhaffar (Egypt, 2000), documentary. This is a glimpse of the history of Jerusalem based on the memories of the director's grandmother. The touching narra• tion ranges from the time of Ottoman Palestine to the present. (5) Sabil Sidi Omar, directed by Enas 1. Mudhaffar (Egypt, 2000), fiction. The film narrates the story of Omar, who spends his life striving to get back his stolen property. The events take place in one of Cairo's popular districts, in which the story of Omar begins. The attempts to retrieve stolen property invoke the attempts to restore Palestinian occupied lands. (6) There Still is Kaek on the Sidewalk, directed by Ismail Habbash (Palestine, 2001), Arabic with English subtitles. Based on "Kaek on the Sidewalk," a short story by Ghassan Kanafani. A school• teacher tries to assist one of his students, whose life story is full of demoralizing events. (7) Song on a Narrow Path; Stories from Jerusalem, directed by Akram Safadi, documentary (Italy/Belgium/France, 2001). A portrait of Jerusalem through the lives of three people who embody the city: Reem, an artist, Ali, a political prisoner, and Farouq, who lives on the memories of a glorious past. For them, Jerusalem is a dream that troubles their spirit, caught as it is between recurring violence and simple survival. The film won the following festival awards: Torino 2001, Lussas 2001, and Nyon 2001. MAIN THEMES IN PALESTINIAN FILMS 173

(8) The Satellite Shooters, directed by Annemarie Jacir (USA/Palestine 200l ), English/Arabic with English subtitles. The film presents a rare satirical treatment of tlle Arab-Israeli conflict. Using tlle conventions of tlle western genre, The Satellite Shooters satirically tells the story of Tawfiq, a young Palestinian boy in Texas trying to find his place in America, and The Kid, a local gunslinger. The film is a critique of the imagination tllat the western arises from• tllat fantasy land wherein masculine idealizations and racial hier• archies lead to tlle prevailing cowboy hero and his stunted sidekick. (9) Quintessence of Oblivion, directed by Najwa Najjar (Palestine, 2002). The film traces tlle social life of tlle residents ofT erusalem, tllrough archival footage and interviews, focusing on tlle role of al-Hamra Cinema and its demise. (10) A Life)s Wish, Ahmad Habash, animation (Palestine, 2003). The story narrates Yasir Arafat' s life wish to see liberation and inde• pendence for his people. (11) The Olive Harvest, directed by Hanna Elias (USA/Palestine, 2003). The film narrates a love story set in contemporary Palestine, of a woman in love Witll two men in a rapidly deterio• rating world. (12) Paul the Carpenter, directed by Ibrallim Khill (Palestine/France, 1999). The film is a portrait of Paul Gautier, a young priest who has studied theology in the Dijon seminary in France. In 1957, he decides to go to live Witll people in the Holy Land. Based in Nazaretll, his conscience opens to the drama of the Palestinian people, and so begins a construction project to give back to tllem what he can. (13) Hanan Ashrarvi: A Woman of Her Time, directed by Mai Masri/Jean Chamoun (Lebanon/Palestine, 1995), Arabic with English subtitles. In the stormy aftermatll of tlle 1993 peace accord signed between Israel and the PLO, Palestinian spokes• woman Hanan Ashrawi emerged as a formidable negotiator and a persuasive voice on tlle international stage. But beyond the polished rhetoric and tlle public poise, what drives tlle 47-year• old mother of two whose high profile and personal integrity have made her enemies as well as friends? (14) Fertile Memory, directed by Michel Khleifi, fiction/documentary (Belgium/Palestine, 1980). Written in 1978, Fertile Memory was tlle first film to be made by a Palestinian director inside Israel's pre-1967 borders. Neitller a documentary nor a feature film, Fertile Memory recounts tlle lives of two very different Palestinian 174 ApPENDIX 2

women: Farah Hatoum, a widow living with her children and grandchildren, and Sahar Khalifeh, a West Bank novelist. Their differing opinions and differing lives play an important role in underlining their shared status as Palestinians under Israeli rule, and as women in a male-dominated society. Yet, despite these contrasts, both mother and intellectual share the same struggle for freedom and dignity. The film won the 1981 Cannes Film Festival award. (15) Said, directed by Seoud Mahanna (Palestine, 2001). Said is a child from Gaza. After the start of the al-Aqsa Intifada (the second Intifada in 2000) he struggles to return to school. (16) Upside Down, directed by Rashid Masharawi, (Palestine, 2000). Magloubeh is the name of the typical Palestinian dish which gives the film its title. Rashid Mashharawi uses the theme of food to explore Palestinian identity. With disarming humor, his depiction of rural simplicity and the rustic freshness of his shots help him achieve his objective.

Refugees (1) Dahiet al-Bareed) (directed by Rosie) Nashishibi, experimental. Filmed in a West Bank neighborhood designed by her architect grandfather in 1956 and now marooned behind an army check• point. Instead of making any overtly political point, the film qui• etly follows aimless lives: lads playing football, a bored child setting fire to a heap of rubbish. (2) Dreams and Silence, directed by Omar AI-Qattan, documentary (UK, 1991), A portrait of a Palestinian refugee in Jordan and her struggles with the religious and social constraints around her at a time of great tension and anguish preceding the Gulf War. (3) Haifa, directed by Rashid Masharawi, drama (Palestine/the Netherlands, 1995). Though the hero lives in Gaza, his name is Haifa, and he dreams of returning to the city of the same name. He may be the local fool, but he sees and understands much about the hopes and aspirations of his Gaza relatives: Abu Said hopes for an improvement in the political situation, since it means the release of his eldest son from prison. His wife already has her eye on a bride for the boy. A younger son, cynical and rebellious, believes in nothing, while their 12-year-old daughter is a romantic, dreaming of the future's largesse. (4) Going Home, directed by Omar AI-Qattan (Palestine/UK, 1996), English and Arabic with French or English subtitles. In late 1947, MAIN THEMES IN PALESTINIAN FILMS 175

Palestine is a country in the throes of war between Palestine's Arabs and Jews. The British government is officially responsible for maintaining law and order, but it quicldy loses control and decides to abandon the country on May 15, 1948, leaving behind a war which is to lead to the tragic dispossession of over three quarters of a million Palestinian Arabs of their homes and the creation of the state of Israel. One man, Major Derek Cooper, witnessed those final days of the Mandate as an officer in the British army responsible for the protection of the Arab city of Jaffa. His experiences there marked him so deeply that he con• tinued to work on behalf of Palestine's refugees for most of his life. The film tells the story of his return to Palestine/Israel in the summer of1995. (5) Children of Shatila, directed by Mai Masri (Lebanon, 1998), Arabic with English subtitles. Many people first became aware of tlle Shatila refugee camp in Lebanon after the shocking and horrific Sabra-Shatila massacre that took place tllere in 1982. Located in Beirut's "belt of misery," the camp is home to 15,000 Palestinians and Lebanese, who share a common experience of displacement, unemployment, and poverty. Fifty years after tlle exile of tlleir grandparents from Palestine, tlle children of Shatila attempt to come to terms Witll tlle reality of being refugees in a camp that has survived massacre, siege, and starvation. Director Mai Masri focuses on two Palestinian children in the camp: Farah, age 11, and Issa, age 12. When these children are given video cameras, tlle story of tlle camp evolves from tlleir personal narra• tives as tlley articulate the feelings and hopes of tlleir generation. (6) Enough Already, directed by Suzy Salamy (USA, 1998), docu• mentary. Chronicle of a Palestinian immigrant family through tllree generations in Brooldyn, New York. (7) The Gypsy Quarters, directed by Suha Arraf, documentary (Palestine, 1998). (8) Ali and His Friends, directed by Subhi Zbeidi (Palestine, 2000). Subhi Zbeidi presents a group of children from tlle J alazone refugee camp, his home camp, as tlle heroes of tlns original documentary. (9) Cyber Palestine, directed by Elia Suleiman (Palestine, 2000). A modern -day Joseph and Mary living in Gaza try to reach Betlllehem at the turn of the millennium-to arrive on time would be a miracle. (10) Diary of a Male Whore, directed by Tawfik Abu Wael (Palestine, 2001), Arabic witll English subtitles. Esam, a young Arab war refugee who lives in Tel Aviv, makes Ins living as a male prostitute. 176 ApPENDIX 2

His physical pleasures, which make him forget his hunger, remind him constantly of his childhood memories in his home village. (11) God Forbid!, directed by Hicham Kayed (Lebanon, 2001). The reality of life in the refugee camps blocks the dreams of children and becomes a nightmare for Halim. He is thinking of leaving school to support his family, while his friends spend the vacation acting as fortune-tellers. (12) Our Dreams . .. When?, directed by Hicham Kayed (Lebanon, 2001). Written by Palestinian young people living as refugees in Lebanon. The young writers enter the film as a group of friends whose daydreams become a reality. Mohammed, the journalist, covers the young photo exhibit in the camp, Rabab flies across all borders, Muna becomes a doctor, Walid finally sings on stage, and Zeinab directs a film. (13) Crossing Kalandia, directed by Sobhi al-Zobaidi (Palestine, 2002). This is a video journal reflecting the life of a Palestinian family and a Palestinian town during one year of the Intifada. Kalandia is the name of a refugee camp between Ramallah and Jerusalem, but more recently it has become the location of one of the most heavily traveled Israeli checkpoints in the Palestinian territories. Shot between May 2001 and August 2002, Crossing Kalandia offers a unique perspective on recent events in Palestine. (14) Effaced, directed by Nadine Shamounki (USA, 2002). In this short documentary film the director and her father explore the meaning of identity in the face of war and the loss it entails. Shamounki explores her family history as she takes her camera along the terrain of this story of memory and identity. (15) In the Ninth Month, directed by Ali Nassar, fiction (Israelj Palestine, 2002). A folk legend that spread through the Arab villages during the days of Ottoman rule tells of a mysterious old man who steals naughty children. Residents of a village become worried about a child who is missing. Ahmad, with his strange manners and black dress, is suspected of being the kidnapper. Yet, there is good reason for his behavior-his brother Khalil, a refugee from Lebanon, has just sneaked into the village-but revealing it would threaten his life and the lives of those around him. Buried under the legend, the characters are brought to life in an imaginary reality. (16) Blanche)s Homeland, directed by Maryse Gargour, French, English, and Arabic with English subtitles. This intimate film, evocative and poetic, follows the steps of an elderly woman in MAIN THEMES IN PALESTINIAN FILMS 177

the years between 1988 and 2001. Blanche was born in Jaffa, Palestine, where her parents were landowners, and was exiled in the 1948 war. Her life became a selies of exiles, from Jaffa to Beirut to Europe and the United States. Reflecting on the history she has lived, Blanche rebels against the amnesia of the world concerning the fate of the Palestinians, and, through dialogues between her and the younger generations of exiled Palestinians, bears witness to the tenacity and permanence of their identity.

