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Guy Mannes-Abbott is a writer based in London and this book focuses on his series of texts reciting his time in the city of Ramallah, Palestine. Published together for the first time, these texts document his surroundings and reveal a glimpse of the city as it has never been seen before.In Ramallah, Running represents a unique encounter with Palestine, interweaving short, poetic, running texts with longer essays describing what Mannes-Abbott encountered during his multiple expeditions within the city. As a whole it conjures the place as well as the people of Ramallah and the surrounding hills and valleys within the Wall to uniquely penetrating effect. The text consists of 14 parts which alternate running within the limits of the city, along the limits of the city, and beyond off limits, discovering how mobile they are. These lyrical, evocative texts generate a very special intimacy with Palestine, with singular style and accumulatively compelling force.Mourid Barghouti, the great Palestinian poet and author of the classic memoir I Saw Ramallah, describes the texts as; "A cunning simplicity of writing today’s Palestine, through the alleys, roads, streets, hills, valleys, days and evenings in and around Ramallah, charged me with love of the art of writing [and] of Palestine. You showed me my place and made me hear my story. I read it in one breath."

"From the first letter written on board the ship Rex, Notes from Ramallah, 1939 shows an adventurous young American Quaker woman headed for the Arab world and neighboring lands before World War II. Woven throughout the letters and journal entries from Nancy Parker McDowell's year as a teacher at Ramallah Friends Girls School are images of the Palestinian people under British occupation. From accounts of pulling students out of the line of gunfire to stories of teaching baseball to her students, her notes reveal the full breadth of the Palestinian culture: the bustle of the teeming marketplace, the beauty of Ramallah embroidery, and the generous neighbor who loans her donkey to everybody and lets anyone drink from her well. And, in the midst of the danger in Palestine and in prewar Europe, Parker McDowell enters political discussions with Arabs and soldiers across the Middle East and in Europe, and she and her friends manage adventures in Jerusalem, Syria, Transjordania (where she rides with royalty in a bulletproof car), Cairo (where she climbs one of the pyramids), Germany, and France. This passionate and humorous memoir is a study in contrasts: an adventurous youth who still longs for home, a war-torn but beautiful land, and a war-weary yet determined people."

"From the first letter written on board the ship Rex, Notes from Ramallah, 1939 shows an adventurous young American Quaker woman headed for the Arab world and neighboring lands before World War II. Woven throughout the letters and journal entries from Nancy Parker McDowell's year as a teacher at Ramallah Friends Girls School are images of the Palestinian people under British occupation. From accounts of pulling students out of the line of gunfire to stories of teaching baseball to her students, her notes reveal the full breadth of the Palestinian culture: the bustle of the teeming marketplace, the beauty of Ramallah embroidery, and the generous neighbor who loans her donkey to everybody and lets anyone drink from her well. And, in the midst of the danger in Palestine and in prewar Europe, Parker McDowell enters political discussions with Arabs and soldiers across the Middle East and in Europe, and she and her friends manage adventures in Jerusalem, Syria, Transjordania (where she rides with royalty in a bulletproof car), Cairo (where she climbs one of the pyramids), Germany, and France. This passionate and humorous memoir is a study in contrasts: an adventurous youth who still longs for home, a war-torn but beautiful land, and a war-weary yet determined people."

The Palestinian poet recounts his decision to leave his country in 1966 to pursue his studies and his subsequent return to his occupied homeland in 1996. 6 x 9

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The writings of an Israeli journalist who has chosen to live in a Palestinian town in order to provide a firsthand description of what daily life is like for the population.The only Israelis this generation of Palestinians know are soldiers and settlers. For them, Israel is no more than a subsidiary of an army that knows no limits and settlements that know no borders. Recipient of the UNESCO Guillermo Camo World Press Freedom Prize in 2003, Amira Hass is the only Jewish Israeli correspondent on Palestinian affairs to live among the people about whom she reports. The child of Holocaust survivors, Hass prefers the title "expert in Israeli occupation," and, as such, is relentless in her quest for both truth and justice.

