I wrote my poems through the latest war on Gaza which started in July, 2014 and lasted for fifty-one days. I wrote them under the shelling and attacks of the Israeli planes and tanks, under the hovering of the drones and the sounds of rockets and heavy bombs, between the homeless civilians and between my little children. I wrote these poems, with the lack of power and food, and with fear and stress. These poems were written from my heart to the heart of my reader.

Over the summer of 2011, Dervla Murphy spent a month in the Gaza Strip. She met liberals and Islamists, Hamas and Fatah supporters, rich and poor. Used to western reporters dashing in and out of the Strip in times of crisis, the people she met were touched by her genuine, unflinching interest and spoke openly to her about life in their open-air prison.

What she finds are a people who, far from the story we are so often fed, overwhelmingly long for peace and an end to the violence that has so grossly distorted their lives. The impression we take away from the book is of a people whose real, complex, nuanced voice has rarely been heard before.

A MONTH BY THE SEA gives unique insight into the way in which isolation has shaped this society: how it radicalizes young men and plays into the hands of dominating patriarchs, yet also how it hardens determination not to give in and turns family into a towering source of support. Underlying the book is Dervla’s determination to try to understand how Arab Palestinians and Israeli Jews might forge a solution and ultimately live in peace.

Dervla looks long and hard at the hypocrisies of Western and Israeli attitudes to peace’, and at Palestinian attitudes to terrorism. While this shattered people long for a respite from the bombings that have ripped a hole, both literally and psychologically, in their world, it seems that politicians have an agenda that pays little attention to their plight.

How do people and goods get in and out of Gaza? Do Gazans ever have fun? Is the Strip beautiful? And do TV reports actually reflect ordinary life inside the world’s largest open-air prison?

Meet Me in Gaza reveals the pleasures and pains, hopes and frustrations of Gazans going about their daily lives, witnessed and recounted by award-winning writer Louisa Waugh.

Interspersed with fascinating historical, cultural and geographical detail, this is an evocative portrait of a Mediterranean country and its people.

By Atef Abu Seif (Author), Abdallah Tayeh (Author), Ghareeb Asqalani (Author), Zaki Al Ela(Author), Mona Abu Sharikh (Author), Talal Abu Shawish (Author), Najlaa Attalah (Author), Asmaa Al Ghul (Author), Newroze Qarmout (Author), Yousra al Ghul (Author), Atef Abu Saif (Editor)         

Under the Israeli occupation of the ’70s and ’80s, writers in Gaza had to go to considerable lengths to ever have a chance of seeing their work in print.Manuscripts were written out longhand, invariably under pseudonyms, and smuggled out of the Strip to Jerusalem, Cairo or Beirut, where they then had to be typed up.

Consequently, fiction grew shorter, novels became novellas, and short stories flourished as the city’s form of choice. Indeed, to Palestinians elsewhere, Gaza became known as ‘the exporter of oranges and short stories’.

This anthology brings together some of the pioneers of the Gazan short story from that era, as well as younger exponents of the form, with ten stories that offer glimpses of life in the Strip that go beyond the global media headlines; stories of anxiety, oppression, and violence, but also of resilience and hope, of what it means to be a Palestinian, and how that identity is continually being reforged; stories of ordinary characters struggling to live with dignity in what many have called ‘the largest prison in the world’.

Translated from the Arabic by Tom Aplin, Charis Bredin, Emily Danby, Alexa Firat, Katharine Halls, Alice Guthrie, Sarah Irving, John Peate, Adam Talib, and Max Weiss.

Gaza Writes Back is a collection of short stories from fifteen young writers in Gaza, members of a generation that has suffered immensely under Israel’s siege and blockade. Their experiences, especially during and following Israel’s 2008-2009 offensive known as “Operation Cast Lead”, have fundamentally impacted their lives and their writing.

Indeed, many of these writers saw the war as a catalyst for their writing, as they sought an outlet and a voice in its aftermath. They view the book as a means of preserving Palestinian memories and presenting their narratives to the world without filters. Their words take us into the homes and hearts of moms, dads, students, children, and elders striving to live lives of dignity, compassion, and meaning in one of the world’s most embattled communities.

These stories are acts of resistance and defiance, proclaiming the endurance of Palestinians and the continuing resilience and creativity of their culture in the face of ongoing obstacles and attempts to silence them. Whether tackling the tragedy that surrounds missile strikes and home raids, or the everyday indignities encountered by Palestinian refugees, Gaza Writes Backbrings to life the real issues that the people of Gaza face.

One prominent theme in many of the stories is the wisdom of parents and grandparents. A sense of longing pervades the book, as the characters in the stories reveal desires ranging from the mundane to the complex–including, in several of the stories, a strong yearning to return to the characters’ family homes and properties after many decades in exile.