Exile (1) Foreign Nights, directed by Izidore Musallam (Canada, 1989), fea• ture. A Toronto teenager pursues a dream of becoming a creative dancer, to the consternation of her Palestinian immigrant parents. The father considers an arranged marriage to a man in their home• land to straighten his Canadianized daughter out. (2) Nothing to Lose, directed by Izidore Musallam (Canada, 1994), feature. A young man who has learned early in life to fight for what he believes in must take on the city's crime lords single-handedly after they kill his father and the rest of his family. With no one left, he has nothing to lose. (3) My Very Private Map, directed by Subhi Al Zobaidi (Palestine, 1998). Why is it easier for the director to go to New York than to Gaza? This film is a personal reflection on the fiftieth anniversary of the Palestinian nakba. The director combines archival images of the nakba with images of life today to express feelings about the events of 1948 and the consequences for this people. ( 4) Together We Were Raised, directed by Enas I. Mudhaffar (Egypt, 1999), fiction. This is the story of a Palestinian girl who left Jaffa after the 1948 war to go to Cairo, leaving her brother in Palestine. Throughout the 50 years of occupation she strives to get permis• sion to visit Jaffa and see her brother again. This theme of separa• tion of family members as a result of occupation is also illustrated in Kanafani's Returning to Haifa. (5) Naim and Wadee(a, directed by Najwa Najjar (Palestine, 1999), Arabic with English subtitles. A documentary exploring social life in Jaffa before 1948 drrough tl1e portrait of a Palestinian couple, Wadee'a Aghabi and Naim Azar, based on tl1e oral histories presented by tl1eir daughters and relatives. (6) Shatir Hasan, directed by Mal1l11Oud al Massad (Jordan/tl1e Netl1erlands, 200l). An Arab fairy tale goes awry in tl1e Netl1erlands when tl1e invincible hero "Hasan tl1e Smart" becomes a nameless 178 ApPENDIX 2

junkie. The director (in a voice-over and through the nostalgic images of Amsterdam) projects his feelings of being lost onto this fairy-tale character. Eventually, the narrative becomes the story of the director trying to retrieve his lost childhood by attempting to come to terms with the sense of belonging nowhere. It is a story about being homeless in a city, being far away from home, having lost your own country, your culture, your roots, your identity. This sense of being out of place has been powerfully illustrated in Edward Said's autobiography, Out ofPlace (1999). (7) Frontiers of Dreams and Fears, directed by Mai Masri (Lebanon, 2001), Arabic with English subtitles. Award-winning Palestinian filmmaker Mai Masri's most recent work traces the delicate friend• ship that evolves between two Palestinian girls: Mona, a resident of the economically marginalized Beirut refugee camp, and Manar, an occupant of Bethlehem's al-Dheisha camp under Israeli con• trol. The two girls begin and continue their relationship through letters until they are finally given the opportunity to meet at the border during the Israeli withdrawal from South Lebanon. When the Intifada suddenly erupts around them, both girls face heart• breaking changes in their lives. (8) The Last Frontier, directed by Saed Andoni (Palestine, 2002). During Christmas 2001 the director travels to Washington to visit his brother and his family. Far from the Intifada, they live in the frustration of exile, and ask questions about the meaning of their identity. (9) Un Seul Retour, (A Lone Return) directed by Nicolas Damuni (France, 2002). The film deals with the community of the 400,000 Palestinian refugees in Lebanon, and the new-generation Palestinians of the diaspora.

Return (1) Children of Fire, directed by Mai Masri. The filmmaker returns to her hometown of Nablus on the West Bank after a fourteen-year absence. What she does not expect is to witness a new generation of Palestinian fighters: the children of the Intifada (started in 1987). Children ofFire presents a vivid picture of the young stone• throwers and of the Palestinian uprising. (2) Chronicle of a Disappearance (1996), directed by the noted Palestinian filmmaker Elia Suleiman. Suleiman, who was born in Nazareth in 1960, returned from exile to the land of his birth to MAIN THEMES IN PALESTINIAN FILMS 179

attempt to find his roots in a culture that had been uprooted. Chronicle ofa Disappearance is a personal meditation on the spiri• tual effect of political instability on the Palestinian psyche and identity. (3) Palestine If Waiting (2001), by a group of Palestinian filmmaleers based in the United States The film focuses on issues relating to the Palestinians in exile and their light to return to their homeland. (4) Travel Agency (2001), directed by Nabila Irshaid. This is an exper• imental film made up of footage of a family visit to Palestine shot by the director's father in the 1970s. Much lilee Elia Suleiman's Chronicle of a Disappearance, it looks with nostalgia at a world already lost. By revisiting and reformulating these images as a tourist advertisement, a new image of Palestine emerges-one that may be the fiction of nostalgia, or one which tells the truth of loss through the absurdities of commercial language. (5) Fantasy and return are combined in Jaffa Sugar (2002), directed by Hicham Kayed. "I dreamt that my grandmother held me by the hand and flew with me to Palestine, she looked down and said this is our village my grandson. I descended and she continued her flight. " (6) A Number Zero (2002), directed by Saed Andoni. The filmmaker returns to his hometown of Bethlehem during the Israeli -army invasion of the city in April 2001. A haircut at a local barbershop provides the returning Andoni with an opportunity to represent a microcosm of the local community, which comes to the shop in order to seek refuge from the warring world outside. What their conversations reveal is a strong desire to lead normal and peaceful life. (7) Coming Back (2003), directed by Ahmed Habash, is a Palestinian animation film. With thin symbolism the film deals with the migration of birds and how they keep coming back, seeking the warmth of their original homeland. The film captures the story of one such bird and its homecoming.

Women (1) Human Rights are Women)s Rights, directed by Abdel Salam Shehadeh (Palestine, 1995). (2) Who If the Terrorist?, directed by Jacqueline Salloum (1995?). (3) End of the Line, directed by Suha Arraf (Palestine, 1999), docu• mentary. 180 ApPENDIX 2

(4) Her Story, directed by Suha Arraf, documentary (Palestine, 2000). (5) Holy Fire, directed by Suha Arraf, documentary (Palestine, 2001). (6) Zaytunat, directed by Liana Badr (Palestine, 2000). A look at the intense traditional relationship between Palestinian women and their ancestral olive trees. Israeli occupation forces uproot the trees and destroy Palestinian farmland. How Palestinian women defend these ancient trees is the main theme of this film. (7) Rana)s Wedding (Jerusalem) Another Day), directed by Hany Abu• Assad (Palestine, 2002), Arabic with English subtitles. Rana, a young Palestinian woman, sneaks out of her father's house at day• break. It is the day she is set to go with her father to Egypt, but she doesn't want to leave. She wants to stay in Jerusalem with her boyfriend, and does not want to marry any of the men her father has selected. She wanders through East Jerusalem and Ramallah, looking for her true love, Khalil. Upon finding him she tries to organize the wedding and persuade her father to give his consent. For this is in her view the only way to remain here. While the people of East Jerusalem and Ramallah are living under oppression and occupation, while abnormal things like roadblocks and barri• ers, soldiers and guns are becoming the reality of everyday life, nor• mal things like love or a wedding become fiction.

The 1948 National Disaster and History (1) Palestine) A People)s Record, directed by Kais al-Zobaidi (Palestine, 1984), Arabic. This extraordinary record of Palestine from 1917 to 1974, Witll its compelling and irrefutable archival footage, still stands as a major filmic testament to tile complex modern history of Palestine. (2) 1948, directed by Mohammed Balai (Palestine, 1998), documen• tary. (3) Mythology, directed by Nizar Hassan (Palestine, 1998). The Khalil family, from tile village of Saffuri, was dispersed in tile war of 1948. Only the grandfather decided to stay in what became Israel, along witll his youngest son Salim. Now an adult, Salim has an Israeli passport, and wants to reunite his dispersed family, including his brothers, whom he does not know. (4) Palestine for Dummies, directed by Sobhi Al-Zubeidi, experimen• tal, English (Palestine, 2003). The director creates a monotony from black-and-white still pictures from the nakba and written MAIN THEMES IN PALESTINIAN FILMS 181

scrolls of UN regulations, which all create a sense that this Palestine is "for dummies".

Arab Palestinian Citizens ofIsrael (1) Independence (1994), directed by Nizar Hassan. This film explores the dilemmas Israel's "Independence Day" poses to Palestinian cit• izens of Israel. Israel's festive day is Palestine's day of tragedy, the day that marks for Palestinians their national disaster, when their country was dismembered and Israel was created on its ruins. Forced by the economic realities of jobs that depend on Israeli authorities, Palestinian schoolteachers and truck drivers swallow their feelings of humiliation and observe Israeli national rites. (2) Nazareth 2000 (2000), directed by Hany Abu-Assad Returning to his native city just months before the new millennium, film• mal(er Hany Abu-Assad captures the daily, idiosyncratic beats of Nazareth-a city both Christian and Muslim consider sacred. Today, 72 percent of the inhabitants are Muslim, but Christian institutions own most of the land-a situation that causes great tension. Set against the background of the riots surrounding a square that both Christians and Muslims lay claim to, Abu-Assad allows his story, Nazareth 2000, to unfold through the eyes of two cynical, funny, and wise gas-station attendants, who have been working at the service station for decades. Their comments on the political and social conditions of their city paint a both tragic and subtle image of its inhabitants. (3) Hayfawi, directed by Darwish Abu Al Rish (Palestine, 2000). This is a documentary that chronicles the lives of Palestinians who decided to stay in tlleir homes in Haifa after tlle 1948 establish• ment of Israel. The film's subjects are elderly women and men who are over seventy, still living in Haifa, narrating tlleir personal experience tllrough the 1948 nakba, when their families were exiled from their homeland.

Reconcilement and Peace (l) A Post-Oslo History, directed by Annemarie Jacir (USA, 1998), experimental. A moment at the Bethlehem checkpoint, five years after the signing of the Oslo Accords, tracing the futility of the "peace" accords, as restrictions of Palestinian freedom of movement 182 ApPENDIX 2

remain stagnant. Is this the proverbial calm before a storm or is it a dream of peace temporarily deferred? (2) Road 181: Fragments of a Journey in Palestine-Israel, directed by the Palestinian Michel Khleifi and the Israeli Eyal Sivan, documentary ( Germany/France, 2003). Walls continue to be raised, barbed wire laid down, new borders succeeding those already present in the collective unconscious of both peoples. What can cinema do with a situation so desperately devoid of hope? Sivan and Khleifi, faced with the tragic torments shaking their societies, come together in a sort of filmic act of faith. They believe that the only "realistic" solution rests in the prospect of a binational state in which citizens share equal rights and duties for peaceful coexistence.

Forbidden Love Mixed Marriages in the Holy Land, directed by Michel Khleifi (Palestine/UK, 1995). A look at the lives and loves of eight interfaith and interethnic couples in Israel and the Occupied Territories.

International Solidarity with the Palestinians: Human Shield Theory, directed by Leila Sansour (Palestine/UK, 2003). A short film about becoming a human shield and about one's reasons for taking up what might appear to be another people's battle. ApPENDIX 3: PROSE