“Perhaps one day I may forgive you for putting us under curfew for forty-two days, but I will never forgive you for making us live with my mother-in-law for what seemed, then, more like forty-two years.”Irreverent, darkly funny, unexpected, and very unlike any other writing on the Palestinian-Israeli conflict, Sharon and My Mother-in-Law describes Palestinian architect Suad Amiry’s experience of living in the Occupied Territories.Based on diaries and e-mail correspondence that Amiry kept to maintain her sanity from 1981 to 2004, the book evokes, through a series of vignettes, the frustrations, cabin fever, and downright misery of daily life in the West Bank town of Ramallah, with its curfews, roadblocks, house-to-house searches, and violence. Amiry writes about the enormous difficulty of moving from one place to another, the torture of falling in love with someone from another town, the absurdity of her dog receiving a Jerusalem identity card when thousands of Palestinians could not do so, and the impossibility of acquiring a gas mask from the Israeli Civil Administration during the first Gulf War in 1991. There are also the challenges of shopping during curfew breaks, the trials of having her ninety-two-year-old mother-in-law living in her house during a forty-two-day curfew, and thoughts on Israel’s Separation Wall.With a wickedly sharp ear for dialogue and a keen eye for the most telling details, Amiry gives us an original, ironic, and firsthand glimpse into the absurdity——and agony——of life in the Occupied Territories.

The Palestinian poet recounts his decision to leave his country in 1966 to pursue his studies and his subsequent return to his occupied homeland in 1996. 6 x 9

The Israeli army invaded Ramallah in March 2002. A tank stood at the end of Raja Shehadeh's road; Israeli soldiers patrolled from the roof toops. Four soldiers took over his brother's apartment and then used him as a human shield as they went through the building, while his wife tried to keep her composure for the sake of their frightened childred, ages four and six.This is an account of what it is like to be under seige: the terror, the frustrations, the humiliations, and the rage. How do you pass your time when you are imprisoned in your own home? What do you do when you cannot cross the neighborhood to help your sick mother?Shehadeh's recent memoir, Strangers in the House: Coming of Age in Occupied Palestine, was the first book by a Palestinian writer to chronicle a life of displacement on the West Bank from 1967 to the present. It received international acclaim and was a finalist for the 2002 Lionel Gelber Prize. When the Birds Stopped Singing is a book of the moment, a chronicle of life today as lived by ordinary Palestinians throughout the West Bank and Gaza in the grip of the most stringent Israeli security measures in years. And yet it is also an enduring document, at once literary and of great political import, that should serve as a cautionary tale for today's and future generations.

Emily Jacir is an artist who lives in between New York and Ramallah. It's no surprise that a central motif in her work is the theme of voluntary and coerced movement between places and cultures. The projects she has undertaken over the past five years have pungently, poignantly crossed the divides between art, life, politics and culture over and over again. In “Where We Come From,” Jacir, armed with an American passport, crossed borders in the West Bank and the Gaza Strip fulfilling everyday requests for fellow Palestinians unable to move so freely. In “Sexy Semite,” she placed ads in the Village Voice, a “Hot Palestinian Semite” seeking “Jewish soul mate” and the like. And in “Memorial to 418 Palestinian Villages which were Destroyed, Depopulated and Occupied by Israel in 1948,” Jacir installed a refugee tent in her studio in Lower Manhattan and invited friends and strangers to help her embroider the village names. Belongings is the first monograph published on her work.

Few topics in the news are more hotly contested than the Israeli-Palestinian conflict―and news coverage itself is always a subject of debate. But rarely do these debates incorporate an on-the-ground perspective of what and who newsmaking entails. Studying how journalists work in Jerusalem, Bethlehem, Ramallah, and Nablus, and on the tense roads that connect these cities, Amahl Bishara demonstrates how the production of U.S. news about Palestinians depends on multifaceted collaborations, typically invisible to Western readers. She focuses on the work that Palestinian journalists do behind the scenes and below the bylines―as fixers, photojournalists, camerapeople, reporters, and producers―to provide the news that Americans read, see, and hear every day. Ultimately, this book demonstrates how Palestinians play integral roles in producing U.S. news and how U.S. journalism in turn shapes Palestinian politics. U.S. objectivity is in Palestinian journalists' hands, and Palestinian self-determination cannot be fully understood without attention to the journalist standing off to the side, quietly taking notes. Back Stories examines news stories big and small―Yassir Arafat's funeral, female suicide bombers, protests against the separation barrier, an all-but-unnoticed killing of a mentally disabled man―to investigate urgent questions about objectivity, violence, the state, and the production of knowledge in today's news. This book reaches beyond the headlines into the lives of Palestinians during the second intifada to give readers a new vantage point on both Palestinians and journalism.