Social differences within Gaza are also sensitively explored. Readers will be moved by the struggles big and small that emerge from the well-crafted writing, and by the hope and courage that radiates from the authors’ biographies. Five years after Operation Cast Lead, these stories remind us that the pain lingers on and the people of Gaza will be forever scarred by the attack. Yet, the call for justice remains forceful and persistent, and these young Gazan writers refuse to let the world forget about them–their land, their people, and their story.

Rafah, a town at the southernmost tip of the Gaza Strip, is a squalid place. Raw concrete buildings front rubbish-strewn alleys. The narrow streets are crowded with young children and unemployed men. Situated on the border with Egypt, swaths of Rafah have been reduced to rubble. Rafah is today and has always been a notorious flashpoint in this most bitter of conflicts.

Buried deep in the archives is one bloody incident, in 1956, that left 111 Palestinian refugees dead, shot by Israeli soldiers. Seemingly a footnote to a long history of killing, that day in Rafah – coldblooded massacre or dreadful mistake – reveals the competing truths that have come to define an intractable war. In a quest to get to the heart of what happened, Joe Sacco arrives in Gaza and, immersing himself in daily life, uncovers Rafah, past and present. Spanning fifty years, moving fluidly between one war and the next, alive with the voices of fugitives and schoolchildren, widows and sheikhs, Footnotes in Gaza captures the essence of a tragedy.

As in Palestine and Safe Area Goražde, Joe Sacco’s unique visual journalism has rendered a contested landscape in brilliant, meticulous detail. Footnotes in Gaza, his most ambitious work to date, transforms a critical conflict of our age into intimate and immediate experience.

Far from being a simple parable, [Men in the Sun] depicts some often hidden aspects of the complex social and political reality of the Palestinians … and is also a well-told story….

We should not forget the excellent translation of Hilary Kilpatrick which not only manages to preserve the subtle voice of the narrator, but also matches accurately the sober and lucid prose in Arabic for which Kanafani was hugely admired.

Ghassan Kanafani’s meteoric literary and political career ended abruptly one morning in July 1972, when his booby-trapped car exploded, killing him and his niece. At the time, Kanafani was the spokesperson for the most militant wing of the Palestinian fedayeen.

That militancy is reflected in these 14 stories. Beginning with a narrative disconcertingly entitled “The Child Borrows His Uncle’s Gun and Goes East to Safad,” Kanafani plunges into the 1948 conflict between the Jews and Palestinians, following a 17-year-old, Mansur, whose actions mirror the author’s own experiences. In a series of stories, the reader follows Mansur as he carries his old Turkish gun into the thick of sharpshooting contests with “Zionists” (as Israelis are identified in this strongly pro-Arab text) in old Palestinian town centers.

Later, Mansur’s uncle, Abu Al-Hassan, uses the gun on the British forces. These stories end, inevitably, with the consequences of defeat for the Palestinians: “The Child Goes to the Camp,” in which the narratorAa different child than MansurAmust survive the hunger sweeping through the refugee camps. He does so with a talisman, a five-pound note he finds in the street. In the novella for which Kanafani became famous, “Returning to Haifa,” the year is 1967, but the events are prefigured by the Palestinian population’s uprooting from Haifa in 1948.

Said S. and his wife, Safiyya, return to Haifa to the apartment they were forced to abandon and the memories of their infant son, Khaldun, inadvertently left behind in the mass panic. Miraculously, the Jewish couple who took over the apartment found and adopted the child, who is now an Israeli soldier. This story, which ends with a renunciation of even blood ties in the sacred cause of revenge, foretells the terrible violence of the ’70s. (Sept.)

The Qahtan are a Palestinian family that claims to have originated in the Arabian Peninsula, descended from the family of the Prophet Muhammad.

This connection has given its members a certain ascendancy in their society, and has influenced their cultural and political choices. The true test occurs when the Qahtanis, like other Palestinians, confront two enemies after the First World War: the British Mandate and the Zionist movement.

Observing the gradual and increasing illegal Jewish immigration and land appropriation, the Palestinians come to realize they have been betrayed by a power that “fulfilled their promises to the Jews and reneged on their promises to the Arabs.” Sahar Khalifeh brings to the forefront the inner conflicts of Palestinian society as it struggles to affirm its cultural and national identity, save its threatened homeland, and maintain a semblance of normalcy in otherwise abnormal circumstances.

Gaza is being bombed. Rashid wakes to discover he’s got a scholarship to London,
the escape route he’s been waiting for. Meanwhile, his twin sister, Iman, frustrated
by the atrocities and inaction around her, grabs recklessly at an opportunity to
make a difference. Sabri, the oldest brother works on a history of Palestine from his wheelchair as their mother pickles vegetables and feuds with their neighbours.

Out of It follows Rashid and Iman as they try to forge places for themselves in the midst of occupation, religious fundamentalism and the divisions between Palestinian factions. It tells of family secrets, unlikely love stories and unburied tragedies as it captures the frustrations and energies of the modern Arab World.