Gavriel is the one running, the one with the flowing hair. He looks like he might be at home in a coffee shop with a guitar on his knee, passing a joint. I remember Gavriels like him from my adolescence, non-violent activists who sang of peace. As we shall see, I believe even this Gavriel may see himself as a messenger of peace.
Apologies: The remainder of this post is temporarily removed. I hope to republish it soon.
A compound in Susya, 2015. Photograph: Margaret Olin
The hardest part was not the settlers’ attack but sitting in the home of Abu Saddam in Susya. His home—four canvas-roofed tents, an outhouse, a water tank, and a perennial lemon tree—is one of the seven scheduled for immediate demolition, with the blessing of the Supreme Court. The others belong to the Nawaja families. First in line, in the center of the village, is the compound of ‘Azzam Yusuf Jad‘a Nawaja. Almond trees are in full bloom in Susya, intermittent bursts of white amidst thin traces of green and great splashes of brown. They’re waiting for the bulldozers to arrive. It could happen any time. Continue reading
Umm al-Amad, July, 2017. photograph: Margaret Olin
He’s young, the lieutenant; the faint trace of a mustache tells all. Awkward, inexperienced, unsure. More than a boy, hardly a man. He speaks fast, the words clipped, sharp, hurtful. He keeps playing with his rifle, waving it, aiming it, caressing it, turning it upside down, comforting it when it somehow rights itself again. The bullet clip is loaded; I can’t see if the safety catch is released. I don’t like any of this, for two reasons. First, I don’t like guns. I had to carry one, when I was a little older than the lieutenant, and I hated it. Second, I don’t like men who like guns. Continue reading
Most photographs here were taken by Margaret Olin in Al-Auja in late July, 2017.
Dotting the slopes on either side of Wadi Auja are the widely scattered houses of Al-Auja. In most cases only three or four Bedouin families live in each such tiny point, some to the west, climbing the steep hill less than halfway up to the ridge that overlooks the Jordan Valley, others, like the homes of our shepherd friends today, further east, near the road to Jericho. Continue reading
It’s her first time, and it’s an easy start, but it must still be confusing to watch people demolish your home, even if those people are your father, Mahmoud Zouba, Continue reading
texts Margaret Olin, with D.M. and A.O. photographs: Margaret Olin
‘Ah, all things come to those who wait,’
(I say these words to make me glad),
But something answers soft and sad,
‘They come, but often come too late.’
Mary M. Singleton Currie (Violet Fane)
I regarded my understanding of waiting as complex and subtle. Continue reading
Non violent resistance can take many forms. What they have in common is that they need to be visible and they need to be seen. Continue reading
text David Shulman; photographs Margaret Olin
Asael, possibly the ugliest of all the illegal outposts in the southern West Bank—and the competition is fierce—is rapidly expanding. Yellow bulldozers, parked at the perimeter fence of the settlement, have carved out a huge swathe of intermeshed, criss-crossing gashes in the hill and valley just below. This wide, deep wound in the soil has been sliced, needless to say, through privately owned Palestinian land. We know the families. We’ve plowed here, on the edge of the outpost. There have been many bad moments with the Asael settlers, the ones we can see this Shabbat morning walking their dogs over the hill or praying to their rapacious god or swinging their children on the swings in the painted park just under their pre-fab caravans. Continue reading
The essay, “Kafka in Area C,” tells the story of the place in these photographs: here where the ‘Awad family sheep are grazing, is a spare wadi where members of Ta’ayush, the all volunteer group whose work in South Hebron I am following, is stopping briefly at the beginning of our day. Continue reading
I owe the comparison with Birthright to Abby Glogower, so this post is for Abby.
“I came to think that there was something very special in this land that a lot of people recognized and wanted to claim for their own.” Stephen Shore, about his contribution to This Place
A pro-Palestinian, anti-gentrification protest. The protestors are standing in front of a projected photograph by Josef Koudelka, in the exhibition This Place, Brooklyn Museum, May 7, 2016.
It’s all about the land. The same land visited by young Jewish men and women in free trips organized by Taglit-Birthright with an eye to giving them a closer connection to that land and encouraging them to marry other Jews. Similarly, the project This Place brought twelve world-famous photographers to Israel and the West Bank for extended periods to offer them a chance to forge a visual relationship to “this historic and contested place.” The hope was that they would portray Israel in a “universalizing” way and transcend the “polarizing perceptions and familiar images of the region in the mainstream media.” Continue reading