In this multilayered work, Elias Khoury continues his thought-provoking and inspiring literary contribution on the entanglement of the Jewish and the Palestinian catastrophes.

Despite the social, political and economic challenges facing Gazan rappers, they are determined to continue to produce their own music and give voice to the angry and marginalized youth, so that they can find a just solution to their problems.

Ghrayeb’s shocking death has triggered the outrage necessary for serious action to be taken, but individual acts of justice, while important, might not be enough to combat systemic issues related to violence against women. Deeper institutional reform may be necessary for long-term and more radical change.

LGBTQ Palestinians are still in their infancy although society is changing. The PA’s reversal of the ban on al-Qaws indicates that institutions in Palestine will respond to pressure although such clampdowns have not only harmed LGBTQ people; activists believe they also hurt the fight against the Israeli occupation.

Israel’s decades-long occupation of Palestinian lands isn’t mentioned once: the closest it gets is a reference to “higher-wage, high-growth occupations”, meaning jobs – which is far removed from how most people understand the term in the context of Palestine.

One of the biggest challenges remains freedom of movement in the Occupied Palestinian Territories. Music teachers cannot travel between the various locations in the West Bank, let alone Gaza. If there is a performance in Jerusalem or Ramallah, it is almost impossible to get all the musicians together in one place. International teachers also face visa difficulties from Israel.

I find that the influence of Middle Eastern sounds on jazz is never discussed, but it exists. Now, I’m not trying just to mix the two together. I’m working on creating a third sound that harmonizes the two sounds from their roots instead of forcing them together [superficially]. Other people are doing it, like Ibrahim Maalouf and Ziad Rahbani, but I’m more interested in the voice itself as an instrument, to see how much the voice can make music instead of just being used for storytelling. But it takes a lot of time. My father calls it “Nainstrumenting,” from my name.

In order for Gazans to get their name on the security coordination lists, they have to pay between $1,800 and $3,000. It is unclear where this money goes, but most people believe it goes to the Egyptian intelligence officers who arrange the security clearance.

Approval for the construction of the Gaza fence is thus a response both to a perceived security threat and to complaints from the leaders of the settlements in the areas immediately adjacent to the strip, who say the Israeli army is failing to protect them. In addition, the fence aims to further separate the Gaza Strip from the West Bank and East Jerusalem, potentially ending for good the possibility of a two-state solution.

For more than 14 years, he has maintained security coordination with Israel because he knows that he is the weakest party, that armed resistance has failed in the past and will fail in the future, and that he has no other option but dialogue to reach a peaceful solution.