THE UNIVERSITY OF MELBOURNEIn 1962, poet and Auschwitz survivor
Yehiel Dinur took the stand in Jerusalem in the trial of Nazi war criminal Adolf Eichmann. Dinur was a much-anticipated witness, bearing the audience’s hope this man, a poet, would be able to explain – to capture and to transmit – the experience of Auschwitz, and of the Holocaust; that he could speak the unspeakable. Prosecutor Gideon Hausner hoped such a witness might “do justice to the six million personal tragedies”.
Dinur used the name Katzetnik 135633 in his writings, also translated as “Prisoner 135663”. On the stand,
he said: “I believe wholeheartedly that I have to continue to bear this name until the world awakens.”
Awakening, understanding, empathy and change are the sentiments many survivors hope for, or ask for, during and after periods of trauma. The 20th century saw many of those pleas. The 21st century has done no better at honouring the promise, captured in the title of the 1984 Argentinian commission report on forced disappearances,
Nunca Mas: never again. No matter how many such pleas appear before the courts, before the aggressors, before those in solidarity, the horrors of war, torture, starvation and genocide seem to happen again – and again.
Three recent books from the region where war was been raging since the Hamas attacks on Israel on October 7 2023, and the ensuing war on Gaza, are part of these pleas.
Eyes on Gaza is an on-the-ground account of the death and destruction of the first 45 days of the war by now 23-year-old Palestinian journalist Plestia Alaqad, who
moved to Melbourne with her family in November 2023.
Letters from Gaza is a collection of 50 stories, poems and fragments from Palestinian writers enduring the past 20 months. And
Gates of Gaza is the story of Israeli journalist Amir Tibon, a resident of Nahal Oz, one of the border kibbutz attacked by Hamas on October 7.
These are all first-person testimonies of experiences of being under attack, though those attacks differ. We might say they fit into the genre adopted in truth commissions, such as the
Truth and Reconciliation Commission in South Africa: a response to the nation’s years of living under the apartheid laws, discarded when Nelson Mandela took power in 1994.
The commission was one effort to heal from this past. But, like the Eichmann trial, it needed stories to explain the histories of violence, and it needed the pain to be voiced to explain its impacts on communities, families and relationships.
The use of people’s narratives to “bear witness” to the complex layers of legally sanctioned and militarily executed pain, loss and the traumas they can produce, is sometimes effective in helping audiences understand them. The
Bringing Them Home Report in 1997 used this form to explain the incidence and impacts of the forced removal of Indigenous children by the Australian state. It was effective as one form of creating a shared reality for all in Australia, who then understood the term “stolen generations” and the pain, loss and genocidal intent to which this phrase refers.
More recently, the
Yoorrook Justice Commission in Victoria, Australia’s first formal truth-telling inquiry into historic and ongoing systemic injustices perpetrated against First Nations Peoples by colonisation, has also brought histories of loss, dispossession and abuse to light, using stories. Stories can make sense of the impact incurred through the intertwined web of policies, statistics, discrimination and quotidian violence at the hands of the state.
The work of testimonyThe narratives in these books written since October 7 2023 are part of this genre of testimony or storytelling. But at least two of these books are not attempting to explain the past. They might be described better as pleas to stop what the International Court of Justice has called “
a plausible genocide” happening in the present.
They are, in one reading, wishes for the world to understand the experience of pain, rage, loss, fear, distress and defeat that accompanies destruction and unbearable loss. A wish for the world to hear, or perhaps feel, the words on the page – and make the pain stop.
They wish the world would “awaken” to what is happening right now.
The dynamic of awakening is the stock in trade of truth commissions. One party testifies or speaks to an experience, and the audience wakes up to what has been happening. As a result, they either change or facilitate change. The truth, captured as testimony, is supposed to set people free. Not just the speaker, but the community of speakers weighed down by history – or by the struggles of the past or the present.
In legal forms the reason to speak is clear. The reason to speak in literature, biographies and works of nonfiction is less clear. What does the author want from us, the readers? But perhaps more importantly, what can we offer?
Plestia wants her life backPlestia Alaqad is very clear about what she wants in her book,
The Eyes of Gaza: A Diary Of Resilience.
She wants the genocide to stop. She wants a free Palestine. She wants her home and her life back. The stories in this book show readers outside Gaza some of the life and death of those first six and a half weeks.
Her last entry before she leaves Gaza for Egypt – and then Australia – is dated Day 45. During those 45 days, she puts on a press helmet and jacket, which both give her protection and weigh her down. And then she speaks: to cameras, to followers, to anyone who will listen. Her social media feeds documenting the war gained worldwide attention, her Instagram following rising from around 3,700 to
4.1 million today.
