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Night Settles Upon The City
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Night Settles Upon The City
USD $ 15.00 USD $ 16.00Price range: USD $ 15.00 through USD $ 16.00Written with urgency out of a war-time Beirut, this poetry collection registers the griefs and the heroism of the Lebanese, under siege yet again. Sabbagh lends his lyrical voice here, to give a voice to the voiceless, trying to find some harmonic sense out of catastrophe. This book will compel readers, both Lebanese and those with any kind of human heart. While much of the work was written swiftly, on impulse, and almost like, as one of the poem’s title’s has it, a ‘War Diary,’ in verse, this work aims nonetheless to last in its significance and resonance at a time when the world as a whole (let alone Lebanon herself) has become so unpredictable, so fickle and so perilous. Night Settles Upon The City aims to be a worthwhile addition to the contemporary literature of war and, more specifically, to the literary representations of the modern Lebanese reality and experience.
Omar Sabbagh is a poet who is privileged to write about war and destruction from the relative safety of his study. But this double-edged illusion is insidious — mental and emotional inwardly, and physical for those who are directly under attack. It is visceral, political, heart-wrenching — yet the poet seeks out light and hope through the act of writing, for the sake of ownership and sharing. He may say that “I cannot read minds and nor / will I ever wish to”, but he writes for the importance of record-keeping, seeking solace, both private and public — as the Night Settles Upon The City of Beirut.
— Sudeep Sen, Winner of the Rabindranath Tagore Literary PrizeOmar Sabbagh has long brought us a world in which personal experience stitches a hyphen between the eastern Mediterranean and the northerly British archipelago. Now he makes the tension inherent within that richness explicit, in a love-letter to his family and home city of Beirut. Written while the ‘night’ of war ‘settles upon the city’, his introductory ‘Thoughts’ show us how unthinkable war remains, even when it arrives on the doorstep. This is a book of witness to what cannot happen, and yet does.
– Fiona Sampson, Professor Fiona Sampson MBE FRSL.Two-Way Mirror: The Life of Elizabeth Barrett Browning WW Norton 2022 – Washington Post Book of the Year, New York Times Editors’ Choice, finalist Plutarch Prize, finalist PEN Jacqueline Bograd Award, Sunday Times Paperback of the year.The poet Omar Sabbagh lives in Beirut. His voice is playful, almost surreal at times. He talks of ‘the hairbrained monocle of war’ and suggests that if you live long enough in a place like Beirut ‘laughter becomes a lover’s distance-giving kiss’. Night Settles Upon the City offers us a poetry that is neither ideological nor partisan, not of the frontline but of a deeply threatened warzone. Its terms are easy-going, sorrowful, humane, formally intelligent and tinged with apprehension. It is humanity being human. Reading it is relief and hope.’
— George Szirtes FRSL, Eliot Prize winner.Night Settles Upon the City by Omar Sabbagh is a profoundly reflective and evocative collection that blends personal experience with the brutal realities of life in a war-torn Beirut. Through a tapestry of poems, essays, and prose, Sabbagh explores the intersections of love, grief, intellectual contemplation, and the relentless backdrop of violence. The writing oscillates between moments of tender introspection and stark depictions of societal collapse, embodying a kind of philosophical meditation on suffering and survival. Sabbagh’s voice is distinctively lyrical, capturing both the intimacy of individual loss and the broader existential weight of conflict. His reflections on war and its aftermath are imbued with a sense of historical consciousness, yet deeply grounded in the immediacy of personal anguish and resilience. The collection is not just about bearing witness to destruction, but also about finding fragments of humanity amidst the ruins. A haunting and powerful work that invites readers into the fragile space between beauty and despair.—Dr. Pamela Chrabieh, Kulturnest Co-founder & Managing Director
The Arabic term for poet means the one who feels, unlike the Greek origin of poetry, which describes the craft itself. Omar Sabbagh is the quintessential poet in the Arabic sense. In this collection, he vibrates with Beirut, where he now lives, at a time when the city’s famous cultural vibrations are overwhelmed by murderous quakes caused by the Israeli war machine.