THE INFILTRATORS Hanna Ibrahim

Anxiously, Sarah looked at her watch. She knitted her brow and glanced at the overcast sky. There were gray clouds moving from the west as though they were vapors emitting from a pot with boiling water. Cold winds blew and caused the last leaves of the fig tree in front of the cottage to fall. Shmuel did not come back as he was expected; there must have been something serious that had prevented him from returning. A painful sense of loss ran through Sarah. The thought of spending the night alone in that cottage in a village so close to the borders was enough to make her shiver. The sky was full of black clouds and the darkness of the evening grad• ually sneaked up on the horizon while rain started to drizzle. Sarah quickly went inside, shivering from the cold. She began to pace up and down in nervous and accelerated steps. Suddenly, she picked up her coat and put it on. She put a scarf around her neck and for a long time she looked for her shoes around the room. When she knelt down to see if the shoes were under the bed, she heard the noise of an approaching car and her heart leapt up with joy. It must be Shmuel; he's back, she said to herself. She hurriedly left the room, and by the time she reached the window the car had come to a halt, even though the motor was still thundering. Rain was falling profusely, and a thick fog was enveloping the earth. A head popped out of the car window; she recognized it as that of a police officer. She expected the door of the car to open and her husband to jump out, but nothing of the sort happened. She heard the officer greet her and before she had time to return his greeting he said, "Shmuel will spend the night in the city and won't be back until tomorrow afternoon. Take this newspaper." He handed her the newspaper. The car went away with Sarah's following it as though she had been struck by lightning. But the rain 184 ApPENDIX 3 did not allow her to continue feeling struck. She retreated with an overwhelming sense of sad despair, feeling utterly downhearted. For the first time since she had got married, she felt that way. She sat on the corner of the bed and turned on the lamp with a shaking hand. She noticed the newspaper and shook some of the rain drops off it, then threw it on the table in a nonchalant manner. But no sooner had she done that than she lifted it up and read the headline: "INFILTRATORS TOOK OVER A HOUSE IN KFAR ELYAHO VILLAGE AND KILLED ... " Her heart beat fast as she read the headline. She felt her heart beat pulsating in her ears. Wind blew through the door and caused the light of the lamp to flicker and finally go out. In fear, she hurriedly made it to the door to lock it with the dead bolt. This was not the first time Sarah had read a headline such as this. But it was the first time such news had frightened her. In the past she used to feel good about news of the killing or the arrest of such infiltrators; news which was frequently published in daily newspapers. She used to feel amazed at the audacity of those infiltrators who could not bring themselves to recognize the existence of the state of Israel and who, with their criminal activities, continuously terrorized the residents of the border villages. Before their marriage, her husband Shmuel used to work as the assistant of the military commander of one of the border posts, and when Sarah once admitted to him that she was concerned that the Arab infiltrators might kill him, Shmeul derisively laughed. He would go on to tell her of the many cases in which the infiltrators ended up either being killed or arrested and incarcerated in a dark cell. Only then would she feel reassured, though at times she would also feel a bit sympathetic to the plight ofthose ill• fated infiltrators who undermined the safety of the border regions. She would liken the infiltrators to the butterflies which, hovering close to the fire, would be burned in it. Such thoughts, anyway, would only last for short moments and she would forget all about that. Life would go on with its habitually merry pace, for she was happily mar• ried. She used to read the evening newspapers regularly and follow the news of her country, where she had been born and raised. She had confidence in the skill and ingeniousness of the Jewish people; for example, look at Shmuel, whom she began to teach Arabic after their engagement: he had mastered the language in just one and a half years and even outdid her-his own teacher. After their marriage, her hus• band was appointed as a teacher in a village adjacent to the borders, and so she moved from the city to a beautiful cottage in the village. Not far from the cottage was the school building, in the midst of PROSE 185 an orchard of olive trees. One and a half years passed, during which the village was far from the reach of infiltrators' harm. The wind was blowing strongly and continued to blow. From time to time rain would fall heavily, then would stop. From under the win• dow sill cold wind infiltrated into the room and caused the lamp light to flicker, this in turn made the shadows of the hung laundry on the clothesline in the middle of the room dance on the wall. Sarah recoiled in bed after she had turned down the lamplight and felt the pistol under the pillow. Upon touching the cold steel of the pistol, she felt reassured. Shmuel had trained her in how to use it. She closed her eyes, trying to sleep the night away. Sarall did not know how much time had elapsed before she was awakened suddenly. She listened carefully; the air was still, silence reigned supreme. She felt her heart pounding inside her chest and fear running through her. She sat up in bed as she heard some rustling at tlle door. She had a strong urge to scream, but fear paralyzed her. She felt dizzy; many strange images ran through her head, and suddenly she remembered everytlling which she had read about the infiltrators. Faint whispers reached her as well as a rustling against the door. Sometlling cold touched her finger, and she realized it was the pistol, which she gripped and pointed to tlle door with a shaking hand. Holding her breath she waited, as her heart kept pounding. Suddenly silence was broken by a baby crying. She felt relieved since infiltrators would not usually bring babies with them. She heard someone cough• ing and complaining about the cold. Later there were faint knocks on tlle door. With the pistol in her right hand, she approached the door and in a controlled voice she asked in Hebrew, "Who is it?" A female voice answered in Arabic, "Open the door for the sake of Allah." The baby started to cry out loud once again and the woman tried to calm it down with a voice choked with tears. Cautiously, Sarah opened the door, stepped aside, and said in a commanding tone, "Enter. " Clad in black, the woman entered. Her head was wrapped in a dirty black scarf and in her arms was the baby, crying still. Rain was drip• ping from the corners of her wet close-fitting clothes. Behind her appeared a man with a bent back, dirty clothes, and with his gray beard looking pale in the dim light of the lamp. With shaky hand he wrapped himself with a loose overcoat. Before he entered he bent slightly in order to squeeze dry the corners of his overcoat. Sarah 186 ApPENDIX 3 watched him with intense caution. From her corner she could see the moon's rays over the sleepy village speedily approach her cottage chased by a fleeting cloud. At the entrance of the cottage the old man was squeezing the rainwater out of his clothes, the water drops falling on the tiled passage causing glistening drizzles to fly around in the moonlight. When he stood up straight he almost lost his balance. Sarah noticed that his left foot was without a shoe and whenever he took a step forward there was a faint noise that indicated that the shoe on his right foot was soaked with rainwater. After she had closed the door, Sarah turned up the lamplight and began to stare at the faces of her guests. The [Arab] woman at that point sank into the chair close to the entrance to the kitchen and she took the tattered scarf off her head. Her face appeared pale, as though it had no life. She looked at Sarah with two languid eyes, and leaned over her baby, who was sobbing and groaning weakly. Suddenly she burst out crying. Around her chair a small pool formed from the rain• water dripping continually from her clothes. To her side the man stood in the shadow of the laundered clothes which were hung on the line. He was fidgeting, moving one foot to put it on top of the other. With his dim face and wandering glances, he looked as though he were the very embodiment of human misery. Sarah still held the pistol in her hand. As she was about to lay it on the table she suddenly remembered something. She turned towards the man and motioned to him to take off his overcoat (for it was the infil• trators' habit to put on a disguise). The old man took off the overcoat and unenthusiastically looked around him to find a place to hang it. His hands were shaking and his teeth chattering. He looked at the woman, as she was still crying in a choked voice, and his eyes caught Sarah's. The lamp's light made his wrinkled face shine. Sarah did not know whether the two drops rolling down his cheeks were raindrops or tears. Suddenly, the overcoat fell from his hand, and when he tried to kneel to pick it up, he lost his balance and fell down. He did not make any effort to stand up but instead he laid his head on his trembling knees. At that point, Sarah felt acute pain cutting through her chest. She threw the pistol on the bed and rushed to turn on the heater and put it close to the woman. She brought the woman dry clothes and motioned to her to change her own and her baby's clothes. Sarah did not wait for the woman to do that; she took the woman's baby and wrapped it with her husband's clothes. Even though the woman resisted, Sarah led her to the kitchen, where she forced her to change her clothes. As for the old man, he refused to change his clothes and was content to sit beside the heater to warm his hands and dry his wet clothes. PROSE 187

While the guests were sipping hot tea, after they had eaten their fill, the woman went on to tell Sarah what had happened to them. She said that the old man was her father, the baby her son. They came from Haifa, she said, and were forced to flee the country during the Palestinian war. In exile, her mother died of pleurisy. Cold and mal• nutrition worsened her condition and hastened her death. Since at the time the woman was engaged to her cousin, who had stayed behind in the country [Israel], they all decided to return. Once in the country, she married her cousin, but soon they, the woman and her father, were found out and deported by the authorities on the grounds that they were infiltrators. But after unbelievable difficulties they managed to return for the second time. In Israel she gave birth to her baby. One night the soldiers stormed their home and arrested them all. Her hus• band was sentenced to a six-month jail term for having given refuge to infiltrators. As for her, her baby and father, they were jailed for four months, after which the authorities decided to deport them. It was during that windy and ill-fated day that they were deported. At the borders they lost their way in the thick fog and heavy, relentless rain. In their search for a refuge from the cold and rain they stumbled into Sarall's home, and here they were. Hind was relating her story as tll0ugh she were in a dream. With sad eyes, she looked around the room. Her voice was choked as tll0ugh by tears. In the beginning, the old man confirmed the details of her story, but later, while resting his head between his lmees, he would nod drowsily-a habit he had picked up in jail. Sarah was listening to the woman Witll wide-open eyes, not lul0wing whether to believe her or not. Hind stopped talking. Heavy silence prevailed. The baby fidgeted and emitted a low, weak cry. Raindrops fell on a tin board outside. The old man slowly lifted his head and asked Sarah about the time. He then turned to his daughter, who, at the same time, was looking at him while resting her chin on the palm of her hand. "Hind, let's go," said the old man. Sarah interrupted by saying, "Where will you go on this rainy night? Wait until the morning!" The old man shook his head and said, "We cannot stay, we cannot. Our stay does not benefit us in any way and may perhaps cause you some trouble. He who never tried the bitter taste of adversity would not know the pain of tlle afflicted. How can this be tllat a man's own land is forbidden to him? I do not lmow what is happening; are we not still human beings, are they not? Such are the days we are living in!" 188 ApPENDIX 3

Sarah did not understand everything the old man said, but sensed the great injustice he so bitterly complained about. Once more it appeared to her that his eyes glistened with what looked like tears, the tears of the one down-and -out. Sarah wrapped two oranges and some bread crumbs in a newspaper and, as she was seeing them off at the entrance, she pressed the bundle into the hands of the old man. With choked voice, the old man thanked her and refused to take the bundle, but Sarah insisted and prevailed on him to take it since his daughter was a nursing mother and the journey was hard. Sarah woke up in the morning after a restless sleep, interspersed with nightmarish dreams. She put on her clothes quickly and walked in the direction of the school. It was about eight o'clock and she planned to tell the principal about Shmuel's absence. The morning was brightly beautiful. The earth emitted pleasant smells. In the nearby cottage a rooster crowed in its coop. At the end of the road there appeared a horse-drawn carriage with its turning wheels shoot• ing out muddy rainwater. Cautiously, Sarah walked on the muddy hill, and had to move aside to let the horse-drawn carriage pass. "Hello, Sarah," the carriage driver, a freckle-nosed disbanded sol• dier, shouted, "Last night they killed two infiltrators who were appar• ently disguised spies". "Where?" asked Sarah. "Near the olive orchard there-" and he pointed in the direction of the school. The carriage moved away and Sarah went on in the direction of the school, gripped by a feeling of unease whose origin she could not detect. Near the outer wall of the school, she saw a crowd. A bayonet attached to a gun shone. Her eyes fell on two corpses, with their mud• covered clothes, stretched on the damp ground. One of the corpses was of an old man with a gray beard and the other ... Oh Lord! This is Hind and her father! Sarah hurriedly moved closer. Yes, this is Hind and this is her father! Hind was on her back with her eyes gazing at the sky and her arms folded as though she was clutching something dear to her. Her clothes were bloodied. The old man was lying on his stomach with his gray beard covered with mud. He was still bleeding from a wound in his back, his oozing blood coloring the mud with red. From under his overcoat there appeared a mud-covered bundle with an orange in it. One of the onlookers knelt down, picked up the newspaper, removed the orange and shook off the bread crumbs from it, and said, PROSE 189

"A Hebrew newspaper! This means that they were leaving. The Jordanian intelligence will in vain await their return." Another onlooker murmured something, started to walk away, then returned and said, "How shameful! Cover them!" "Where's the baby? They had a baby with them," shouted Sarah as she began to feel dizzy. One of the onlookers who had red face and hooked nose, said, "And how did you lmow that they had a baby with them?" Sarah was about to relate last night's incident, but she held back at the last minute. She lmelt down close to the dead woman, then stood up and said, "She is a nursing mother, she must have had a baby, look at the milk oozing from her breast." Mter that Sarah could not stay at the scene any longer, so she returned to the cottage totally overwhelmed by the tragic event. In the late afternoon of the following day Shmuel returned. He noticed his wife's despondency and thought it might have something to do with his absence for two days. He tried, but only after much effort and time did he manage to get her to cheer up. As he was standing in front of the mirror to take his clothes off, he said, "Did you hear about the two infiltrators who were killed near the village?" "I did," said Sarah. Shmuel did not notice her paleness. Sarah walked up to the win• dow and from behind the glass stared at the faraway horizon. She did not see the sky decked withstars, nor the city lights twinkle in the western horizon. She did not hear the frogs croak in the pond nearby, nor her husband shout to her to prepare dinner. What Sarah imagined at that moment was an Arab young man lan• guishing in one of Israel's prisons, perhaps eating his unappetizing evening meal, or, perhaps, dreaming of the day when, out of prison, he could see his wife and his baby son-totally unaware that he would never see either one. In her eyes the world turned dark. The image of the old man's face, with his gray beard and two eyes glistening with tears welling up in them, filled the entire horizon. Sarall never said a word to her husband about the incident of that ill-fated night. But from that time onwards she refrained from reading her evening newspaper. (Hanna Ibrahim, Azhar Bariyya [Wild Flowers; Haifa, 1972], pp. 82-89.) 190 ApPENDIX 3