There are too many deaths to be witnessed – by her and the reader. She describes genocide as an understatement for what is occurring in Gaza: “we lose more people than our hearts can handle”. She has seen so much death, heard so many screams. By day 30, all you can hear is a voice crying for help from under the rubble. You turn your back and walk away, because there’s nothing you can do to help.
But Plestia’s project is more than documenting death. She is careful to show many aspects of life in Gaza. She shows how Palestinians retain relationships, family and pets. How a young boy just needs his “pot plant” from his destroyed house, under skies filled with drones and bombs. This is a plea for the genocide to stop, but it is also a celebration of being Palestinian. It is an homage to life in Gaza.
It is also a plea to see Palestinians as more than numbers – and more than how they are depicted by Israel.
“The world,” she says, “sometimes treats us like terrorists, trying to justify its complacency in allowing us to be massacred. And we know the perception, we read the propaganda just like everyone else. But the reality is that we’re the opposite.”
She describes gentle moments of love and care between her fellow journalists and the people they interview. The children they bring sweets for, the “bird lady” who renames her tortoise “Plestia” after her. Both Plestia the tortoise and the “bird lady” are now living in a tent. She speaks of the doctors who work tirelessly.
In the midst of brutal amputations and unimaginable burns, she recounts the care of a doctor giving cream for a skin rash that has tormented her, diagnosed as a product of her anxiety. Anxiety seems a gentle diagnosis for symptoms produced by witnessing and documenting such brutality.
Anxiety over her helplessness, perhaps, over the lack of sleep, of nourishing food: dwindling even in those first 45 days. Anxiety seems like a Western preoccupation, from this writing distance. What Plestia experiences seems more like layers of embodied distress. Her empathy allows her to feel, perhaps too much. Empathy can be an enemy.
Around page 100, she begins to deteriorate. “It’s funny how genocide changes a person,” she writes, describing herself as “Genocide Plestia”. She’s devastated, exhausted. She has lost hope. The journal entries are shorter, more repetitive. They recite her helplessness with what Jacqueline Rose, co-director of the Birkbeck Institute for the Humanities,
has called the “repetitive thud of referentiality”.
You feel Plestia’s effort to try to speak with some life in the pages, to use writing as a therapeutic tool. You wish it for her, but she has trouble summoning the energy, the life, any hope. As she poignantly quips: “Fake it till you make it doesn’t work during a Genocide”. What is there to say in such relentless days of loss?
You want Plestia to get up, you want a happy ending, for a conclusion to the painful story, but the problem is time. The reader’s time, the reality of time since she wrote her book.
Day 45, her last day in Gaza, is Monday November 20 2023. I read this book in June 2025, 646 days later – and it hasn’t stopped. When Plestia leaves Gaza and finally arrives here in Melbourne, the conditions she describes have been ongoing for more than 20 months. A
recently released survey by the Palestinian Center for Policy and Survey Research estimates almost 84,000 people died in Gaza between October 2023 and early January 2025, as a result of the war. And that was six months ago.
50 letters from GazaThe numbers are a way of reducing the experience of grief, devastation, loss (and the viewer’s guilt) to simple digits. Digits have no face and no sound. This is helpful to viewers, but it does not do justice to the 84,000, as Gideon Hausner knew well. No one awakens by hearing the numbers. But they matter.
In
Letters from Gaza, psychologist Ahmed Mortaja fears becoming a news story, “a dull number … I don’t want my name and my family name to be reduced to mere numbers, whether odd or even”.
This book, a fragmented collection of 50 poems, stories and accounts, is devoted to giving life to those numbers. To animating the loss, so readers can apply their own imaginations, so we can understand the incomprehensible. It is a collection of fragments of lives since October 7 2023, squeezed into expressive pages. There is no “letter” more than six pages long. They are backed up against each other, permeating one another.
Each letter tells a different story and the same story. Each finds a detail that has no language: flowers in a girl’s hair, dreams of careers that will perhaps never be, the sounds of explosions. They are stories of the impossible search for bread, the longing for a bed and a pillow. And, as in Plestia’s account, they evoke the relentless buzz of the drones in the sky in Gaza: everywhere, all day, every day since October 7 2023. Like tinnitus, like torture.
The book begins with an effort to give names to numbers. On the first page, in the publisher’s note, we read that two of the authors, Sara al-Assar and Basma al-Hor, cannot be contacted. Because of communication lines and constant displacements, the details “may not reflect their current location or circumstances”. Authors may have died or been further displaced. Communication towers are destroyed. Tents are moved as people are moved on. Tents are destroyed.