—Gilbert Achcar, Professor of Development Studies and International Relations at SOAS University of London.Beirut’s Omar Sabbagh, lover of beauty, poet of lush lyrical power, addresses the spirit of the great Dr. Edward W. Said in one poem, saying these troubled seasons make him “restless now in (his) resting place.” I’m captivated by a further description of Said, “living paper, breathing ink of one whose thoughts still seem to think.” There is healing in such sensitive recognition. Wise voices we always needed are suddenly needed desperately. Sabbagh invokes his love for a precious home frequently under siege and his care for all the people who made and surround him. Gratitude for the wisdom, kindness and rich affections of Night Settles Upon the City.—Naomi Shihab Nye, recipient Lifetime Achievement in Poetry Award, the Wallace Stevens prizeIn Night Settles on the City, Omar Sabbagh gives voice to the bewilderment, fear, rage, and despair so many of us in the Middle East are currently feeling. His eloquent, tender poems grapple with the impossibility—yet absolute necessity—of language at a moment when words otherwise fail. Like all the best poems, Sabbagh’s challenge, soothe, haunt, and rehumanize us, ultimately arousing our better selves.
—Mai Al-Nakib, author of An Unlasting Home and The Hidden Light of ObjectsBoth erudite and demotic, felt through the body and ‘guided by ear’ Omar Sabbagh’s voice powers through the remote attacks on Beirut – the city in which he currently lives – the hourly atrocities and unspeakable suffering to reach us and to speak for us. ‘What’s to understand?’ he asks ‘That murder can be finessed?’ In his seminal new collection, Night Settles Upon the City, night becomes a ‘dark and violent animal’ with its ‘panther’s pelt’ of terror ‘slowly curving round us’ through which we hear the voice of the aggressor reflecting that ‘…each murderous attack/ I order seems to drain this world of innocence.’ Yet Sabbagh’s own voice remains measured, balanced, especially in the portraits he paints of his beloved father…‘It gets worse each day watching him/ ageing’ (‘The Old Man and his Walking Stick’). This poem ends with the lines ‘an old man and his son, fighting a war/ in a warzone we all must visit’. Alongside unimaginable horror we are shown the ordinary griefs and losses that we all suffer – of ageing, of failing, of being human; and it’s the humanity and compassion with which Sabbagh bears witness that will secure this book’s future among the handful of classics that will come to define our era.
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Fanon Today: Reason and Revolt of the Wretched of the Earth
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Fanon Today: Reason and Revolt of the Wretched of the Earth
USD $ 10.00 USD $ 30.00Price range: USD $ 10.00 through USD $ 30.00Fanon Today: Reason and Revolt of the Wretched of the Earth is about how new generations are discovering their mission of humanizing the world by claiming Fanon as a thinker for our times. Why Fanon, why now? For the wretched of the earth, conditions have not improved since Fanon’s time and in some cases they have worsened. Reason and revolt are inescapable, quite simply because, as Fanon wrote, it has become ‘impossible for them to breathe, in more than one sense of the word’. To mark the sixtieth anniversary of Fanon’s death (in 1961), the contributors to this book address the resonances of Fanon’s thinking on movements of resistance and mass revolutionary uprisings occurring in response to repression or state violence in Algeria, Brazil, Ghana, Ireland, Kenya, Pakistan, Palestine, Portugal, South Africa, Syria, Trinidad, USA and beyond. The driving force of each chapter of this unique collection of writings is Fanonian praxis, engaging with Fanon the thinker and Fanon the revolutionary.