THE MANDELBAUM GATE Emile Habibi

"Sir, you ought to say that she intends to depart from here," shouted the Israeli guard at me as he stood, with his hands clasped, at the Mandelbaum Gate. I had just told him, pointing to the Jordanian side of the gate, that we came with our mother who "intends to cross to the other side after she is given permission." It was the end of winter; spring was round the corner. Ruins were everywhere; and wherever the dust settled it was covered up with some verdure. Children with earlocks were roaming around the ruins and the verdure, arousing the curiosity of the children who had come with us to bid their grandmother farewell: "Boys with long braids, how strange!" In the middle there was a wide square, with dust-covered asphalt in the area known among us as Al-Musrara. The square has two gates: one "here" and one "there"; both are made out of tin, stuffed with stones, and painted with white plaster. Each gate is big enough to allow a car to pass through it from "this" or "that" side. The Israeli guard angrily forced out the word "departure" [also "exodus"] with gritted teeth, with the intention of teaching me a lesson, as though he had wanted to say to me: "What is consequential is not the crossing to the other side but the departure from this side; it is like the exodus from paradise." The customs officer emphasized the matter further, not wishing to let us miss the point, so he said to us while we were kissing our mother goodbye: "Whoever departs from here never returns!" I suppose that some of these alarming thoughts must have haunted mother in her waning years amongst us. For when relatives and friends gathered in her home on the eve of her departure to the Old City of Jerusalem she said to them: "I have grown so old that I started to imagine myself in the grave." [Lit. I feel that I had lived-for so long-until I actually saw the mourners at my own funeral!] In the morning, as we descended the slope of the alleyway towards the car, she turned back and waved to the olive trees and to the dried -out apricot tree and to the threshold of the house and wondered out loud: "Twenty years! Twenty years I have lived here. Twenty years I have gone up and down this slope!" And when the car passed by the graveyard in the suburbs of the city she cried out loud, calling on her dead relatives and peers and waving to their graves: "Why? Why can't I be buried here? Who's going to lay flowers on my granddaughter's grave?" PROSE 191

When mother made her pilgrimage in Jerusalem in 1940 a fortune• teller told her that she would die in the Holy City. Is his prophecy going to be fulfilled after all? Mother was now seventy-five years old and had not yet experienced that overwhelmingly depressing feeling [lit. a feeling that would pul• verize one's liver]; that kind of depressing feeling that would create a sort of spiritual emptiness and a contraction of one's chest much like the compunction of one's guilty conscience. This feeling is the longing for one's homeland. If Mother were to be asked about the meaning of this word "homeland" [watan] she would be confused as to its specific definition, the way she was confused about its spelling in the Book of Prayers. Was it the home; the laundry bowl; the traditional meatball pot she had inherited from her own mother; or what? (They laughed over her desire to take the laundry bowl with her; as for the meatball pot, she did not dare say anything about wanting to tal(e it with her!) What exactly is a homeland? Is it the cries of the milk• woman in the morning; the bell rings of the kerosene peddler; the coughs of the consumptive husband; the wedding nights of her own sons and daughters who had crossed the threshold of tlle house one after another leaving her behind? The threshold of the house; the one she is now casting a last look at; let it bear witness to the many times she stood on it to say goodbye to the brides and grooms and to say to them while weeping: "Like a bird I brought you in from nowhere, bare Witll0ut feathers. I taught you to chirrup and fly and build nests and when you became older and grew feathers on your wings you flew away. What a loss!" [Lit. you flew away; my hard work to raise you well was totally futile]. Were she to be told that all of the above constitutes tlle definition of the "homeland" it would not make the meaning clearer in her mind. She is awaiting permission to cross over to the "forbidden land" [al-ard al-haram, also "sacred land"]) and yet she is turning to her son saying to him: "Oh how I strongly desire to sit at the tllreshold of my house one more time!" As for her old brother, who had come from the village to bid her farewell, he was shaldng his head with signs of pain and astonishment on his face. This "tlling", tllis mysterious thing his sister was crying over leaving behind, unable to carry it with her, was also dear to him. Our neighbor turned to him and said: "In the end you'd sign away tlle deed of the house to them. The law is on their side, you know." But the old man from the village turned to me and said: "Listen to tllis story: once my father, my younger brotller, and I were guarding the land, when suddenly a flock of partridges 192 ApPENDIX 3 descended on the field. My younger brother rushed to the hunting gun and held it as though he were a grown man. My father cracked up laughing at the sight of the youngster. Do you, uncle, still remember how your grandfather used to laugh? 'Hey boy! Hunting the partridge is for grown-up men.' But the youngster was determined, and an hour later he surprisingly came back to us with a partridge in his hand. The bird was still alive. We were all stunned. The little imp was so happy with the game he caught that he started dancing. My father asked loudly, 'But we didn't hear a shot!' The youngster replied, 'I've enchanted the hunting gun, father!' After the youngster had made me promise not to divulge his secret-forcing me to swear by the memory of our forefathers-he told me that he had seen this helpless bird in the claws of a big cat, and he chased the cat from one bush to another and between the corn stalks until he managed to deliver the poor bird from the cat's claws. Well, uncle, do they expect me to sign away the rights to these memories? How shortsighted their laws are!" I advise you not to come to the Mandelbaum Gate accompanied by children. Not because the ruined houses here may tempt them to enter and look for the enchanted lamp or the cave of the Aladdin story of the Arabian Nights. Nor because the earlocks [of religious Jews] may pro• voke their curiosity and their difficult-to-answer questions. But because the road leading to the Mandelbaum Gate is scarcely free of speeding cars either coming from "there" or leaving "here." These are elegant American cars; inside are elegant people with starched collars, colorful shirts, or military uniforms made to suit cocktail parties not bloody bat• tlefields. These are the cars of the armistice observers, the United Nations officials, the western consuls, their women, and the cooks of their women, their beautiful retinues and the beautiful aides of their ret• inues. These cars stop for a minute at our side of the gate while their chauffeur exchanges pleasantries with our guard-out of politeness and as a sign of civilized behavior. Then the same cars proceed to cross the forbidden no-man's-land to halt for a moment at their side of the gate while their chauffeur exchanges pleasantries with their guard-again out of politeness and as a sign of civilized behavior and for the sake of sharing cigarettes and jokes and whatnot. Here at this crossing point an Israeli-Jordanian rivalry of sorts repeatedly takes place. The law of death that states that once one is out of this life he cannot return does not apply to these westerners crossing the Mandelbaum Gate. Nor does the law of paradise that states that once one is inside it one cannot get out of it. For the observer among these people can have his lunch at the Philadelphia Hotel in Amman, Jordan, and his supper in the Aden Hotel in Western Jerusalem, inside Israel. He can PROSE 193 do all of this whilst the smile he wears on his face at noon can be still seen in the evening as he crosses the gate. When my sister pleaded with the guard standing on "our" [mean• ing the Israeli] side to allow her to accompany her mother to the Jordanian side and bid her farewell, the guard said, "It's forbidden, my lady." "But I see these foreigners are accorded much honor as they come and go freely as if they were in their own country." "Yes, Madame, all people can come and go through these gates except the natives of this land." Then the guard said: "Please keep off the road! This is a busy road." He interrupted his talk with us to greet the passengers in a coming car (was it coming or going?) who were laughing with him and he with them. This was going on, as we stood baffled, since we did not understand what was so funny. The customs officer said, "Everything, even a farewell, has to come to an end." From "our" side of the gate and towards "theirs" stepped forward an old woman with a cane. From time to time she'd look behind her and wave, then walk forward. Why precisely at this very moment did this old woman remember her son who died thirty years ago when as a baby he fell off this bridge? Why now did she remember this incident and feel the painful compunction of conscience? There appeared among the ruins on the other side a very tall guard with Arab headgear, who received the "returning" old woman. He appeared to be chatting with her, as they were both looking in our direction. From our side we stood with our children as the very tall guard who wore no headgear talked to us. We were looking in the other direction, as our guard said that it was totally forbidden to move one step forward in that direction. He said to us-we don't know why, "She has just crossed the valley of death from which there's no return! This is the reality of war and borders and the Mandelbaum Gate. Please make room for the UN car to pass." Suddenly there ran from our side a small being full of energy and life, as if it were a ball kicked by one football player in the direction of the goal of the other team. This being ran so fast towards the other gate, crossing the forbidden no-man's-land. This was my little daughter running towards her grandmotller shouting to her "Teta! Teta!" [Arabic for "granny."] As we looked on, tlle little girl crossed over to the otller side and hugged her grandmother. 194 ApPENDIX 3

From afar I could see the Jordanian guard with his Arab headgear lowering his head and staring at the ground. The Israeli guard who was standing in front of us also lowered his head and stared at the ground. The other guard, who was standing in front of his office with his hands clasped, entered his office. As for the customs officer, he appeared to be searching for something in his pocket, something that he appeared to have missed suddenly. What a strange thing that we just witnessed! A little girl crossed the valley of death from which there is no return and was able to come back after she had undermined the reality of war and borders, and the Mandelbaum Gate. What a naive girl, who does not know the difference between the guard with Arab headgear and the guard who doesn't wear any. What a naive girl who never traveled anywhere before and who naturally thought that she was still in her own homeland. So why wouldn't she move about freely in her own homeland? On the one side stood her father and on the other her grandmother, so why couldn't she move freely between them as she used to? After all, cars come and go the same way they do on the road near her home. Here they speak Hebrew and there Arabic and she could speak both languages with others. The customs officer appeared to have despaired of finding the thing he was looking for (everything has to come to an end no matter how difficult), so he stopped his futile search as suddenly as he had started it. He cleared his throat and said to the guard as though to comfort him: "An ignorant child!" "Please keep away from the road. Keep your children away from the speeding cars. We don't want them to be run over." Do you now understand why I advised you not to come to the Mandelbaum Gate in the company of children? Their logic is so simple. How sound it is! (Emile Habibi, "The Mandelbaum Gate", Sudasiyyat al-Ayyam al-Sitta, 7th ed. [Haifa: Dar al-Ittihad, 1985], pp. 208-213.)

MAHMOUD DARWISH AND THE RETURN TO HAIFA An Interview with Nouri al-Jarrah

Mahmoud Darwish returned in May 1996 to Haifa, his first home in Palestine, to sip his mother's coffee, and to touch the bread wrought by her hands. He is, judging by his biography, a son who expresses more eloquently than most the Palestinian odyssey-with its ships PROSE 195 that attempt to cast their anchors on the shores of those who await; does his "symbolic" return therefore signal the realization of an event which has hitherto been mythical, the emergence of a rock from an idea, and the possibility of the return of that idea to the rock? This dialogue or interview with Darwish, conducted over the tele• phone soon after his visit, had no preparation beforehand. It was a conversation in which one friend was asking another about his news on the basis of a friendship rooted in the common ground of poetry and the intellect, recognizing his right to affirm his physical presence on the land, first as an Arab and second as a Palestinian, and as a poet who combines both identities and enhances them with a human exis• tence that is receptive to the soil and air of the whole world. Darwish returned home. He offered no political concessions that would have created a rift between his consciousness and his conscience. He returned for only a few hours to discover while he was there that he was both a symbol and a child, and that the land was physically more poetic than poetry itself, and that its people when greeted had more life than in pictures. Here is the text of the dialogue: [N. AL- JARRAH]: Who are you after that fleeting, unexpected surprise return to the first street of your village in Palestine? Who are you after that almost dreamlike journey? Who were you before it, and has anything changed after it? [M. DARWISH]: I am still wondering whether I am who I had been, or has something happened. Certainly, something did happen. Who am I? But that fleeting visit took me back to whom I had been fifty years before, it took me back to being a child playing there, running behind the flower beds, picking flowers and asking his first questions. I am still in the throes of the ecstasy of finding the child that I was a long time ago. Yes, I am now who I was, and what I am becoming. I felt the ecstasy of a person who had not emigrated. I felt as though I had not emigrated, and that the time and geographical spans that had separated me from my family, friends and people had been metaphorical, because I had always been there, for even when I had visited far-flung corners of the earth, my point of reference had always been there, my heart had been there, and so had my first language. [N. AL-J ARRAH]: Those who lined both sides of the street carrying flowers and profound emotions towards you, which Mahmoud were they searching for as they looked towards you? As you sat with many of them in your village, who were you to them? The Mahmoud of "Write Down, I am an Arab"; or the Mahmoud of "To Love You, or Not to Love You"; or the Mahmoud of"O What Rain"? 196 ApPENDIX 3