In Plestia’s accounts, there are displacements to safe zones that then become unsafe, so they move again and again – until the only choice is tents, often without food or blankets. She describes seeing 33,000 people in a displacement shelter, this number increasing daily. Just as numbers are not people, tents are not homes. In Letters from Gaza, the displaced tents are character, metaphor and reality.
The stories are different, as are the deaths and losses within them, but these painful accounts help explain each other. The personal stories help animate words like displacement, refugee camp, genocide, so they do not fall into the pile of legal terms disconnected from names.
But after the United Nations declarations in the opening pages, we hear no more of law – and little of justice. As Palestinian human rights lawyer and founder of the Palestinian Centre for Human Rights, Raji Sourani
said: Gaza is in danger of becoming “the graveyard of international law”. What is left are stories. The short stories, poems and brief accounts are packaged so they do not ask too much of the reader – just enough to provoke tears, and perhaps donations. Many readers will feel some of the helplessness in these pages.
There are stories of hunger; the loss of grandmothers and children. I cried many times reading this book, but the next story would quickly arrive and sometimes bring relief. There is something sad, but ordinary, about details like a cat who finds a tent too hot. Unlike Plestia’s clear analysis and summation of the genocide in Gaza, the politics of this book are comparably quiet. Not absent, but quiet. The word genocide is mentioned four times, “Holocaust” only once. (I counted.)
In Letters from Gaza, no one says Israel, only “the occupiers”. Husam Maarouf writes, “we no longer want anything from you […] Only to die in safety.” His entry is dated March 1 2024; he may well be dead. Batool Abu Akleen makes simple requests of the reader (or perhaps of God): “I want a grave, I don’t want my corpse to rot in the open road.” But the book seems to intentionally not accuse. We are told:
this is not a book about war. It is a book about human souls that strive to avoid being hunted down by war. It is about how innocents are forced to learn how to survive when everything around them is about killing, destruction and death.But the accusation is there. How could it not be? Against Israel as occupier and aggressor – and the reader as bystander.
Accusation sometimes comes embedded in questions. “Is one person’s pain greater than another’s?” asks Gaza poet and teacher Doha Kahlout. This question resonates with one inscribed on the Holocaust Memorial Tree in Hungary: “Whose agony is greater than mine?”
When comparing agony, only one can liveJewish author, philosopher and psychoanalyst Jessica Benjamin, writing on Palestine and Israeli peace struggles,
cautions against pitting stories from Israel and Palestine against each other, such that “only one can live”. Only one story, one narrative, one version of pain and loss.
Holding multiple stories of suffering in mind is very difficult: for the survivor, for the listener and even for the psychoanalyst. Many survivors suffer symptoms of trauma that reduce the world to interpretation through their experience of its painful histories.
In Eyes of Gaza, writing from Melbourne, Plestia shows a moment of this:
On the train home, I see a lady with a suitcase, and the first thing that I think of is displacement, imagining how everyone in Gaza carries their whole life in their bag […] Then the announcement: Next Stop […] And I’m snapped back into reality.In this moment, the suitcase is only read through the lens of the past. It’s what is described colloquially as living in the past – a type of banal flashback, often a symptom of trauma. But when pain colonises bodies and narratives, recognising the pain of others is difficult to see. It may be impossible to see the experiences of the other’s world through any other lens than one’s own pain. Whose agony is greater than mine? is a competitive statement, not a question.
In the war of greater pain, an Israeli child in fear may be read against a Palestinian child enduring the loss of their limbs and their whole family. Only one (story) can live.
To hold two competing stories of pain, loss and agony in mind requires a feat of mental health endurance few are capable of: the Nelson Mandelas of this world. Working in the field of transitional justice, I have met a few.
Most have experienced great loss and know there is no comparison at the level of agony. They resist “the repetitive thud of referentiality” because it drowns out conversation, annihilating curiosity and empathy alike. They know all stories must have their time.
In October 2023, “liberal” London Jewish journalist and filmmaker Michael Segalov, once a “staunch defender of Israel”, tried to hold competing stories.
He wrote about seeing Israel–Palestine through the lens of “fear and trauma – of the Shoah, of the Nakba, of generations now born into perpetual fear”.
Early Jewish settlers were not “imperial soldiers”, but “a persecuted population failed by global governments pre and post Holocaust”, he points out. But by
1948, the year after the
UN resolution that called for Palestine to be divided into Arab and Jewish states, “more than 750,000 Palestinians were made refugees, 15,000 killed”.
