Art has played an influential role in making sense of the loss felt after the August 4 explosion. Tom Young’s “Strong Angels” and other paintings show a human dimension of the tragedy and its civilian heroes, who “join forces to lift the city’s grief,” writes Darine Houmani of Diffah Three (The New Arab). “Despite all its devastation, the August 4 explosion brought greater impetus to preserve our heritage and brought about a database of our historical buildings that hadn’t been done before,” states Mona Hallak, an architect, heritage activist, and director of the American University of Beirut’s Neighborhood Initiative, as cited in The New Arab. Several weighed in on the rebuilding efforts, including Lebanese architect Jad Tabet, who proposed “rehabilitation” rather than “reconstruction,” focusing on preserving the city’s existing social fabric and inhabitants alongside the architecture (for further reading on Jad Tabet and architectural heritage, see Al Jadid, Vol. 4, No, 25, Fall 1998; Vol. 5, No. 26, Winter 1999; and Vol. 24, No. 79, 2020). As art historian and gallery owner Andrée Sfeir-Semler says, “You need to nourish people with art and culture because that is what feeds their souls.”
Beirut’s Raouché Rock Tells Stories of Endurance and Collapse
By Elie Chalala
As a Lebanese and as many others who grew up not far from Beirut and the Raouché district — also known as Pigeons’ Rock — I was captivated by its grandeur. Two massive limestone outcrops rise from the Mediterranean along Beirut’s western coast, separated from the mainland by an ancient earthquake. This natural landmark is not only a symbol of beauty but also a silent witness to Lebanon’s triumphs and tragedies.
There is a sense of irony, or perhaps tragic justice, in that the story of a woman whose life and presence were forcibly erased from the public sphere continues to linger on the minds of many, unforgettable even 50 years after her death. Just as she forged a path through the social and political barriers confronting her, the Egyptian feminist, poet, and editor Doria Shafik’s legacy as one of the leading figures of the Egyptian women’s liberation movement in the 1940s cannot be forgotten. Shafik strived to make her voice and the voices of all Egyptian women known, undeterred by the many who hurled insults, slander, and mockery her way — but in exchange for her efforts, all her work was seized, her allies turned their backs on her, and she lived out her final years in silence and isolation.
Marwan Harb offers a sharp critique of Hezbollah’s estrangement from Lebanese national identity, portraying it as a militarized organization that derives its legitimacy not from democratic participation but from its arsenal. Harb traces the evolution of Hezbollah’s weaponry — once venerated as a sacred tool of liberation — through three distinct phases: initially serving as a sectarian shield during vulnerable times, then an instrument of internal political domination, and ultimately a hollow burden, clinging to relevance without justification. This trajectory illustrates the symbolic decay of the ‘weapon,’ transforming it from a shield of defense to a mechanism of control.
Like others reacting to the state of Syria following the fall of the Assad regime, Nour al-Sayed’s response is heavy with disappointment and dismay, expressed in the title of her essay for Al Modon, “If We Knew the Depth of Our Hatred… We Wouldn’t Have Needed a Revolution.” Sayed, adding a surprising levity, acknowledges the title comes across like something a child might say after not having their way, but just as quickly states that the severity of Syria’s predicament is not a matter that can be treated as “a child’s folly.” Her assessment of the country is sobering: the ‘victory’ against the Assad regime has “failed to mend the wounds, but instead has reopened them and deepened the pain.”
For decades, Ziad Rahbani occupied a unique place in the Syrian imagination — a figure at once satirist, musician, and political voice, whose art offered both entertainment and coded dissent. His relationship with Syrians moved through phases of clandestine admiration, public estrangement, and finally to a bittersweet mixture of betrayal and a lingering, conflicted gratitude that survived even the most profound political disappointments. His artistic journey intertwined with Syria’s own political and cultural shifts, making his transformation all the more personal for those who once claimed him as their own.
Jürgen Habermas's decision to reject the Sheikh Zayed Book Award's "Cultural Personality of the Year" prize set off a heated debate in the Arab press. The most famous remaining representative of the second generation of the Frankfurt school, despite his considerable bibliography, Habermas was not well-known at the popular level in the Arab world. After his initial acceptance and then rejection of the Sheikh Zayed award, however, intellectuals in the employ of the United Arab Emirates criticized the German philosopher vociferously.
One cannot miss the irony of the Lebanese officials allegedly responsible for what is possibly the third or fourth largest non-nuclear explosion in the world hiding behind “immunity” from a crime that claimed over 207 people and injured 6,000, while devastating large parts of the Lebanese capital. The Beirut Port explosion in August 2020 measured about one-twentieth the size of Hiroshima’s atomic bomb, according to the BBC. As its one-year anniversary approaches, many Lebanese are still struggling to hold accountable those responsible for the blast.
The legendary and controversial Iraqi poet Saadi Youssef died at 87 in his Harefield home outside of London on June 12 from lung cancer. The poet, whose multitude of works encompassed poetry, prose, literary criticism, translation, and memoir, leaves decades’ worth of work penned in exile and translated into several languages, among them English, French, German, and Italian.
Many students and scholars of Arabic literature would recall the debates on the books of Mohammad Shukri (1935-2003) late last century and a part of the early 21st century. The debates centered primarily on Shukri’s picaresque approach, which included harsh depictions of repression, marginalization, deprivation, morality, breaching taboos and censorship, and of course, the banning of his books in most Arab countries. We can categorize many of his books as autobiographical, and the opposition was not to this type of literature but to the language and details he used. His spontaneity violated all technical and artistic norms in both Moroccan and Arab literature, especially in “The Bare Bread,” “Age of Mistakes,” and “Faces,” his autobiographical trilogy.
The collapse of the Lebanese state grows imminent as news of different sectors unraveling emerges every day. The latest crisis reached the judiciary, which — though already known for its politicization and sectarianism — currently deals with a judge whose erratic, politicized personality violates all the norms of judicial behaviors and traditions. This controversial judge is Mount Lebanon state prosecutor, Ghada Aoun.
While much of the country — and even the world — focused on the last U.S. election and remained engrossed even after its results and consequences, the picture of this historic event in the Arab world was unlike anything that was happening here. Regrettably, the distorted analysis and coverage by Arab media influenced to some extent the attitudes and electoral choices of many Arab immigrants in the U.S.
The never-ending reports from Lebanon on its social and economic crises are perplexing. Despite the gravity of the situation, officials sitting at the top refuse to relinquish or even reform the system. Recent news reports reveal a collapsing banking sector, a threatened educational system, and an impoverished and broken health system, all while the country watches a judiciary circus played daily on TV and social media, demolishing whatever legitimacy the courts still hold.