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4.29 AVERAGE
4.29 AVERAGE
challenging
dark
reflective
sad
tense
fast-paced
Disturbing. Switching to the girl’s perspective in the second part of the book was a breath of fresh air (I loved her so much), until i found myself holding my breath and wincing at the potential tragedy that would occur.
Wow you can really see my avoidance of even talking about the first half. It’s so upsetting.
The girl talking about her clumsiness with crossing borders, focusing on minor details, stutter, anxiety etc. You can see how these traits came about. She was so real and precious in such a short amount of time.
That old man from the museum’s speech encapsulates the rewriting of history that occurs by the oppressors. They do it in real time now, they don’t even wait for people to forget to manipulate the truth. They just outright lie.
What a scattered review. This was an important read.
Wow you can really see my avoidance of even talking about the first half. It’s so upsetting.
The girl talking about her clumsiness with crossing borders, focusing on minor details, stutter, anxiety etc. You can see how these traits came about. She was so real and precious in such a short amount of time.
That old man from the museum’s speech encapsulates the rewriting of history that occurs by the oppressors. They do it in real time now, they don’t even wait for people to forget to manipulate the truth. They just outright lie.
What a scattered review. This was an important read.
Content Warnings
Graphic: Rape, Sexual assault, Xenophobia
dark
emotional
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
No
dark
emotional
informative
sad
tense
medium-paced
Plot or Character Driven:
A mix
Strong character development:
No
Loveable characters:
Complicated
emotional
informative
sad
tense
fast-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Complicated
Free Palestine
challenging
dark
emotional
informative
sad
tense
medium-paced
Plot or Character Driven:
Plot
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
Adania Shibli very aptly touches on how events like the ones described here in Palestine are so common that they don’t stick out to people that live there, except for minor details that may stick with a person, such as an event happening on their birthday. She also very clearly goes through the experience of an everyday Palestinian trying to navigate the ins and outs of curfews and restricted zones, and the anxiety that comes with the turn of every corner.
dark
emotional
reflective
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Complicated
dark
informative
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
Complicated
Diverse cast of characters:
Yes
Flaws of characters a main focus:
N/A
This was so good. Both parts were enraging, in a good way, but the first one in particular made me feel a disdain that contained so many facets. There's the way the commander refuses to admit he has been bitten by the animal (possibly a snake?), which portrays so well the toxic masculinity of military environments. Then the politics of hygiene, with his efforts to keep himself clean even as he refuses to see his rotten insides; the book emphasises this imagery by repeating the scenes of routine washing and shaving. Later on, he even insists in his head that there is no way that the putrid smell coming from his hut is caused by his own wound. Another facet was obviously the imperialist discourse of the soldiers, the way they speak of their settling. The sterilisation using petrol, the cutting of hair, the humiliation with the water hose...
Yet throughout the violence, a few images appear of life pushing forward regardless. At one point, the commander finds a spider in his hut and spends the next hours looking for insects and crushing them under his feet. The metaphor here is so clear, even more so when considering the military boot as the specific foot that tramples them. And "meanwhile, a little insect advanced towards the edge of the room and slipped through a crack between the floor and the wall, escaping into the gap" (p. 23). After cutting the girl's hair and burning it in a pile alongside her clothes: "Far from the flames that consumed her clothes, a few tiny black ringlets of hair remained scattered across the sand" (34). Finally, on one of the commander's escapades into the hills, "a small black bird charted a line through the sky, which turned a deeper shade of blue [...]" (48).
Each of these minor details, woven so subtly they pass as atmosphere, insist that life prevails, no matter how intense the violence or how unmatched an oppressor may seem. The bird imagery also comes to mind during the second part of the book, as a point of comparison with our narrator's life experience which is in its essence defined by borders (so much so that they are in her head, too).
The second part of the book is so cleverly interwoven with the first, in catastrophic ways that are only apparent once it is too late to turn back. From the beginning we have a parallel in the image of the dog howling, but little by little, as our narrator gets closer to the origin of the story she investigates, details resurface from the first part of the book. Often, these minor details even appear with their wording nearly unchanged from the way they initially appeared. Compare, for example, "carrying a hose wrapped around his arm in equal-sized rings" (30) and "on the sand lies a hose, neatly running from one tree to the next and coiled in equal-sized rings around each trunk" (96). Or "thick clouds of sand sprung from underneath the vehicle's tyres, rose up and followed after them, completely obscuring the view behind" (10), compared to this passage from part 2: "Despite how cautiously I'm driving, thick clouds of dust rise up and swiftly form a halo that obscures the scene behind me" (105).
Through the minor details of our narrator's journey, we realise, in a moment of dramatic irony, that the story she is chasing is one she is already recreating. Her search turns her into a living participant of the story, includes her in ways that go beyond mere research. The truth lies not necessarily in the specific answers of what had happened, but in the shared lived experience between her and the girl from part 1. By the time we follow this logic to its inevitable conclusion, it is much too late.
Yet throughout the violence, a few images appear of life pushing forward regardless. At one point, the commander finds a spider in his hut and spends the next hours looking for insects and crushing them under his feet. The metaphor here is so clear, even more so when considering the military boot as the specific foot that tramples them. And "meanwhile, a little insect advanced towards the edge of the room and slipped through a crack between the floor and the wall, escaping into the gap" (p. 23). After cutting the girl's hair and burning it in a pile alongside her clothes: "Far from the flames that consumed her clothes, a few tiny black ringlets of hair remained scattered across the sand" (34). Finally, on one of the commander's escapades into the hills, "a small black bird charted a line through the sky, which turned a deeper shade of blue [...]" (48).
Each of these minor details, woven so subtly they pass as atmosphere, insist that life prevails, no matter how intense the violence or how unmatched an oppressor may seem. The bird imagery also comes to mind during the second part of the book, as a point of comparison with our narrator's life experience which is in its essence defined by borders (so much so that they are in her head, too).
The second part of the book is so cleverly interwoven with the first, in catastrophic ways that are only apparent once it is too late to turn back. From the beginning we have a parallel in the image of the dog howling, but little by little, as our narrator gets closer to the origin of the story she investigates, details resurface from the first part of the book. Often, these minor details even appear with their wording nearly unchanged from the way they initially appeared. Compare, for example, "carrying a hose wrapped around his arm in equal-sized rings" (30) and "on the sand lies a hose, neatly running from one tree to the next and coiled in equal-sized rings around each trunk" (96). Or "thick clouds of sand sprung from underneath the vehicle's tyres, rose up and followed after them, completely obscuring the view behind" (10), compared to this passage from part 2: "Despite how cautiously I'm driving, thick clouds of dust rise up and swiftly form a halo that obscures the scene behind me" (105).
Through the minor details of our narrator's journey, we realise, in a moment of dramatic irony, that the story she is chasing is one she is already recreating. Her search turns her into a living participant of the story, includes her in ways that go beyond mere research. The truth lies not necessarily in the specific answers of what had happened, but in the shared lived experience between her and the girl from part 1. By the time we follow this logic to its inevitable conclusion, it is much too late.
Content Warnings
Graphic: Animal cruelty, Confinement, Death, Genocide, Gore, Gun violence, Misogyny, Physical abuse, Racism, Rape, Sexual assault, Sexual violence, Torture, Violence, Blood, Islamophobia, Kidnapping, Murder, Colonisation, Injury/Injury detail
adventurous
challenging
dark
emotional
informative
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
N/A