“While these lands might well feel a Jewish ancestral home,” he wrote, “within living memory, it was shared with another people: the majority.” In 1922, in the first census
carried out under the British Mandate, the population of Palestine was 763,550: 89% were Arabs and 11% Jewish.
As Palestinian psychiatrist Eyad El Sarraj
stressed while talking with Jessica Benjamin during peace negotiations, we must “stand simultaneously for the recognition of all injuries, while at the same time being clear that one side was coming from the position of Occupied and less powerful, the other Occupying and dominating”. Stories matter, politics matters.
And some stories take more time than others – some stories are given more time than others. This is a matter of politics and practicality.
Surviving the October 7 attacksIsraeli journalist Amir Tibon and his family survived the October 7 attack on Kibbutz Nahal Oz, on the Gaza border; they are now internal refugees in northern Israel. He and his partner settled in Nahal Oz and raised a family. On the morning of October 7, they heard the sounds of the attack and raced to their safe room, spending the next five hours in there trying to keep their children – Galia, 3 years old and Carmel, aged 19 months – quiet.
In discussing Tibon’s book,
Gates of Gaza: a story of betrayal, survival and hope in Israel’s borderlands, I risk comparison and competition. Sometimes stories speak to each other, even when they speak to the silences. I resisted this one’s proximity to the above stories. But that is also to resist reality. It is to resist the importance of difference. All experience is valuable, but sometimes comparison reveals inequality.
Plestia knows this well. The survivor guilt of which she writes is part of the hierarchy experienced by all survivors of mass violence. That she and her family survived, that she migrated, is to feel guilt for escaping the fate of those who have been starved, tortured, obliterated.
Yehiel Dinur spoke from this position of guilt on the stand in 1962, saying he was speaking for those who died in Auschwitz. In the face of others’ death, all survivors struggle with justification. Competition is one form of this: Whose agony is greater than mine?
Tibon was a resident of Nahal Oz, having moved there with his partner because of its beauty, nine years before October 7. He describes it as having “a strong, left-wing, liberal political leaning”, and says residents of the border areas are “some of the strongest advocates of Israeli–Palestinian peace”. He writes that the kibbutz movement has, “for decades”, been in favour of “a compromise that would allow Jews and Arabs to share this land, with agreed-upon borders – borders that, of course, would have to be protected”.
In the 300-plus pages, Tibon describes the morning of October 7 in detail. The fear of his children and his partner as they stayed quiet in a safe room for some five hours. The sounds of shootings and desperation as he read pleas and accounts from other residents on the community’s WhatsApp group as the attacks unfolded.
The narrative of that morning is interspersed with accounts from people who survived in his community: his parents, some of those who attended the Nova music festival, and Israeli Defense Force (IDF) soldiers. The narrative moves between that morning and a history of the kibbutz, framed in a history of Israel’s political lurching between right and left – and back again – over the 87 years since its recognition as a nation state by the UN.
In one reading, this is a history book of 87 years – not just an account of five hours. It is a particular history.
The narrative of those five hours is intense, peppered with stories of his parents racing from Tel Aviv to the kibbutz. Tibon’s father is a crucial figure in this narrative. A retired IDF general with “more than three decades” in the military, including combat experience, he seemingly has the capacity to assess situations and navigate a war zone with skill. It is his father who finally knocks on the “safe room” door in the afternoon (about halfway through the book). Tibon reports hearing “a strong bang and a familiar voice” from inside.
The father, we could say, is the embodiment of Tibon’s feelings for – and belief in – a strong, kind Israel. An army general, protective husband and grandfather (in Hebrew, Saba), he is longed for by Tibon’s young children, who “loved their grandparents”, particularly his father, “who pampered and spoiled them at every opportunity”. This grandfather’s presence at the safe-room door allows the family to re-enter the safety of Israel.
If the father is Israel, the sleeping children are its citizens. Carmel and Galia slept through much of the conflict, barely awakened by gunshots. They were rushed to the safe room the moment the shots were heard.
Once you know the stories from Letters of Gaza, it is hard not to compare this to the waking of Mohammed Al Zaqzooq’s three boys – Baraa, Jawad and Basil – to the sound of “Huge missiles in large numbers making terrifying sounds” and the need to flee. Not least, because Amir’s children were barely awakened by shots outside. Their safe room kept the noise muffled and the danger at bay. This is not to say their fear won’t impact on their actions later. Transgenerational trauma has a way of influencing the future.
