Each day after school, Mohammed El-Kurd’s grandmother welcomed him at the door of his home with a bouquet of jasmine. Her name was Rifqa—she was older than Israel itself and an icon of Palestinian resilience.

With razor-sharp wit and glistening moral clarity, El-Kurd lays bare the brutality of Israeli settler colonialism.

His poems trace Rifqa’s exile from Haifa to his family’s current dispossession in Sheikh Jarrah, Jerusalem, exposing the cyclical and relentless horror of the Nakba. El-Kurd’s debut collection definitively shows that the Palestinian struggle is a revolution, until victory.

Rifqa is Mohammed El-Kurd's debut collection of poetry, written in the tradition of Ghassan Kanfani's Palestinian Resistance Literature. The book narrates the author's own experience of dispossession in Sheikh Jarrah--an infamous neighborhood in Jerusalem, Palestine, whose population of refugees continues to live on the brink of homelessness at the hands of the Israeli government and US-based settler organizations. The book, named after the author's late grandmother who was forced to flee from Haifa upon the genocidal establishment of Israel, makes the observation that home takeovers and demolitions across historical Palestine are not reminiscent of 1948 Nakba, but are in fact a continuation of it: a legalized, ideologically-driven practice of ethnic cleansing.

A unique, stunning collection of images of Palestine in the late 19th and early 20th centuries and a testament to the vibrancy of Palestinian society prior to occupation. This book tells the story, in both English and Arabic, of a land full of people—people with families, hopes, dreams, and a deep connection to their home—before Israel’s establishment in 1948, known to Palestinians as the Nakba, or “catastrophe.” Denying Palestinian existence has been a fundamental premise of Zionism, which has sought not only to hide this existence but also to erase its memory. But existence leaves traces, and the imprint of the Palestine that was remains, even in the absence of those expelled from their lands. It appears in the ruins of a village whose name no longer appears in the maps, in the drawing of a lost landscape, in the lyrics of a song, or in the photographs from a family album. Co-edited by Teresa Aranguren and Sandra Barrilaro and featuring an introduction by Mohammed El-Kurd, the photographs in this book are traces of that existence that have not been erased. They are testament not to nostalgia, but to the power of resistance.