Winner, Arab American National Museum Book Award for Children's/YA Literature, among other awards and honors."When a war ends it does not go away," my mother says."It hides inside us . . . Just forget!" But I do not want to do what Mother says . . . I want to remember.In this groundbreaking memoir set in Ramallah during the aftermath of the 1967 Six-Day War, Ibtisam Barakat captures what it is like to be a child whose world is shattered by war. With candor and courage, she stitches together memories of her childhood: fear and confusion as bombs explode near her home and she is separated from her family; the harshness of life as a Palestinian refugee; her unexpected joy when she discovers Alef, the first letter of the Arabic alphabet. This is the beginning of her passionate connection to words, and as language becomes her refuge, allowing her to piece together the fragments of her world, it becomes her true home.Transcending the particulars of politics, this illuminating and timely book provides a telling glimpse into a little-known culture that has become an increasingly important part of the puzzle of world peace.

For the past four years, photographer Gillian Laub has worked in Israel and Palestine, producing portraits of the inhabitants of Jerusalem, Haifa, Tel Aviv, Ramallah, Nablus and other locations in the region. This volume contains 50 of her portraits of Israeli Jews, Israeli Arabs, displaced Lebanese families and Palestinians--each personally affected by the geopolitical context in which they live, and each unveiling one more essential element in the puzzle of peace for the Middle East. In some of Laub's photographs, the traces of conflict are immediately observable--teenage boys without limbs; a young woman enveloped in scar tissue and a burn-recovery suit. Others are seemingly free from the disfigurements of violence. Yet in the interviews that accompany each portrait, a common thread of survival is revealed. Resilience, pride, defiance, vulnerability--and most astonishing of all, optimism--emerge from one statement to the next. The esteemed author, journalist and policy analyst, David Rieff, has said of Laub's work, "To consider [these] images is to be reminded not just of human cruelty and human stupidity but also of human tenacity." Two essays, one by the Palestinian-Israeli civil rights lawyer Raef Zreik, and one by the distinguished Israeli author Ariella Azoulay, underline the complexity of the work and the dialogue that Laub intends it to spark.

In 1996, award-winning Palestinian poet Mourid Barghouti returned to his home for the first time since his exile-first in Egypt, then in Hungary-following the Six-Day War in 1967, and wrote I Saw Ramallah, a poignant and acclaimed memoir of the exile's lot. A few years later, he returned to the Occupied Territories to introduce his Cairo-born son, Tamim, to his Palestinian family. Soon after returning to Egypt, Tamim was arrested for taking part in a demonstration against the impending Iraq War, and ironically was held not only in the same Cairo prison his father had occupied before being expelled from Egypt when Tamim was a baby, but in the very same cell. Tamim then felt the same sting of exile as he was banished from Egypt.Explaining to his son, and to the world, the life decisions he has made, I Was Born There, I Was Born Here illuminates the path of exile across generations. Ranging freely back and forth in time between the 1990s and the present, Barghouti poignantly recalls Palestinian history and daily life while expressing the meaning of home and the importance of being able to say, standing in a small village in Palestine, "I was born here," rather than saying from exile, "I was born there." His elegant and expressive prose, beautifully rendered in Humphrey Davies' sensitive translation, is full of life and humor in the face of a culture of death. I Was Born There, I Was Born Here is destined, like its predecessor, to become a classic.