[M. DARWISH]: I think that the origins of the search were inter• twined. Each person was searching for one Mahmoud or another, but what exhausted me most was that they were searching for Mahmoud the symbol, whereas I do not want my person to be endowed with such a symbolic dimension. Something else made me happy, which was that many of them were searching for that child which they had known, for that young man who had left them, whose youth they had witnessed and whose voice they had also received. [N. AL-JARRAH]: You cannot avoid being a symbol to those for whom you have constituted and continue to constitute a symbol. Your biography has turned you into a cultural conscience for your people, and therein lies the dilemma. Is that how you see it? [M. DARWISH]: It seems, actually, that I cannot (avoid being a sym• bol). But I must try not to be one as I explain my relationship with people. I felt the ecstasy of a person who had not emigrated. I felt as though I had not emigrated, and that the time and geographical spans that had separated me from my family, friends and people had been metaphorical, because I had always been there, for even when I had visited far-flung corners of the earth, my point of reference had always been there, my heart had been there, and so had my first language. Perhaps my family, who took me to their bosom, were searching for me at several levels within the context of their son who had returned at last. No one reproached me at all for having emigrated, perhaps because they felt and knew that I had not emigrated. They were watching their voice, that voice which had sprung up amongst them, and gone off to distant horizons without abandoning its first spring. That is one feeling. The second is a feeling of responsibility, that I have to develop a sense of responsibility towards their needs. I have always been a poet on whom "demands" are made, and I used to complain about being such a poet, but this time, it was my conscience that was determining my response to their demand, which was that I should be amongst them. When they asked me to speak amongst the thousands who had gathered at the football pitch, I said that speech had been my career for forty years, but, at that moment, I could find no speech that would suit such a moment other than to express to everyone the paradox that I had rarely been absent despite my long absence, and to say "I promise that I shall remain here, with you." [N. AL-J ARRAH]: You said when you felt the reality of your arrival "I am happy to the extent that I am jealous of myself." What sort of joyous feeling created those words? [M. DARWISH]: I experienced a strength of morale which I did not know how to use. And now, after that visit, I am not who I was a PROSE 197 month ago. I feel that I am approaching life anew, that I can rearrange the progression of my life once again because I have actually just been born, and am going through life as though I were seeing it for the first time, because the magic of the place there and the beauty of the people overwhelmed me with the sensation of immediately coming to this life once again. And so, I had the opportunity of becoming acquainted with my birth. I had not been given such an opportunity before! [N. AL-JARRAH]: You also said-and here perhaps, lies the poet's own confusion at himself when he discovers within himself another thread which had been invisibly there and which he now wants to pull out of the fabric and take farther out into the light-you said that in your poetry, you will focus on the simple, marginal, timid human being, not on the mythical hero. The obsession with the return (fleet• ing as it may be) to the actual land, which had almost become an impossible dream, creates within you a desire for what is more "human" and less "mythical", but how can this take place in poetry? [M. DARWISH]: This remark draws on two levels. The first is that poetry and language have returned to their beginnings, as though I were a primitive man who sees the earth for the first time with the perception and sight of a human being who has come at that moment from nothingness into existence. That is my feeling at the human level, and I must hence tell the tale of that first encounter by primitive man with his first existence. Such a meeting provides a sense of wonder that is necessary to poetry, for there is no poetry without a beginning. When poetry diverges from language, it turns into thought and ceases to be poetry. The second level is that the historical conditions through which we are living necessitate that we return to our humanity and tell the tale of our simple life without resorting to myths, because the myth-not only in our poetry, but in the poetry of the whole world-has reached its zenith. Now it is the simple, marginal person who creates the moment in literature. There is no longer any heroism in the clas• sical sense. The new hero is the human being who searches for the instruments that enable him to exist and satisfY his needs, and who is taken up with his own human preoccupations. [N. AL-JARRAH]: How did you enter your home? Did you say "In the name of God", and what was your first memory as you stepped over the doorstep? [M. DARWISH]: I was not aware of whether I entered on my own two feet, but my heart was jumping like a mischievous sparrow. I was taken up with all the hugging, and I forgot. The only words I had were tears, and all I remember of what I said is "Thank God." 198 ApPENDIX 3

[N. AL-JARRAH]: Did you drink coffee at home? How much coffee did you drink, and who made it: you or your mother, Hourieh? [M. Darwish]: Yes, I drank my mother's coffee in her room with• out paying attention to who had brewed the coffee-myself, her or one of her pretty granddaughters. This time, the aroma of coffee did not transport me somewhere else as it used to do, but it took me back to another time far away. My mother accompanied me to myoid study which was still the same, full of my first books, my first pictures and my late father's pictures, and then she took me to his grave in the evening to recite Al-Fatiha. I did not spend much time with her because of the many guests, and she, for her part, did not try to monopolize me. From her far corner, she was a witness of her son's return, as though she were admitting to people that he was not her son alone. This explains her unabashed ululations when I arrived in the courtyard. Those ululations did not address me by my first name, but by my full, official name, Mahmoud Darwish, as though she were addressing her gift to people. [N. AL-JARRAH]: Thousands of Arab young men and women who are away from home send messages to their mothers on the radio using your words, your song, "I yearn for my mother's bread, my mother's coffee and my mother's touch." Did you ask her whether she had known that her coffee was the one that was being referred to whenever that song was played? [M. Darwish]: Unfortunately, I was not able to do so, because the song returned to its original elements, and I became sensations melt• ing into sensations. So why nostalgia, why words, and why the poem? I felt the lightness of my liberation, to a small or great extent, from lit• erature, and the person was liberated from the text, and so I asked her another question: Why did you used to hit me when I was little? [N. AL-JARRAH]: Legally, you will not be able to be there in your home, on your first street in Al- Kannel, except within certain conditions. The Israelis have conditions, and you have conditions, and they are most probably incompatible. How will you resolve this complication? [M. Darwish]: Away, now, from these legal and political condi• tions, because I am still speaking under the pressure of emotional and metaphorical strength, I still feel at this moment as though I had not left, and will stay. That is as far as the relationship between me and myself goes, and between myself and my language, and between myself and my senses. However, that domain is not free to such an extent except in a poetic work. When we move to the realistic domain your question becomes legitimate, for I did not return officially, or legally or in actual fact. That was a moral return, substantiated by a PROSE 199 practical measure that lasted a few hours. As for an actual return, it has not been achieved up till now, and there has been no discussion of it. [N. AL-JARRAH]: And now, how are you contemplating this issue? [M. Darwish]: It seems that the joy which has overwhelmed me is prompting me to postpone examining the political and legal condi- tions for returning. However, I admit that I am, for the first time in many years, full of hope. That hope threatens me with disappoint• ment, because I feel that a new world is opening up before us, and my constant work on the past has now become a premonition of the future. However, when the Israelis set conditions, it is my right to examine them, and to either accept or reject them. I do not at present have any ideas concerning such a scenario. The strength of joy, as I have said, is what is moving me now and opening the doors of that scene onto the most infinite of spaces. [N. AL-JARRAH]: Did any old friends or acquaintances from "Rita's Folk" try to contact you during that visit to congratulate you on that "return" ? [M. Darwish]: Yes, that did occur. You know that I went for one purpose, and found myself in the midst of something else. I had gone to meet with Emile Habibi, and I owed that visit to Emile, who exerted many efforts to bring about a meeting between us in Haifa, in the house in which I used to live on Mount Karmel as part of a film that was being made about his life and creativity. He made the com• pletion of filming conditional upon my crossing so that a conversation between us could be filmed. I went to meet with him and found myself bidding him farewell and mourning him. Around the body of Emile Habibi, an elite group from the political cultural Arab and Jewish circles met, and I met old friends there from both sides, par• ticularly members of the intelligentsia, writers and poets, and even politicians. There were many handshakes, but there were no official meetings with anyone. The (Israeli) minister Yossi Sarid, whom I did not know, contacted me with the intention of paying a courtesy call, and we met. Our conversation dealt with general issues that did not touch on the issue of my return at all. [N. AL-JARRAH]: There is a call in America these days to convene a conference for the Palestinian diaspora. I became acquainted with it through the intellectual Hisham Sharabi, who gave me the details. The aim is to convene a conference that will seek to exert pressure on the Arab and Palestinian negotiators to preserve the rights of 4.5 million Palestinians who are exiled throughout the world, because they believe that those rights are being threatened by the current peace process. Those who are calling for this are hoping that all Palestinians, 200 ApPENDIX 3 wherever they may be, will be represented at such a conference. What do you think of this? [M. Darwish]: There is no doubt that the Palestinian diaspora must reformulate its political argument to preserve a unified representation of the Palestinian people, because there is a real danger of fragment• ing Palestinian land, the Palestinian cause and the Palestinian people into different entities for each of which there is a solution not con• nected to the others. Hence, any thought by the diaspora Palestinians of their fate and their place in the overall Palestinian cause is very nec• essary without resorting to the discussion of new frameworks, because the Palestine Liberation Organization (PLO) officially remains the representative of all Palestinians and the body that carries the larger portfolio of the Palestinian cause. [N. AL-JARRAH]: Even after dropping basic articles from its charter? [M. Darwish]: Even after having done so, because up till now, there is no new forum, and there is no new title of representation for the Palestinians. It is an intellectual, national and ethical necessity for the Palestinian diaspora to engage in thought about itself and its rela• tionship with the whole of Palestinian society, the Palestinian cause and Palestinian land. As far as I am concerned, I have read about this issue [the proposed conference] in the press, and I believe it is urgent, but it must be honest, and it must not exclude any colors or shades that make up the Palestinian rainbow. We must not enter into a new clique mentality. Regrettably, no one has spoken to me about this subject to date. I have merely followed it in the press. However, I con• sider it to be necessary and essential, especially ifit is meant to support the Palestinian negotiator, because up to now, we have not arrived at any genuine peace highway; we are still wandering the small by-ways. The major issues in the Palestinian portfolio have still not been put forward for discussion. The whole issue, since the previous stage, con• sists of gaining a Palestinian foothold on what I call "the homeland's back yard," that is, gaining a foothold in the homeland. As for the major issues, such as the right of return, the issue of refugees, Jerusalem and the settlements, they have not been put forward to date. Therefore, the Palestinians must completely rally around these points in a representational sense on the one hand, and the Palestinian peace process must be linked once again with the Arab-Israeli peace process on the other hand, because without Arab support, without such a link, the Palestinians will be susceptible to greater blackmail by the Israelis. Such a linkage is not dangerous, because we usually speak of Arab unity! Once more, linking the Palestinian process with the Arab process seems to me to be a necessary and urgent issue at this time. PROSE 201

[N. AL-JARRAH]: Do you think that the intelligentsia in the dias• pora at present is moving to form itself as a reaction to the way in which the Palestinian negotiators are operating, and also perhaps as a reaction to the exclusion of certain powers which represent the dia pora, or are trying to represent it, thus prompting the intelli• gentsia in the diaspora to form new frameworks that are not necessar• ily beneath the umbrella of the PLO? [M. Darwish]: This issue or movement was first thought of in the diaspora as a result of a feeling on the part of the Palestinians outside Palestine that this solution does not include them. Hence, thoughts turned to formulating their own political argument. However, there must be dialogue in the initial phase with the PLO before breaking with it. Such dialogue must precede any thought of forming any other framework. Moreover, my view is that during the present phase, such a move should have more of an intellectual aspect than an organiza• tional one, because the Palestinian situation is too fragile to tolerate antagonistic frameworks. [N. AL-JARRAH]: And what do you say to Yasser Arafat, who took you by the hand and walked in with you to a meeting of the Palestinian National Authority a few days ago? [M. Darwish]: I say to him "May God help you and give you the strength to face the final status negotiations." The first phase has ended with gaining a foothold on the ground. This is the beginning of the phase of building an image for the future and tackling the main difficult issues, which require mythical patience, creativity and an overriding and vast political imagination. [N. AL- JARRAH]: What is your opinion of Edward Said's position on the peace process? It is a position which, to some, appears as poetic, visionary and courageous as that of a poet. [M. Darwish]: We are in need of daring intellectual positions like that of Edward Said, because those who are cultured should always remain guardians of principles, and should not subscribe to pragma• tism or political realism that is devoid of principles. Edward Said's stand is critical, basic and important to the Palestinian consciousness and to Palestinian society, and hence, I salute it. Intellectuals should always have the attributes of dreamers and of visionaries, and they should not be pragmatic, without principles and dreams. [N. AL-JARRAH]: But at the other end of that same spectrum, you said that we have changed, and that the time of conquerors has ended, and that what is left for us is to protect ourselves from an antagonistic conquest. Is it the strength of human feelings which, in the end, decides the outcome of this contradiction, or this comparison? 202 ApPENDIX 3