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Struggling to be seen: The travails of Palestinian cinema
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Struggling to be seen: The travails of Palestinian cinema
USD $ 5.00 USD $ 15.00Price range: USD $ 5.00 through USD $ 15.00The book explores the challenges Palestinian filmmakers confront to develop a cinema that gives expression to the national narrative. The research is based on collaborative work to research and screen Palestinian films involving Film Lab Palestine, Sheffield Palestine Cultural Exchange and Sheffield Hallam University as part of the Creative Interruptions research project (https://creativeinterruptions.com/palestiniancinema/). We explored the political, economic and cultural factors that impact on Palestinian film production and some of the barriers encountered in profiling and screening Palestinian films in Britain.
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A Manifesto on Palestine
We are excited to share a summary of a truly transformative new work, A Manifesto on Palestine: Rethinking Liberation from Below, by Ibraheem Rasras. This manifesto offers a profound and challenging re-evaluation of the Palestinian struggle, urging us to look beyond conventional political and diplomatic frameworks to envision a radically different path to freedom and self-determination.
The Core Diagnosis: Beyond Material Occupation
Rasras argues that the Palestinian crisis is not merely a material one of occupation, dispossession, and statelessness, but also a deep “epistemological crisis”. The very structures intended for liberation, the manifesto asserts, have been “subverted, diverted, or rendered ineffective by the very forces they seek to fight”. This is evident in the recurrence of atrocities, reminiscent of past massacres, seen in Gaza from 2023 onwards. A central critique is leveled against the adoption of hierarchical, statist, and technocratic forms of liberation, which have come to tragically resemble the configuration of the oppressor, shedding their ethical and revolutionary essence. The Oslo Accords are cited as a prime example, transforming the language of liberation into one of “formalized managerial governance” and “conditional sovereignty”. This has contributed to a profound “void in the political contextualization and ethical framework of the political ruling”.The Problem of “Stylistic” Resistance and Internalized Colonialism
The manifesto identifies how Palestinian resistance has, over decades, shifted from revolutionary, bottom-up rhetoric to institutionalized and compromised modes, particularly after the Oslo Accords. It introduces the concept of “stylistic” liberation, where leaders impose their imagined schemes rather than adapting to the realities on the ground, leading to an “alienus” leadership that lacks genuine popular allegiance. This “stylistic” approach also manifests when liberation is pursued through “tools of trivialization” that are external to the collective’s specific needs, such as placing prolonged peace negotiations *before* achieving liberation. This externalization, mirroring the colonizing process itself, leads to a form of alienation, obstructing collective self-control and, in many cases, resulting in the unconscious participation of the colonized in their own subjugation. Distrust stemming from unfulfilled promises by factions like Hamas and Fatah has further deepened fragmentation and a sense of “strangeness” among Palestinians.A New Strategy: The Ethics of Resistance and Anarchic Programs
To counter this multifaceted crisis, the manifesto proposes a radical alternative: a “bottom-up resistance” grounded in a unified mode of ethics, a collective understanding of the cause, and consistent practices. This “ethics of resistance” is not a rigid dogma but an “emancipatory code” and a regulatory framework for all aspects of Palestinian daily life, directly confronting neoliberal values like profit-maximization. It is intertwined with the urgent need for a “cultural revolution” that aims to restructure social circumstances and foster a “revolutionary consciousness”. This cultural shift, implemented in successive waves, includes intensive education on human rights and rooting new “networking-elements” within Palestinian social and cultural life. The goal is to establish a “solid reference-point” that can unify Palestinians, whose power has been fragmented by internal divisions and external pressures.The manifesto champions “anarchic programs” as a strategic framework to dismantle subjugation. This involves collectively disengaging from oppressive laws and creating a vacuum for temporary self-management, thereby strengthening local grassroots power. It envisions an “anarchic rule” based on “organic units” and “free cooperation,” emphasizing self-management, direct worker control, and integrated agriculture and industry. This approach aims to organize Palestinians without the fear of division or surveillance that has plagued traditional political structures.
