Rashid Khalidi’s The Hundred Years’ War on Palestine was the first in a set of books I bought and read during the height of Israel’s latest aggression against Palestine. Khalidi’s work turned out to be the authoritative must-read book of the year and it reframed things I thought I knew about the Israel-Palestine conflict from before. A mixture of personal and national history, the book helps me understand the messy Israeli-Palestinian history easier, compared to the effort of going through Wikipedia’s voluminous and even messier entries.
Khalidi’s is excellent but non-fictions sometimes are unable to capture certain aspects of the real world. Over the years, I have discovered that the work of fiction can close the gap. So, I went on another spending spree purchasing a few Palestine-linked literature. One that I actually read (as opposed to being left on my shelf) was Rabai Al-Madhoun’s translated work The Lady from Tel Aviv. Originally written and published in Arabic in 2009, The Lady was translated by Elliott Colla into English and then republished a year later.

In summary, The Lady is a story about a Palestinian exile’s return to Gaza post-the Second Intifada. The book appears to a semi-autobiography of the author. The three layers of reality governing the story suggest as much: the author Al-Madhoun (a journalist himself) has his exiled journalist protagonist as an author working on a homecoming novel.
For quite a heavy subject, The Lady is a light reading. So light that I feel the novel could do with more details. The book skims the surface regarding the mistreatment Palestinians faced by Israeli occupying forces, the corruption of the Palestinian Authority and the general conflict between Fatah and Hamas. It is a picture of hopelessness that Gazans embrace as a way of life, that all the troubles they face are taken as given as stoics would.
Despite all the conflicts, corruptions and injustices, he does not explore any of them deep enough. He is content to have them mentioned and unexplored, taking it as a universal obvious truth unworthy of elaboration. And then there are loose ends left to the readers’ imagination. That I think is the most frustrating thing about The Lady.
But Al-Madhoun might be aware of this particular criticism even as he was writing the novel. In a scene where the lead character, the journalist, visits his blind childhood friend Muhammad (Abu Saber) for the first time in 40 years, who is now a poor beggar with nobody else to rely on:
I think I am going to leave. I shut my eyes, unable to keep looking at the shape Muhammad is in. This is an unrecognizably distorted copy of the boy whose friendship had lit up my childhood. Abu Hatem waits for me a short way off. I turn away so no one can see the tears in my eyes.
[…]
Abu Hatem turns the key in the ignition and Muhammad realizes I am about to go. He waves his cane around the air and screams so loudly it splits my heart. As we drive away, he calls out, “Who are you—you stranger who is not a stranger?”
[…]
“Why didn’t you tell Abu Saber who you were?” asks Abu Hatem. “You broke his heart—and mine too.”
“I couldn’t do it. It would have been worse had he known it was me. If he knew I saw him like that.
That makes me wonder whether the lack of details is just Al-Madhoun’s way to protecting the readers from the difficult reality in Gaza.