[M. Darwish]: The contemporary problem is that we have not been conquerors, even though we speak their language. But the swords of conquest were carried by the other side. [N. AL- JARRAH]: Did you detect differences in the thought of Palestinian intellectuals in the 1948 areas and the intellectuals of the other segment of their people who are increasingly congregating in the national areas of the Gaza Strip and the West Bank? What do they have in common, and what is the difference between the two groups? [M. Darwish]: As a matter of fact, neither the cultural issue, nor the nationalist issue is of any use when it comes to discussion of differ• ences. During my visit, I met with more than one hundred Palestinian intellectuals and we held long profound dialogues. What caught my attention was that all ofthose dialogues, in spite ofthe different forms of expression, revolved around one question: "What shall we write from now on?" I was hesitant before this question. I said that we must write, continue our writing and carryon the course of literature, which is to relate the tale of man, his existence, his world and his prac• tical and metaphysical questions. At any political turning point, we Arabs usually ask, "What is the future of our literature?" That ques• tion reflects a limitation in the consciousness of writing and its nature, because there is no other people which has asked, "What shall we do now that we have arrived at peace or war." Of course it is possi-ble for a different language to exist, and treatment may differ, but literature shall continue to tell the story oflife. [N. AL- JARRAH]: Nevertheless, I shall ask this question more specifically: What are you writing now, and what will you continue to write from now on? It is clear that the visit has given you a big shock. [M. Darwish]: For a long time, I have been busy developing my poetic project, without linking such a process mechanically to the political developments of the Palestinian cause. I feel that my lan• guage has become liberated from such a mechanical bond, and I am continuously trying to liberate myself from current daily pressures. If you want to know what I am writing now, I say that you know that I am writing a book about love. [N. AL- JARRAH]: That is true, but my knowledge goes no further than the title, and all I have to do is await the text. [M. Darwish]: I am writing it. [N. AL-JARRAH]: You spoke of your language being liberated from daily pressures. Throughout this aesthetic liberation process, the theme of exile ran through like a thread, forming several links that brought together the subjects in your life and your writings. PROSE 203

[M. Darwish]: I cannot make any complaints about exile. Exile has been very generous and educational, providing culture, enlarging my human scope and the scope of my language and enabling my poetic phrases to include dialogue between peoples and cultures. I cannot abandon that exile, because it is one of my basic constituents. Even if I return to Haifa and Acre and live there, the exile within me, which can be considered a large human exile, will be my overriding human condition. Exile is, ultimately, to me a relative concept as well, because exile may be found "there" in the homeland, to a greater extent than outside of it. [N. AL-JARRAH]: Ifwe were to imagine that you were holding the proofs of the 50th issue of Al-Karmel, wherever it is that it will be republished, and let us assume that it is the place to which you have always dreamed of returning, what would be added to the original project of Al-Karmel? What questions would motivate that project once again? [M. Darwish]: The most important thing is for the magazine to preserve a sense of cumulative continuity, and to continue its heritage as a bridge for dialogue and interaction between Arabic literature and the literature of the world, while listening more closely to the new questions that are being posed by the current Palestinian situation, and concentrating to a greater extent on the language being produced by that land. As for the project's general shape, it will remain a revo• lutionary and creative project in the literary sense of those words. [N. AL-JARRAH]: Has anything new been added to your monitor• ing of the literary creativity of what is produced within Palestine? [M. Darwish]: The short time during which I was present within the Palestinian fabric over there did not give me the opportunity to become properly aware of the additions that occurred in Palestinian literature. The most important thing for which I was searching was the nature of man's relationship with his homeland. I believe that those who are creative should write about that relationship in a lan• guage that is not patriotic in the classical sense of that word, which implies the concept of struggle. I am very attentive to the voices which follow that tendency both in the homeland and in the diaspora. The older writers and poets have spared the new generation the need to deal with a larger historical area and with larger topics, which were historically necessary to strengthen the Palestinian national and cultural identity. The new generation today can go to areas that are both more intimate and more human because their predecessors did their "patriotic duty" in literature. 204 ApPENDIX 3

[N. AL- JARRAH]: What did you not do in Palestine, and what do you regret not having done? [M. Darwish]: I was not able to visit my first village, Al- Birah, and to sit at the edge of the old well, nor was I able to visit myoid school. I was also unable to visit the alleys and streets and the scenes which formed the reference of my images. [N. AL-J ARRAH]: As you returned from Haifa, did you feel that you needed a certain woman to tell her things about Palestine that could only be said to her? [M. Darwish]: I never felt such a need as I do now. How I need that woman.

I pass by your name when with myself I am alone As a Damascene by Andalussia [Andalucia J does pass ...

[N. AL- JARRAH]: What would you add to such a simile in a way that leaves no ray of nostalgia that would imprison your voice? How can we remake the Damascene spring within us? [M. Darwish]: I wish I could say, "Within your name I sleep" because I need to sleep within a name, or within the warmth left on a pillow or a cover by the name and the named. That formulation is the business of the poet who is preoccupied with documenting absence. [N. AL-JARRAH]: Do you feel after returning from your home in Palestine to where you now are in Jordan that it is a human miracle that has kept your people there? [M. Darwish]: It is truly a miracle and its sources are human, and are represented by the ability of the people to preserve the land, history and memory. However, I cannot but acknowledge that what protected that people from extinction was the Arab dimension in its cultural and civilizational aspects. The fact that the Palestinians are part of a large, deep-rooted nation that is widely spread through more than one continent has protected the Palestinian people from cultural extermination. (Nouri al-Jarrah, "Mahmoud Darwish: Home is More Lovely Than the Way Home," trans. Samira Kawar, Al Jadid, 3, no. 19 (June 1997). Electronic version.) NOTES

1 STRANGERS AT HOME 1. See Rashid Khalidi, Palestinian Identity: The Construction of Modern National Conciousness (New York: Columbia University Press, 1997), p.125. 2. Ibid. 3. Adil al-Usta, Al-Yahud, fi al-A dab, al-Filastini bayu 1913-1987 (Jerusalem: Ittihad al-Kuttab al-Filastiniyyin, 1992), p. 16. 4. Wadi al-Bustani, Diwan al-Filastiniyyat (Beirut: n. p. 1946), p. 85; al-Usta, Al-Yahud, p. 18. 5. Al-Bustani's Diwan al-Filastiniyyat, n. p., p. 183, in aI-Usta, Al-Yahud, p.19. 6. AI-Usta, Al-Yahud, p. 20. 7. Ibid. 8. Salma Khadra J aYYllsi (ed.), Anthology of Modern Palestinian Literature (New York: Columbia University Press, 1992), p. 674. 9. Ibid., 675. 10. Ibid. 11. The novel was published in 1920 in Jerusalem but is now unavailable. It is discussed in some detail in Nasir ai-Din al-Asad, Khalil Baydas Raid al• Qjssa al-Arabiyya al-Haditha fi Fili;1;in (Cairo: n. p., 1962), pp. 64-78. 12. See Dalil al-Aflam fi al-Qarn al-Ishrin fi Misr wa al-Alam al-Arabi (Cairo: Maktabat Madbuli, 2002), 454. 13. JaYYllsi, Anthology, p. 13. 14. Ibid. 15. AI-Usta, Al-Yahud, p. 24. 16. Ibrahim Tuqan, Diwan Ibrahim Tuqan (Beirut: Dar al-Masira, 1984), pp.56-66. 17. Ishaq Mllsa al-Hllsayni, Mudhakkirat Dajaja (Cairo: Dar al-Maarif, 1943; 2nd ed. 1967); Memoirs of a Hen, trans. George I(anazi (Toronto: York Press, 1999). 18. Jayyusi, Anthology, p. 14. 19. AI-Husaym, Mudhakkirat Dajaja, 2nd ed., p. 7. 20. M. peted, "Annals of Doom: Palestinian Literature 1917-1948," Arabica 28 & 29 (1981-1982), p. 162. 21. Jayyusi, Anthology, p. 14. 206 NOTES

22. Fawaz Turki, The Disinherited: Journal of a Palestinian Exile (New York: Monthly Review Press, 1972), p. 11. 23. See Fadwa Tuqan, Rihla Saba, Rihla Jabaliyya (Aldca: Dar al-Aswar, 1985), trans. Olive Kenny, A Mountainous Journey: An Autobiography (Saint Paul, MN: Graywolt~ 1990). 24. "Bawwabat Mandilbum," [The Mandelbaum Gate] in Emile Habibi, Sudasiyyat al-Ayyam al-Sitta [Six Stories for the Six Day War] (Haifa: Matbaat al-Taawuniyya, 1969), pp. 212-213. 25. Hanna Ibrahim, "Hikayatan min al-Sijn," in Ibrahim, Hawajis Yawmiyya (Shafa Amr: al-Shuruq, 1989), pp. 11-19. 26. Ibid., 16.

2 EXILE AND LIFE ON BORDER LINES 1. Jabra Ibrahim Jabra, Al-Safina (Beirut: Dar al-Nahar, 1970), trans. Adnan Haider and Roger Allen as The Ship (Washington, DC: Three Continents, 1985). 2. Ghassan Kanatani, Men in the Sun, trans. Hilary Kilpatrick (Washington: Three Continents, 1993), p. 6l. 3. Ibid., 61-62. 4. Ibid., 3. 5. Ibid., 9. 6. For this and other terms in the Qur'an see Kamal Abdel-Malek, Muhammad in the Modern Popular Egyptian Ballad (Leiden: E.J. Brill, 1995), p. 2. 7. Edward Said, The Question of Palestine, 2nd ed. (New York: Vantage Books, 1992), p. 151. 8. Muhammad Siddiq, Man is a Cause: Political Consciousness and the Fiction ofGhassan Kanafani (Seattle, WA: University of Washington, 1984). 9. Ibid.,13. 10. MenintheSun,p.ll. 11. Ibid., 23-24. 12. Ghassan Kanafani, All That's Left to You, trans. May Jayyusi and Jeremy Reed (Nortllampton, MA: Interlink, 1990), pp. 35-36. 13. Ibid., 37. 14. Siddiq, Man is a Cause, p. 36. 15. Ibid., p. 37. 16. Emile Habibi, Sudasiyyat al-Ayyam al-Sitta (Haifa: Matbaat al-Taawuniyya, 1996), p. 12. 17. Emile Habibi, al-Waqai al-Ghariba fi Iktifa Said abi al-Nahs al-Mutasha)il (Haifa: Dar Arabesque Beirut: Dar Ibn Khaldun, 1974; 3rd ed. AI-Quds: Dar Salah ai-Din, 1977; 4th ed. Beirut: Dar al• Farabi, 1981. For all quotations see the English translation: The Secret Life of Saeed) the Ill-Fated Pessoptomist, trans. Salma K. Jayyusi and Trevor Le Gassick (London: Zed, 1984). NOTES 207

18. Lital Levy, "Exchanging Words: Thematizations of Translation in Arabic Writing from Israel," Comparative Studies of South Asia, Africa and the Middle East, 23, nos. 1 &2 (2003), p. 110. Electronic version. 19. Ibid., Ill. 20. Saeed the Pessoptomist, p. 121. 21. Ibid., 16. 22. Tom Hill, The Guardian, July 2,2004. 23. Peter Heath, "Creativity in the Novels of Emile Habiby, With Special Reference to Sa'id The Pessoptimist," in Kamal Abdel-Malek and Wael Hallaq (eds.), (Leiden: E.J. Brill, 2000), Tradition, Modernity, and Postmodernity, pp. 158-172. 24. Ibid., 165. 25. Ibid., 166. 26. Ibid., 168. 27. Ibid. 28. Roger Alien, The Arabic Novel: An Historical and Critical Introduction 2nd ed. (Syracuse, NY: Syracuse University Press, 1995), p. 211. 29. Heath, "Creativity," p. 168. 30. Muhsin al-Musawi, The Postcolonial Arabic Novel (Leiden: E.]. Brill, 2003), p. 310. 31. Saeed the Pessoptomist, p. xix. 32. Habibi, Laka ibn Laka (Nazareth: Dar 3 Adhar, 1980), p. 88. 33. Yasin Ahmad Faur, in his 1993 Al-Sukhriya fi Adab Emile Habibi (Tunis: Dar al-Maarit~ 1993), p. 85. 34. Mahmud Darwish, Dhakira Ii al-Nisyan (Haifa: Manshurat al-yasar, 1987); trans. Ibrahim Muhawi as Memory for Forgetfulness: August, Beirut, 1982 (Berkeley, CA: University of California Press, 1995). 35. Memory for Forgetfulness, p. 42. 36. Ibid., translator's introd., p. xx. 37. Firmat, Literature and Liminality: Festive Readings in the Hispanic Tradition (Durham, NC: Duke University Press, 1986), p. 21. For more on metalepsis see Abdel-Malek, Muhammad in the Modern Egyptian Popular Ballad, pp. 114-118. 38. Firmat, Literature and Liminality, p. xiv. 39. Darwish, Memory for Forgetfulness, p. 11. 40. Ibid. 41. Ibid. 42. Ibid., 129. 43. Ibid., 130. 44. Ibid., 49. 45. Ibid., translator's introd., p. x"Vii.