The Power of the Everyday
Crucially, the manifesto points to the already existing “affirmative, anarchic, and ethical politics” in fragments throughout Palestinian society. These are not found in the monopolies of NGOs or political parties, but in the “spontaneous and often-unrecognized social inventions of ordinary people”. Examples include mutual aid networks in Gaza during siege, informal community schooling, grassroots organizing, and the refusal to cooperate with surveillance. These acts of “everyday resistance”—like a student crossing a checkpoint or a mother going to work despite immense barriers—are seen as foundational for a new paradigm of collective ethics and political orientation.Toward a Horizon of Liberation
A Manifesto on Palestine is a bold call for “breakage,” arguing that “no gradual reform will bring freedom”. It is an “epistemological” task to unveil and amplify these lifeways and forms of knowledge, leading to an ethical reconstruction for a collective life that rejects domination in all forms. The manifesto asserts that the future of Palestine will not come from foreign beneficence or failed peace talks, but will be “constructed by the long disenfranchised of the political arithmetic: the dispossessed, the alienated, the uncredentialed, the everyday”. It invites all to engage in “a problem to be enjoyed more than an answer to be spewed back,” asserting that “freedom must be written by individuals who are living alternatively”.We encourage you to delve deeper into this profound manifesto and join the critical conversation about rethinking liberation from below.
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Memoirs of a Woman Survivor of the First Year of the Gaza Holocaust
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Memoirs of a Woman Survivor of the First Year of the Gaza Holocaust
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We have just learned that this book has won a prize from the Eyelands Book Awards https://eyelandsawards.com/2025/12/30/2025-prize-grand-prize-winners/
Congratulatons Njoud Salem!!
These memoirs bear witness to the harrowing reality of survival during the devastating war on Gaza. Through vivid personal narratives, they capture the daily struggle for existence—the scarcity of food and water, the constant threat of bombardment, and the profound psychological trauma. Yet, they delve far deeper than mere physical survival, exploring the profound wounds of displacement: the heartbreak of leaving behind a home, a street, a neighborhood, and the irreplaceable fragments of a life forever shattered.
The pages reveal families huddled in schools-turned-shelters, sharing morsels of bread and whispering prayers for a safe dawn. This collection is both a testament and an act of resistance. It refuses to let the world reduce human beings to mere statistics, insisting instead on honoring every story, every face, and every name. It bears witness not only to the destruction but also to the unbroken spirit of a people determined to live, dream, and rise again.
While rooted in immense suffering, these narratives are also profound meditations on dignity, love, and an unshakable will to persevere. At once personal and collective, they amplify the voices of a generation too often silenced by conflict, posing urgent questions about justice, memory, and the future. They ensure these essential stories are never buried beneath rubble or lost to cold statistics.
In the midst of fire and fear, these words declare: “We are still here. We remember.” This act of testimony—to feel, to survive, and to hold onto love when the world offers none—becomes the most honest act of living. Through these pages, the reader is invited not only into a world of unimaginable hardship but also into the profound depths of human endurance, the richness of Arab culture, and the unwavering faith that guides a people forward.
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Nous sommes toujours là
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Nous sommes toujours là
USD $ 18.00Depuis le début du génocide contre les Palestiniens à Gaza, mené par la violence coloniale israélienne, les établissements d’enseignement supérieur ont été systématiquement détruits. Les campus sont en ruines, les universitaires et les étudiants ont été tués ou déplacés de force, et ce qui était autrefois une population étudiante florissante et intellectuellement dynamique vit maintenant sous la menace quotidienne de bombardement, de famine forcée et de mort. Pendant près de deux ans, les étudiants ont été coupés non seulement de leurs universités, mais aussi de leurs rêves, de leur avenir et même de leur sentiment de sécurité le plus élémentaire.
Pourtant, malgré ce traumatisme inimaginable, beaucoup écrivent encore.
Nous sommes toujours là est une anthologie de ces voix – brutes, non filtrées et courageuses. Il présente des histoires courtes et longues, des poèmes, des essais et des témoignages écrits par des étudiants des universités de Gaza. Ce ne sont pas des réflexions rétrospectives ou des analyses à distance ; ce sont des mots en temps réel, émergeant des profondeurs du génocide, du déplacement et du deuil. Ces écrits peuvent être leurs derniers espoirs d’atteindre le monde, un dernier acte de résistance par l’expression.
