Deeply unsettling, important stories call for urgent responses to the Middle East conflict.

KINGDOM OF OLIVES AND ASH

WRITERS CONFRONT THE OCCUPATION

On the 50th anniversary of Israeli occupation of Palestine, top writers bear witness to oppression and despair.

When Waldman (A Really Good Day: How Microdosing Made a Mega Difference in My Mood, My Marriage, and My Life, 2017, etc.) visited Israel for the Jerusalem International Writers Festival in 2014, she met members of the nonprofit groups Breaking the Silence and Youth Against Settlements, who helped her to understand “the massive, often brutal, always dehumanizing military bureaucracy” that defines the occupation. Hoping to focus attention on the desperate situation, she and her husband, Pulitzer Prize–winning novelist Chabon (Moonglow, 2016, etc.), invited an international roster of writers to tour towns and villages in the Israeli-occupied territories and meet with community organizers, workers, artists, activists, farmers, and families, as well as Israeli settlers and disillusioned soldiers. Their responses to those visits are moving, heartbreaking, and infuriating, testifying to the chilling cruelty of Israel’s policy toward Palestinians. Even Palestinians given Israeli citizenship are vulnerable to “demographic transfer”—or “forced displacement” in order “to achieve the ‘purity’ of ‘the Jewish state,’ ” writes Palestinian-born, British-educated Fida Jiryis. “One can only wonder at the sadistic ingenuity with which Israel has woven an airtight system around us to suffocate every aspect of our lives.” Walls are a recurrent image: they keep Palestinians in their crumbling towns and separate farmers from their land, workers from their jobs, and family members from one another. Gaza, writes Dave Eggers, “is a prison” with a 40-mile, 25-foot wall on its northern border with Israel and the heavily patrolled Mediterranean on the west. Checkpoints require elaborate documentation, which takes countless hours to assemble. As Chabon notes, “control of time is one of the biggest weapons of the occupation.” Young soldiers wield deadly power capriciously; houses are evacuated and razed in the middle of the night; a refugee camp has “no infrastructure of any kind.” Among the most well-known contributors are Geraldine Brooks, Mario Vargas Llosa, Colum McCann, and Jacqueline Woodson; royalties will go to NGOs.

Deeply unsettling, important stories call for urgent responses to the Middle East conflict.

Pub Date: May 30, 2017

ISBN: 978-0-06-243178-3

Page Count: 448

Publisher: Perennial/HarperCollins

Review Posted Online: March 2, 2017

Kirkus Reviews Issue: March 15, 2017

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The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the...

NIGHT

Elie Wiesel spent his early years in a small Transylvanian town as one of four children. 

He was the only one of the family to survive what Francois Maurois, in his introduction, calls the "human holocaust" of the persecution of the Jews, which began with the restrictions, the singularization of the yellow star, the enclosure within the ghetto, and went on to the mass deportations to the ovens of Auschwitz and Buchenwald. There are unforgettable and horrifying scenes here in this spare and sombre memoir of this experience of the hanging of a child, of his first farewell with his father who leaves him an inheritance of a knife and a spoon, and of his last goodbye at Buchenwald his father's corpse is already cold let alone the long months of survival under unconscionable conditions. 

The author's youthfulness helps to assure the inevitable comparison with the Anne Frank diary although over and above the sphere of suffering shared, and in this case extended to the death march itself, there is no spiritual or emotional legacy here to offset any reader reluctance.

Pub Date: Jan. 16, 2006

ISBN: 0374500010

Page Count: 120

Publisher: Hill & Wang

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: Jan. 15, 2006

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However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

I KNOW WHY THE CAGED BIRD SINGS

Maya Angelou is a natural writer with an inordinate sense of life and she has written an exceptional autobiographical narrative which retrieves her first sixteen years from "the general darkness just beyond the great blinkers of childhood."

Her story is told in scenes, ineluctably moving scenes, from the time when she and her brother were sent by her fancy living parents to Stamps, Arkansas, and a grandmother who had the local Store. Displaced they were and "If growing up is painful for the Southern Black girl, being aware of her displacement is the rust on the razor that threatens the throat." But alternating with all the pain and terror (her rape at the age of eight when in St. Louis With her mother) and humiliation (a brief spell in the kitchen of a white woman who refused to remember her name) and fear (of a lynching—and the time they buried afflicted Uncle Willie under a blanket of vegetables) as well as all the unanswered and unanswerable questions, there are affirmative memories and moments: her charming brother Bailey; her own "unshakable God"; a revival meeting in a tent; her 8th grade graduation; and at the end, when she's sixteen, the birth of a baby. Times When as she says "It seemed that the peace of a day's ending was an assurance that the covenant God made with children, Negroes and the crippled was still in effect."

However charily one should apply the word, a beautiful book, an unconditionally involving memoir for our time or any time.

Pub Date: Feb. 1, 1969

ISBN: 0375507892

Page Count: 235

Publisher: Random House

Review Posted Online: May 14, 2012

Kirkus Reviews Issue: Feb. 1, 1969

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