3 ENCOUNTERS AND MOMENTS OF BREAKTHROUGH

1. Joseph Zeidan, "The Image of the Jew In the Arabic Novel 1920-1973," Shofar 7, no. 3 (Spring 1989), pp. 80-81. 208 NOTES

2. Radwa Ashur, AI-Tariq ila al-Khayma al-Ukhra (Beirut: Dar al-Adab, 1977),pp.145-146. 3. See Final Night, Short Stories, trans. Denys Johnson-Davies (Cairo: AUC, 2002), pp. 101-108. Buthaina al-Nasiri is an Iraqi short-story writer who lives in Cairo. She was born in Iraq in 1947 and graduated from the College of Arts of the University of Baghdad. She has lived in Cairo since 1979, where she runs a publishing house that specializes in the works of Iraqi writers. Five collections of her own short stories have been published in Arabic. 4. David Shipler, Arab and Jew: Wounded Spirits in a Promised Land, 2nd ed. (New York: Penguin, 2002), p. 435. 5. Ibid. 6. Ibid. 7. Ibid. 8. A.B. Yehoshua, The Lover (New York: Doubleday, 1981). 9. For more on this theme see Pierre Cachia, "Themes Related to Christianity and Judaism in Modern Egyptian Drama and Fiction," Journal ofArabic Literature 2 (1971), pp. 178-194. 10. Sahar Khalifeh, Sura, Iyquna, wa Ahd Qadim (Beirut: Dar al-Adab, 2002). 11. Naomi Shihab Nye, Habibi (New York: Aladdin, 1999). 12. Nassib D. Bulos, Jerusalem Crossroads (Beirut: Daral-Nahar, 2003). 13. Mahmoud Darwish, Memoryfor Forgetfulness: August, Beirut, 1982, trans. with an introduction by Ibrahim Mahawi (Berkeley, CA: University of California Press, 1995). 14. Mahmud Darwish, Diwan Mahmud Darwish (Beirut: Dar al-Awda, 1977 [2 vols.]), 1: 308-309. 15. See Abdullah al-Shahham, "A Portrait of the Israeli Woman as the Beloved: The Woman-Soldier in the Poetry of Mahmud Darwish after the 1967 War," Bulletin (British Society for Middle Eastern Studies), 15, nos. 1&2 (1988), pp. 28-49. 16. Darwish, Diwan Mahmud Darwish, 1: 411-415. 17. Ibid., 566-569. 18. Memoryfor Forgetfulness, pp. 121-122. 19. Ibid., 122. 20. Ibid., 124 tT. 21. Ibid., 126. 22. See al-Shahham, "A Portrait," p. 34. 23. Jaroslav Stetkevych, "The Confluence of Arabic and Hebrew Literature," Journal of Near Eastern Studies, 32, nos. 1&2 (January-April 1973), pp. 216-222. 24. Ibid., 217. 25. Ibid., 219. 26 Ibid., 222. NOTES 209

27. The Palestinian Wedding: A Bilingual Anthology of Contemporary Palestinian Resistance Poetry, collected and trans. A.M. Elmessiri (Washington, DC: Three Continents, 1982), pp. 94-97. 28. "On Yom Kippur" is from The Selected Poetry of Yehuda Amichai trans. Chana Bloch and Stephen Mitchell (Berkeley, LA/London: University of California Press, 1996), p. 49. 29. Salma Khadra Jayyusi (ed.) Anthology of Modern Palestinian Literature (New York: PROTA, 1992), p. 366. 30. The Selected Poetry ofYehuda Amichai, trans. Bloch and Mitchell, p. 138. 31. Mahmoud Darwich, Palestine, mon pays in Issa Boullata, "An Arabic Poem in an Israeli Controversy: Mahmud Darwish's 'Passing Words,' " in Asma Afsaruddin and A.H.M. Zahniser (eds.), Humanism, Culture, and Language in the Near East (Wanona Lake, IN: Eisenbrauns, 1997), pp. 121-122. Information about this poem and the contro• versies it raised is derived from Issa Boullata's article. 32. Ibid., 122. 33. Ammiel Alcalay, "Who's Afraid of Mahmoud Darwish," Middle East Report (September-October 1988), p. 27. 34. Ibid. 35. Ibid. 36. Ibid., 28. 37. Ibid., 124 n. 12. 38. Ibid., 125 n. 13. 39. Translated from the Arabic version in Mahmud Darwish, ed. Sabri Hatlz (Beirut: Dar al-Fata ai-Arabi, 1994), pp. 183-186. 40. From Yehuda Amichai, A Life of Poetry, 1948-1994, trans. Benjamin Harshav and Barbara Harshav (New York: HarperCollins, 1994), pp.465-466.

4 THE FEMININE CONNECTION: PALESTINIAN WOMEN WRITERS ON WaR AND RECONCILIATION 1. Leila I(haled, My People Shall Live: The Autobiography ofa Revolutionary, ed. George Hajjar (London: Hodder and Stoughton, 1973). 2. Ibid., 7. 3. Angela D. Abdel-Malek, "Theories ofa Revolutionary"-unpublished paper on Leila Khaled (June 2004), p. 11. 4. Ibid., 11-12. 5. Ibid. 6. My People Shall Live, p. 133. 7. Angela D. Abdel-Malek, "Theories ofa Revolutionary," p. 13. 8. Ibid. 9. Ibid. 10. Ibid., 14. 210 NOTES

11. Katharine Viner, The Guardian, January 26, 2001. Electronic version. 12. Ibid. 13. My People Shall Live, pp. 153-154. 14. The Guardian, January 26,2001. 15. Savyon Liebrecht, "A Room on the Roof~" in Carol Diament and Lily Rattok (eds.), Ribcage: Israeli Women)s Fiction-A Hadassah Anthology (New York: Dept ofJewish Education, Hadassah, 1994), p. 247. 16. Fadwa Tuqan, Al-Amal al-Shiriyya ai-Kamila (Nablus: Maktabat Khalid ibn al-Walid, 1994), pp. 540-541. 17. Ibid., 120-126. 18. Salma Khadra Jayyusi (ed.), Anthology of Modern Palestinian Literature (New York: Columbia Universtiy Press, 1992), p. 314. 19. Ibid., 315. 20. Fadwa Tuqan, A Mountainous Journey: An Autobiography, trans. Olive Kenny (Saint Paul, MN: Graywolf, 1990), p. 11. 21. Fadwa Tuqan, Al-Amal al-Shiriyya ai-Kamila, p. 386. 22. Al-A mal Al-Shiriyya ai-Kamila, p. 388. 23. Ibid., 389. 24. A Mountainous Journey, p. 110. 25. Abbas Beydoun, "Fadwa Tuqan: An Arab Electta," Al-Jadid, 9, no. 45, trans. Elie Chalala. Electronic version. 26. A.M. Elmessiri (comp. and trans.), The Palestinian Wedding: A Bilingual Anthology of Contemporary Palestinian Resistance Poetry, Elmessiri (Washington, DC: Three Continents, 1982), pp. 94-97. 27. Raymonda Hawa Tawil, My Home, My Prison (London: Zed, 1983). 28. Sahar Khaliteh, Wild Thorns, trans. Trevor Le Gassick and Elizabeth Fernea (New York: Olive Branch, 1985). 29. Ibid., 159.

5 REEL ENCOUNTERS: PALESTINIAN ARABS AND ISRAELI JEWS IN FILM 1. A. Madanat, "Al-Sinima al-Filastiniyya," in Al-Ilam ai-Arabi wa al• Qadiyya al-Filastiniyya (Beirut: 1990), pp. 842 ff 2. See the "Dreams of A Nation" web site. www.dreamsofimation.org/ films.html 3. Stuart Schorfinan, "The Machine in the Garden," The Jerusalem Report, December 20, 1990. Electronic version. 4. Ibid. 5. Leslie Camhi, "Film: Desperate Hours; A Palestinian Director's Ghetto Humor," The Village Voice, June 18,2002, p. 120. 6. Ibid. 7. Derek Elley, "Film Reviews: Cannes; "Divine Intervention," Variety 387, no. 2 (May 27, 2002-June 2002), p. 26. NOTES 211

8. Ibid. 9. Ella Shohat, Israeli Cinema: East/West and Politics of Representation (Austin, TX: University of Texas Press, 1989), pp. 250-25l. 10. Ibid., 252-253. 11. Yosefa Loshitsky, Identity Politics on the Israeli Screen (Austin, TX: University of Texas Press, 2001), p. 210 n. 2. 12. Ibid., 117-118. 13. Michael Elkin, "The Flying Camel," The Jewish Exponent, 1995. Electronic version. 14. Stephen Holden, "Using Sports as a Mirror tor the Brutal Passions of War," New York Times, August 13, 1992, sect. C, p. 13. Electronic verSlOn.

CONCLUSION

1. Jabra Ibrahim Jabra, Al-Safina (Beirut: Dar al-Nahar, 1970); trans. Adnan Haider and Roger Allen as The Ship. (Washington, DC: Three Continents, 1985). 2. Yahya Yakhlut~ Nahr Yastahimmu fi Buhayra [A River Bathing in a Lake] (Amman: Dar al-ShunK1, 1997). 3. N o uri Al-J arrah, "Mahmoud Darwish: Home is More Lovely Than the Way Home," trans. Samira Kawar, Al Jadid, 3, no. 19 (June 1997). Electronic version. 4. Adil al-Usta, Surat al-Yahudifi al-Adab al-Filastini, p. 99. 5. Ibid. 6. Jaroslav Stetkevych, "The Confluence of Arabic and Hebrew Literature," Journal ofNear Eastern Studies, 32, nos. 1 & 2 (January• April 1973), p. 217. 7. Terry Eagleton, Literary Theory: An Introduction (Minneapolis, MN: University of Minneapolis Press, 1983), pp. 132-133. 8. Salma Khadra Jayyusi (ed.), Anthology of Modern Palestinian Literature (New York: PROTA, 1992), p. 336. 9. Radwa Ashur, AI-Tariq ila al-Khayma al-Ukhra (Beirut: Dar al-Adab, 1977), pp. 145-146. 10. Yoram Binur, My Enemy, My Self; (London: Doubleday, 1989). BIBLIOGRAPHY

