After D.C., Taha will be staged in London, at the Young Vic’s Maria studio, from July 5 to 15.
In an obscure crowd, an obscene clarity dawns on me.
In the midst of the exquisite engineering of geography’s tumult, a bullet quietly passes through me, at my lower back,
“If it were up to me, I might have given our hero an Arab name and origins in a Palestinian village few people had ever heard of. Maybe something like The Adventures of Don Abu Mukh from Baqa, or The Valorous and Witty Knight-Errant Don Rohana from Issifia.”
They spoke about the particular issues encountered by Palestinian libraries and librarians, what they are doing to address those problems, and what the international library community can do to help.
“Watan, for me, is a way to teach others what I’m learning as well — in a sort of an easily digestible way in a hypervisual and overloaded world.”
“But Raba’i al-Madhoun (IPAF) and Mazen Maarouf (Al-Multaqa) were not the only Palestinian authors to win accolades this year.”
Maarouf, in a celebratory Facebook post, called this a “win for the short story,” which has often been sidelined in favor of support and promotion for the novel.
The winner, announced Friday in London, was the poetry collection I Remember My Name, which includes the work of poets Jehan Bseiso, Samah Sabawi, and Ramzy Baroud.
“The 84-page work echoes the dreaminess of Kazuo Ishiguro′s ‘The Unconsoled’; instead of dream-logic, however, there is memory-logic.”
According to Hajaj, the interview, excerpted below, was filmed in Beirut, and “has only been recently uncovered by my dear friend James Carleton.”
“Most of the literary representations of the massacres in two Palestinian refugee camps don’t aim to hold a mirror to the three days of horror, which took place in 1982, between September 16 and 18.”
“See, prison is for lovers.”