CITY OF A THOUSAND GATES

The lives of a diverse cast of characters intertwine against the backdrop of violence and bitter conflict in Israel and Palestine.

Jerusalem, the “city of a thousand gates,” is also a city of a thousand experiences of occupation; in Sacks’ debut, she has seemingly set herself the ambitious goal of representing as many of these experiences as possible. As they reel from twinned acts of violence—a 14-year-old Israeli girl in a settlement stabbed to death, a 14-year-old Palestinian boy beaten into a coma—various inhabitants and visitors in this contested region go about their daily lives, dealing with the usual complexities of friendship, desire, and marriage on top of the sensationalized politics that envelop them. The novel shifts among the perspectives of more than a dozen characters: Arab Palestinians living in Israel proper and in the occupied territories, Israeli Jews of various political orientations, American Jews with complicated and divergent relationships to Zionism, a German journalist trying to make her name by writing about it all. Sacks’ prose is evocative and often a pleasure to read, but her narrative sacrifices depth for the sake of breadth. Her dogged attempt to show the multifacetedness of this extraordinarily fraught conflict and humanize its players is admirable in theory but sometimes ineffective in execution. In her attempt to humanize the media circus that so often attends news coverage of Israel and Palestine, she actually ends up flattening it, as each character’s narrative feels increasingly like a counterpoint to another equally subjective narrative, a mere means to a didactic end. While some characters, such as Emily and Vera, are rich and complex, others veer into caricature, reading like boxes the author felt obligated to check rather than authentic, artful creations. With its tit-for-tat violence and carefully varied cast of characters, the novel projects an oversimple thesis that Israelis and Palestinians (as well as those with other stakes in the conflict) are both victims and perpetrators, both participants and observers in cycles of hatred and violence. The extension of that thesis is the treacly trope that if these parties could simply understand one another better, the conflict would be solved. To her credit, Sacks attempts to preempt some of the critiques commonly leveled at such narratives—for instance, she makes clear the imbalance of power in a fight between occupier and occupied—but even the inclusion of these important nuances feels inevitably formulaic. Sacks is a gifted prose stylist, but the stunning loveliness of large portions of her debut is unfortunately obscured by its formulaic both-sides-ism.

A promising talent in service of an admirable goal resulting in a disappointingly didactic novel.