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1948 war, 27, 28, 30, 31, 32, 35, 21-22,147; violence and, 19,37, 38,39,40,41,42,45,50,53, 77,82,97,106,111,119,120, 58,65,67,68,87,99,105,107, 122,133,134,135,136,167, 108, 115, 116, 124, 125, 126, 171,172 128, 129, 130, 145, 151, 156, Arab-Jewish relations, 7, 23, 50, 157,163,169,175,177,180, 116; interfaith (sexual) liaisons, 181, 202, 205n20, 209n40, 216, 44,138; cultural differences 217,218,221 and, 146; similarities, 76-77, 1956 war (The Suez War), 13, 18 147-149 1967 war (the Six-Day War), 28, 32, Arabs, attitudes to peace and 109,208,221 normalization with Israel, 3, 37; 1973 war (the October War or the attitudes to Palestinians, 37 Yom Kippur War), 14, 18 Arafat, Yasser, 13, 15, 16, 19, 58, 145,173,201 Abbasi, Mahmud, 29, 213 Araydi, Nairn, 88, 89, 91,146 Abraham (Biblical and Quranic figure), 80, 82 Badr, Liyana, 122, 128, 148, AI-Aqsa Intifada (of 2000), 3, 167,180 113,174 Bakri, Muhammad, 120, 129, AI-Aqsa mosque, 3,118,165 136-137, 141, 170, 180 Al-Nakba,7,28,57,116,126,129, Baltour Declaration, the, 10, 130, 163, 169, 177, 180, 181 11, 17 Amichai, Yehuda, 79, 89-90, 154, Baydas, Khalil, 24, 25, 27, 69, 156-157,162,209,217 205nll,213,216 Arab citizens ofIsrael (Israeli Arabs Begin, Menachem, 12, 15, 19 or "Israeli Palestinians"), 6, 28 Bethlehem, 120, 124, 127, 130, "Arabs of the interior", 117, 129, 134,165,170,171,175,179, 163, 181; Palestinian citizens of 181,220 Israel, 6, 27, 28, 29, 49, 65,108, Bisisu, Muin, 27 117, 118, 129, 136, 145, 146, Border lines, 35, 63, 217 163,165,167,181,182 Borders, 4, 12, 30, 32, 35, Arabic language, 6, 31, 51 38,63,102,108,144, Arab-Israeli conflict, 1,45,97,117, 184,218 122,140,151,164,173,221; Britain, 10, 12, 17,98 religion and, 36; stereotypes and, Bustani, Wadi al-, 22, 25, 213 224 INDEX

Christ: Jews blamed for crucitlxion Goitein, S. D., 2, 219 of22, crucitled, 103, 107, 135 Grossman, David, 148 Christian Arab(s), 22 Habibi (also Habiby), Emile (also Darwish, Mahmud (also Imil), 29,30,35,49-48,69, Mahmoud), 29, 35, 52, 70, 76, 131,148,190-194,199, 81-82,154-155,157-158,161, 206n24,207n17;n32,208nll, 194-204 (interview with 214,219 Darwish), 161, 207n34, Hamas, 117, 164 208nn14-16, 209n39, 213, 214, Hamsin (Israeli tllm), 69, 139 217,221 Hasan, Sana, 2, 219 Dawud, Siham, 88, 89, 90 Hebrew language, 146 Deir Yasin massacre, 12 Hebrew literature, 6, 69, 76,100, Diaspora-Jewish, 28; Palestinian, 21,222 28,107,146,199,200,201,203 Hebrews, 83 Hebron, 11, 14, 16, 133; Arab riots Egypt: ancient Israelites and, 140; in, 11, 18 anti-Jewish writings in, 1; Israel Herzl, Theodore, 17,21 and, 2,10,14,15,19,106,115 Hizballah, 19 Egyptians, attitudes to Israelis, 1,2, Holocaust, 18,67,116,151; in 3,15,18,24,115,217,219 Palestinian literature, 67, 116, 151 Elon, Amos, 2, 219 Husayni, Ishaq Musa al-, 26-27, 148,205n17,220 Faulkner, William: influence on Kanafani and Yehoshua', 148 Ibda (journal), 3 Fayyad, Tawflq, 213 Ibrahim, Hanna, 31-32, 148, Filmmakers, Palestinian: Michel 183-189,214n25 Khleitl, 70, 116, 117, 123, 130, Independence Day (Israeli): 18, 131,133,146,164,172,182; (tllm), 129, 181 Elia Suleiman, 116, 118, 124, Interfaith love (between Arabs and 131, 134, 135, 146, 175, 178; Jews): in tllm, 70, 130, 182 Rashid Masharawi, 117, 120, Intifada: ofl989, 3,16,81,83,86, 131, 146, 165, 169, 174; 87,88,105,118, 125, 127, 166, Muhammad Bakri, 120, 129, 178; of 2000; see also AI-Aqsa 136-141,170,180; Israeli: Uri Intifada, 99, 118, 134, 171, Barabash, 135, 136-137; Haim 174,178 Bouzaglo, 137; Rami Naaman, Irgun,12 140; Eran Rikhis, 141 Islam, 47; fundamentalist, 19 Films, Palestinian: main themes, Israeli army, 15,32,61,65,73, 116, 163 116,120,127,135,168, Forbidden love (between Arabs and 170,179 Jews), 117, 130, 163, 182 Israeli soldier, 33,42, 50, 62, 94, 121,132,141,145,170 galut, 28, 77, 147 Israeli-Arabs, 28 ghurba, 28 Ittihad, al- (journal), 30 INDEX 225

Jabra, Jabra Ibrahim, 148,206,211, Nablus, 16,48, 108, 109, 112, 116, 214,220 127,178,210,214,215 Jaffa, 9,12,89,102,104,125,126, Nadia (Israeli film), 69, 136 127,177,179 Nashashibi, Nasir ai-Din al-, 29, Jerusalem, Old City of, 14, 118, 146,215 154, 166, 168, 190 Natur, Salman, 215 Jewish Agency, 11, 17 Nazareth, 27, 49,107,116, Jews, Ashkenazis, 53, 136; 118,119,127,129,134, Sephardis, 136 164,168,173,178,181, Jubran, Salim, 88, 89 207,213,214 Judaism as viewed in Arabic Nazis, 11,66,67,87,115,151 literature, 208n9, 218 Nye, Naomi Shihab, 69, 208, 221

Kanafani, Ghassan, 13, 35--44, October War, the, see 1973 war or 65-66,67,122,148,151, the Yom Kippur War 172,206,213,216,217, Oslo accords, the, 3, 119, 130, 144, 220,221,222 166,181 Karmil, al- (journal), 30, 58, Oz, Amos, 148 198,203 Khalid, Leila, 95-100, 209 Palestinian Arabs, 6, 7, 21, 25, Khalifeh, Sahar, 112, 116, 174, 67,77,106,115,124,148, 210,214,220 151,175 Kibbutz, 17,77, 153 Palestinian Arabs: as minority in Israel, 27, 108; expulsion Levin, Hanoch, 91 of, 16 Palestinian National Authority, Mahfuz, Najib, 1 3,165 manja, 116, 126, 14, 147, 163 Palestinian nationalism, 14, 97, 201 Mansur, Atallah, 29,146,148,214 Palestinian refugee camps, 13, 15, Maronite Christians, 62 16,39,45,46,47,99,120,121, Masharif(journal),30 124,125,126,165,168,170, Massacres: Deir Yasin, 12; Sabra 175,176,178 and Shatila, 16, 124, 175 Peace, 1,2,3, 15, 16, 18, 19,27, Mecca, 10 29,38,73,76,82,84,88,90, Megged, Aharon, 118 92,93,100,103,104,108,117, Men in the Sun (Kanafani), 36, 38, 118,119,121,122,128,130, 41,42,48,148,206,220 133,139,145,147,149,150, Messiah, 2, 119, 167 157,163,165,166,169,170, Mossad, the, 36 173,179,181,182,199, Muammar, Tawfiq, 29, 215 200-202,217,221 Muhammad, the Prophet, 62, Peace process, 3, 118, 165, 199, 113,206 200,201 Music, 74, 85,135,155,161,218 PFLP (Popular Front for the Muslim(s), 9, 26,55,59,60,61, Liberation of Palestine), 13, 35, 103, 119, 129, 181 36,95,98,99,157 226 INDEX

PLO (Palestine Liberation 147,154,155,156,157,166, Organization), 3, 13, 14-16, 19, 178,190,221 22,24,47,58,59,81,82, Ill, Suleiman, Elia, 116, 118, 119, 124, 116, 117, 122, 135, 137, 141, 127,131,134,135,143,145, 164,173,200,201,213 146,168,175,179 Poetry, poems, 1,3,6,7,21,22, 25,27,28,45,52,58,59,65, Tawil, Raymonda, 95,106,107, 69,70,71,72,74-77,79, 110,111,149,150,210,222 80-95,102-106,122,125,134, Terror (-ism, -ist), 12, 16, 19, 144, 146, 147, 150, 154, 156, 96,98,100,119,135,136, 157,162,169,172,176,195, 171,179 196-199,201-204,208,209, The Lover (novel by A.B. Yehoshua), 210,214,217,218-222 69, 208n8, 222 Prison; prisoners, 49,50,51,58, Tuqan, Fadwa, 28,77,79,92,95, 95,97,106,110, Ill, 116, 102,103,104,105,106,122, 119, 122, 123, 133, 135, 137, 149,153,172,206,210,215, 141, 165 216,218,222 Tuqan, Ibrahim, 22, 25, 102,205 Qasim, Samih al-, 89, 215 Turki, Fawaz, 28, 35, 45, 46, 47, Qur'an, 22, 38, 39,41,55,59, 48,63,79,144,161,206, 61,62,206 217,222

Rabin, Yitzhak, 19, 145 War, 1,4,9, 10, 12, 13, 14, 15, 18, Ramallah, 2,16,47,65,66, Ill, 19,26,27,28,29,30,31, 118, 120, 125, 128, 134, 144, 32-35,37-39,42,44-46,48-52, 164, 167, 168, 169, 171, 57,59-63,65,67,68,70,73, 176, 180 79,87,89-93,100,105-108, Reconciliation, 1, 10 1, 143, 150 119,120,123-126,128-130, Returning to Haifa (by Ghassan 141,146,150,151,167,169, Kanat~mi), 29,36,65, 114, 15, 170,174,175,210,213,217, 151, 177 (film based on it) 218,220,221 Rites of passage, 4, 6, 35, 39, 54, West (the), attitudes to 55,56,143,222 Palestinians, 96 West Bank, 3,13,14,16,19,32, Sakakini, Khalil, 23 42,48,83,102,104,107,108, salaam, 80, 117, 161, 163 109,110,112,116,121,123, Separation, 4,39,55,126,143,177 127,134,144,145,165,168, Sexual liaisons (Arab-Jewish), 138 171,174,178,202,212 shahid, 27, 59, 213 Women, 13,24,25,69,95,96,97, shalom, 80, 161 98,99,100,101,105,108,109, Six-Day War, the, see 1967 war 110,112,113,116,117,119, Stereotypes, 21, 22, 27, 146 123,128,130,132,133,138, Stereotypes of Jews by Arabs, 27 149,150,163,164,165,166, Stone, stones, 83, 84, 85, 87, 88, 167,174,179,180,181,192, 102, 105, 116, 118, 127, 133, 198,210,217,219,220,221 INDEX 227 yahud (Arabic for Jews), 3,205, Zayyad, Tawtlq, 88, 92, 215 211,216 Zion, 79, 80, 81, 162 Yakhlut~ Yahya, 144, 145, Zionism, 3,10,21,22,58,70, 211,215 72,73 Yehoshua, A. B., 69,148, Zionists, 2, 9,10,11,12,17,21, 208,222 22,24,28,29,36,37,39,41, Yom Kippur War, the, see 1973 war 44,46,66,67,68,70,71,72, or the October War 85,97,104,110,149 KAMAL ABDEL-MALEK. a native of Egypt. is Associate Professor of Arabic Literatures at the American University of Sharjah. He also taught at Princeton and Brown Universities and is the recipient of the prestigious Wriston Fellowship at Brown University for excellence in teaching and research. He has several publications on Arabic literature including A Study of the Vernacular Poetry ofAhmad Fuad Nigm (1990). Muhammad in the Modern Egyptian Popular Ballad (1995). Celebrating Muhammad (with Ali Asani and Annemarie Schimmel. 1995). Israeli and Palestinian Identities in History and Literature (with David Jacobson. 1999). Tradition. Modernity. and Postmodernity in Arabic Literature (with Wael Hallaq. 2000). and the pioneering America in an Arab Mirror: Images ofAmerica in Arabic Travel Literature. 1895-1995 (2000). He is also a contributor to the authoritative Cambridge Guide to Theater and the Cambridge History of Arabic Literature series.