An urgent and devastating portrait of life in Palestine, Salt of This Sea is essential viewing. Sixty years after her grandparent's exile from Ramallah, Soraya (Suheir Hammad) leaves Brooklyn to live in her homeland. When she discovers that her family's savings account was lost after the Arab-Israeli war, she becomes determined to reclaim her birthright, through whatever means necessary. With the help of her disillusioned lover Emad (Saleh Bakri) and his political filmmaker pal Marwan (Riyad Ide

During the summer of 2002, Seth Tobocman taught art to small children in a village just outside of Ramallah, Palestine. Upon returning to America he was faced with the difficult prospect of explaining to his parents, life-long Zionists, just what he was doing in Palestine. To help initiate the conversation he collected twenty pages from his sketchbook of the trip and sent it to them. The drawings created a starting point from which they could talk about their differing political and religious beliefs concerning the Middle East.Portraits for my Parents, a collection of charcoal drawings with simple captions such as "This is a modern man", "These are Palestinians", "These are Israelis" strips away the historical, religious and political complications surrounding the situation in the Middle East. He takes no sides, simply depicting the faces, clothes, and postures of the inhabitants of this contested land.In sharing these private drawings, he allows us all to participate in the dialogue he had with his parents. How can we stop killing each other? How can we learn to recognize each other’s humanity?

In Going Home, Orwell Prize winning author Raja Shehadeh travels Ramallah and records the changing face of the city. Walking along the streets he grew up in, he tells the stories of the people, the relationships, the houses, and the businesses that were and now are cornerstones of the city and his community. This is, in many ways, an elegy. Green spaces - gardens and hills crowned with olive trees - have been replaced by tower blocks and concrete lots; the occupation and the settlements have further entrenched themselves in every aspect of movement-from the roads that can and cannot be used to the bureaucratic barriers that prevent people leaving the West Bank. The culture of the city has also shifted with Islam taking a more prominent role in people's everyday and political lives and the geography of the city. As he grapples with ageing and the failures of the resistance, Shehadeh notes the ways that the past still invades the presence from the ruins of the compound that was Yasser Arafat's home to the power of emigrated families to reshape neighbourhoods by selling their long-abandoned homes. This is perhaps Raja Shehadeh's most painfully visceral book.

From Ramallah to New York, Tel Aviv to Porto Alegre, people around the world celebrate a formidable, transnational Palestinian LGBTQ social movement. Solidarity with Palestinians has become a salient domain of global queer politics. Yet LGBTQ Palestinians, even as they fight patriarchy and imperialism, are themselves subjected to an "empire of critique" from Israeli and Palestinian institutions, Western academics, journalists and filmmakers, and even fellow activists. Such global criticism has limited growth and led to an emphasis within the movement on anti-imperialism over the struggle against homophobia. With this book, Sa'ed Atshan asks how transnational progressive social movements can balance struggles for liberation along more than one axis. He explores critical junctures in the history of Palestinian LGBTQ activism, revealing the queer Palestinian spirit of agency, defiance, and creativity, despite daunting pressures and forces working to constrict it. Queer Palestine and the Empire of Critique explores the necessity of connecting the struggles for Palestinian freedom with the struggle against homophobia.

Neuware -Was bewahren Geschichten Was wird erzählt, was ausgelassen Im Sommer 1949 wird ein palästinensischesBeduinenmädchen von israelischen Soldaten vergewaltigt, ermordet und in der Wüste verscharrt. Jahrzehnte später versucht eine junge Frau aus Ramallah, mehr über diesen Vorfall herauszufinden. Sie ist fasziniert, ja besessen davon, nicht nur wegen der Art des Verbrechens, sondern vor allem, weil es auf den Tag genau fünfundzwanzig Jahre vor ihrerGeburt begangen wurde. Ein Detail am Rande, das jedoch ihr eigenes Leben mit dem des Mädchens verknüpft. Adania Shibli verwebt die Geschichten beider Frauen zu einer eindringlichen Meditation über Krieg, Gewalt und die Frage nach Gerechtigkeit im Erzählen. 128 pp. Deutsch

Emma Williams arrived in Jerusalem with her three children in August 2000 to join her husband and to work as a doctor. A month later the second Palestinian Intifada erupted. For the next three years she worked with Palestinians in Ramallah by day and spent her time with Israelis in Tel Aviv. This is her story.