
The day’s end came while we were gunning back to Ramallah. Along with the wrenching of the van—with the same erratic gusto as before (substituting techno music for Koran verses)—I felt enervated and unsettled by the intensity of the day. To have dipped so deeply into foreign space, the furlough from Israeli hand wringing and the depth and weight and scope and burden of Palestinian aspiration...dreams are heavy, overly so, like tree branches sagging with winter ice; reality has narrow shoulders, its body can’t support the wings.
The day had been filled with hopeful reports from Jenin; the sprouting of culture (see post below), the focus inward toward fortitude instead of outward toward enmity. The refugee camp had been the last stop. We arrived by taxi, viewing block after block of decaying building, a sturdy place here, a hovel there, martyr posters pasted to walls or hanging above like placards on a pavilion, beside a workman’s garage, a field of rubble.
Our tour guide was a filmmaker at a theatre in the camp. He was 24 and quite angry. His English was fantastic and his prose was layered in double and triple and contradictory meanings. His home in the Jenin camp, his youth there, bore his craft, unlocked and sprung it. Jenin was not Ramallah which was false and bourgeois and filled with empty half-gestures.
Jenin is where real art lives, the way that Brooklyn talks to Manhattan, but with something real at stake. Jenin was also too small. Its mind had to be opened while its customs kept intact.
“Give us your money and shut up,” he shouted at one point, talking about the Europeans who were all poseurs in affiliating with his causes of art and revolution.
In a room with his actors, they ran through the list of their fellow artists who had died in 2002 during the Battle of Jenin. Five had died either defending the camp (fighting the Israelis) or as martyrs (suicide bombers), one had gone to jail. One had spent twelve days in a room sleeping beside the body of his dead father; our host, to relay the dimensions of a commonplace experience in Jenin camp, described how he had once carried someone’s finger in his pocket to a hospital.
We left him, thankfully, shortly after watching play rehearsal. In this scene, the Palestinians are scattering to Jordan having been displaced by the Nakba (disaster) of Israeli independence. A single violin plays. They wander through a famous desert bereft.
***
We have time before the van departs and we go back to Ramallah. We stop in a sweet shop for more Arabic coffee (cup seven of the day) and some kunef. There are two kinds. We ask the owner to pick. He chooses both. We eat the dessert, they have a spongy-sweet-honeyed-dissolve which, like dreams, one cannot describe without sounding completely idiotic. It’s a century-old recipe, the owner tells us, only the men make it.
The men in the shop say they are excited about the new cinema in Jenin. They say that want Israelis to come to Jenin, to talk to them, to see what it’s like.
“Speak Hebrew with me,” one man says to the imagined Israelis, “not English, not marhaba (‘welcome’ or ‘hello’ in Palestinian Arabic).” When asked how he learned Hebrew, he responds “prison.”
He adds: “If he [Israelis] come to my house, he’s my friend. I won’t kill him.”
The men in the shop debate the relative merits of Barack Obama. One man is unconvinced, another is still smitten. “At least Obama is a person,” says the unconvinced man. “Bush is an animal, not a person. George Bush is a monkey.”
***
On the van, I am the target of some jokes by the people in the row ahead. The row is a mother, two brothers, and a sister (or possibly a cousin). They have crushed four people into the three seats for the two hour drive, a drive later extended by an hour because of the same settler violence we encountered on the way up. They are laughing at me because I don’t speak any Arabic; one brother is trying out little English phrases on me but turns around to laugh before I can say anything back.
The drive continues to knot my stomach with twists and lilts. The ride back is always a form of nausea.
My friend and I wonder aloud for advice on how to get from Ramallah to the checkpoint at the late hour. The row of people previously making fun of me offer to take us to the checkpoint; they are on their way to Jericho and can drive us. We accept. We all get out of the van in al-Bireh, which is a suburb of Ramallah and walk with them to their apartment. I am anxious to get back to Jerusalem, but soon enough, we’re invited inside the house where we wait for a brother with the truck to arrive.
I sit on a white leather chair with a stuffed fox fur on top. I don’t notice the adornment at first and its dead face startles me. They laugh again when I reel back. I try on the dead fox, wrap it around my shoulders, and stand up to model it. They laugh again. My friend takes a picture.

I’m offered fruit I’ve never had before. I don’t remember the name, only that it was heavily seeded and had the consistency of a lychee.
The toilet in the bathroom doesn’t flush. The faucet produces no water. When I come out, the mother explains that in this neighborhood, Palestinians only have water four days a week because Israel controls their water supply. The name of the neighborhood, al-Bireh, means “the water well” in Arabic. She hands us apples which she thinks come from America. My friend points out the Hebrew sticker and says they are Israeli and the woman replies they would grow apples too if Israel didn’t steal their water.
At the checkpoint, they let us out. We’ve been invited for dinner later in the week, but we both must decline. We thank them and for some reason, they thank us. We overpay for a cab back into Israel.
***
At the checkpoint, I produce my passport. It’s a new passport, completely unblemished. I ask if the cabbie if they are going to stamp it. I am heading to Istanbul and Dubai next and don’t want an Israeli stamp to limit my travel there. I’m told they don’t stamp at checkpoints. We pass through without a problem.
On the road to Jerusalem, I thumb through my passport and find a stamp. It’s not from tonight, but from when I first arrived five weeks before. After landing, I had handed over my passport at visa control and told the girl there that I’m a journalist. She nodded. I told her that I didn’t want a stamp. The girl nodded again. Said okay. Then she stamped it anyway. I didn’t realize it now. I hadn’t thought twice about it. I hadn’t even looked.