Mosab Abu Toha

"These poems confront the violence of empire and the cost of looking away. Rejecting euphemism and false balance, Ammiel Alcalay's poems bear witness to injustice and name the systems that enable it. At once elegy, indictment, and moral record, Imperial Abhorrences / For Palestine asks what it means to speak truth in a world trained to forget and insists that poetry remains an act of resistance.

While enduring a live-streamed genocide alongside her family in Gaza, Kholoud Hammad continued to create art, an art that holds the beauty of life against the machinery of annihilation and refuses to surrender humanity to terror or silence."

Nasser Rabah

“Ammiel Alcalay is a great poet with an open and beautiful mind...words that carry the weight of cultures and the spirit of humanity...he is the Sinbad of civilization.”

Hanif Abdurraqib

"The primary way a dying empire props itself up is by creating a mythology about several elsewheres, places it inflicts violence on, for example. And what happens, as empire flails, is that a place and its people are reduced to the products of a most nefarious and useless imagination, which, too, is an extension of violence. I have immense gratitude for the work of Ammiel Alcalay and Kholoud Hammad within this book, which is teeming with questions and sharp, needed indictments, but also with beautiful language, which animates the fullness of Gaza, the people in it, the broad scope of the art that can be made, and the imaginations that can bloom while under siege from failing empires with no imagination themselves. I hope the time you spend immersed in this book moves you to awe at what does exist, and moves you to rage, when considering all that could have existed."

Sarvy Garanpayeh

"Throughout the war and the invasion of Jabalia, amid the bombs and constant displacement, Kholoud Hammad continued to work to support her family. She created a series of artworks named Shadows Under Fire, embodying both resistance and the pain left by the war. She chose to work in black-and-white to convey how life had lost its color, using red as the only other hue to represent the blood she witnessed at such a young age."

-from Archiving Gaza in the Present: Memory, Culture, and Erasure

To help support Kholoud Hammad, her family, and her community, as well as for information about purchasing prints of her work, please visit: http://spot.fund/rtpwjxkce