Les droits d’auteur de la vente de ce livre sont intégralement reversés aux étudiants auteurs de Gaza.
Survivant aux extrêmes les plus sombres de la souffrance, de la destruction et du déplacement, de la famine et de la menace constante de mutilation ou de mort, ces jeunes écrivains nous parlent avec une lucidité perçante. Leur résilience est leur seule forme d’optimisme. Paradoxalement, les lire soulève le cœur.
– Ian McEwan, auteur d’Expiation et d’Amour ÉternelUn recueil bouleversant, douloureux et pourtant plein d’espoir, de la jeune génération du peuple de Gaza. Le Sumud, la résilience, n’a jamais été aussi puissant et clair qu’il ne l’apparaît dans cette collection incontournable et urgente. —Ilan Pappé, professeur au Collège des Sciences Sociales et des Études Internationales de l’Université d’Exeter, auteur de Une histoire très courte du conflit israélo-palestinien
Au cœur de la souffrance, les mots naissent — et sous les décombres, la créativité s’élève. Ce livre est plus qu’un recueil de pages écrites ; c’est l’écho d’âmes résilientes et le cri de plumes qui ont parlé lorsque les voix ont été réduites au silence. — Professeur Dr. Omar Kh. Melad, Président de l’Université Al-Azhar de Gaza
Nous Sommes Toujours Là n’est pas un livre sur la guerre — c’est un livre sur le fait d’être en vie après que le monde a décidé que vous avez déjà disparu, écrit dans des pièces qui ne tiennent peut-être plus debout. Ces pages sont des dépêches du fil étroit du présent : des lettres de la faim, des fragments de vies interrompues, des éclairs d’espoir si inflexibles qu’ils brûlent. Ici, des jeunes gens façonnent le témoignage de leur temps sur terre, sachant que leur temps peut être court. Vous ne quitterez pas ce livre avec le confort d’une conclusion. Il restera avec vous bien après que la dernière page aura été tournée. — Leila Sansour, réalisatrice et fondatrice d’Open Bethlehem
Ces réflexions poignantes de Gaza, en prose et en poésie, du milieu d’un génocide, sont à la fois déchirantes et pleines de vie et de promesse. Israël a peut-être physiquement tué nombre de leurs jeunes auteurs, mais il ne tuera jamais leurs mots, qui vivent dans ce puissant recueil de leurs écrits. — Ghada Karmi.
La mort n’est pas une idée pour ces jeunes écrivains, mais une réalité quotidienne. Ce recueil témoigne de la puissance des mots. Il révèle comment l’amour, la créativité et l’espoir peuvent nous galvaniser contre la peur et l’inaction. — Selma Dabbagh, auteure du roman Out of It et éditrice de l’anthologie We Wrote in Symbols; Love and Lust by Arab Women Writers.
Sara Alkhaldy, l’une des contributrices de Nous Sommes Toujours Là, une nouvelle anthologie d’écrits d’étudiants de Gaza, déclare : “Je voudrais pouvoir mettre en bouteille l’odeur de notre maison et l’emporter avec moi en partant.” Rula Elkhair écrit à propos des études pendant le déplacement : “Même dans des endroits sans électricité, sans eau et sans internet stable, j’ai installé un eSIM sur mon téléphone et je suis montée sur le toit sous le bourdonnement des drones pour télécharger des cours. J’ai passé des examens dans des cafés au bord de la mer. J’ai étudié en ayant faim, en ayant peur, en étant en deuil.” — Selma Dabbagh dans la London Review of Books Connaissance des Faits Pertinents.
Écoutez notre conversation en podcast
avec les étudiants contributeursLa version anglaise de ce livre est disponible ici : We Are Still Here
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