Mohammed’s children moved quickly, within half an hour, to a refugee camp. At the time of writing, they remain there. His story is five pages long. Amir’s is 300-plus. Amir, an author and award-winning diplomatic correspondent for Haaretz, Israel’s liberal paper of record, has access to a computer, electricity and the security required to think, research and write.
But why does he write this book? In the acknowledgements, he describes himself as needing to be encouraged, unsure of the worth of telling the story of his five hours in the safe room. But he describes much more than five hours.
His book is a story of Israel – and particularly, of its informal settlements. In the early 1950s, he writes, 20 young soldiers – ten men and ten women – were taken by bus to this site to settle it. Nahal Oz is so close to Gaza, it has “agricultural lands which literally touch the border fence”. The kibbutzim functioned as a kind of human border, with increased populations: the 20 broke into couples, then families. Within a few years, they had a small farming community, with a person devoted to security.
Empty land?This is not a story of military invasion and colonisation, however. It is a story of settlement on land represented as empty. We know this story well in Australia. In this context, it can be a plea for a recognition of innocence.
As Amir tells it, there were no Palestinians in the place before: no one was removed or relocated. Only in passing does he mention the Bedouin who passed through the area before.
In Australia,
Irene Watson and
Aileen Moreton-Robinson have, in different ways, explained lands do not need to be sites of permanent agriculture to be crucial to the survival of some groups or nations. Borders and settlements can disturb land, law and life regardless of whether houses are demolished or not.
The beauty of Nahal Oz, Amir writes, was due to its access to water and its site on fertile land, where trees provided shelter and probably food. Its loss was likely no small thing to people who required sustenance and shelter as they moved through. After the settlement, they no longer could.
After Israel set up its border there,
only Israelis could pass through without being subject to the checkpoints that are well documented sites of humiliation and arbitrary punishment for Palestinians.
By 1997, the walls went up near Nahal Oz. But the walls to shield Nahal Oz from Gaza – and particularly from its people – were not enough. Amir describes the elaborate and extensive tunnels used by Palestinian soldiers to enter Israel (he calls them “terrorists” and “suicide bombers”).
The tunnels became the problem of Palestinian attacks on Israeli settlers. To deal with this problem, the concrete walls were built, reaching 160 metres underground, preventing any permeation. Then, on October 7, the walls could not provide security. Then, there was only the safe room.
The safe room is an obvious metaphor in this book. It is Israel under attack. One of these rooms has been built into every house in the kibbutz, so families can be safe from the mortar attacks from Gaza – a regular occurrence since the 1987 Intifada.
Plestia tells us that the materials for a safe room are not allowed to be brought into Gaza. There are no safe rooms there. Tibon doesn’t mention this; maybe he doesn’t even know this fact, which is its own symptom of the political and social environment in Israel.
He does describe “the unimaginable destruction that Israel has unleashed on Gaza in the aftermath” of the October 7 attacks. He is critical of this “destruction”, though he does not use the term genocide. (There are those who wait for the International Court of Justice to decide if it was more than “plausible” – and there are those who cannot wait.)
Tibon is critical of Israel’s right wing, which cultivates war. He wants peace. But peace here is its own violence.
Like the rhetoric of reconciliation in South Africa, calls for peace can do violence to historical experiences of injustice. There, reconciliation discourse
has been criticised, along with its apolitical leanings. Reconciliation in South Africa has largely meant people subject to historical injustices must reconcile themselves to their losses and their reality.
A story
attributed to Father Mxolisi Mapanbani, of Tom and Bernard and the bicycle, has been used many times to critique “reconciliation” rhetoric in South Africa. It is helpful here.
Tom and Bernard are friends and live opposite each other. One day, Tom stole Bernard’s bicycle. Every day, Bernard saw Tom cycling to school on it. After some time, Tom went up to Bernard and said, “Let us reconcile and put the past behind us.” Bernard said, “Okay, let’s reconcile – what about the bicycle?” “Oh no,” said Tom, “I’m not talking about the bicycle, I’m talking about reconciliation.”
In the Australian context, after Kevin Rudd’s apology to the stolen generations in 2008, human rights and social justice campaigner
Tom Calma described this form of reconciliation as the “
unfinished business of justice”.
The apology might have offered some form of acknowledgement, and gone some way toward creating a shared reality on the injustices of the past, but while justice remains unfinished, many are not at peace.
Amir wants peace. He doesn’t want to live in a safe house – but he wants his house and his family to live securely in Nahal Oz. He wants Palestinians to be at peace with this reality.
The word “peace”, like “reconciliation”, does a lot of work to present Tibon on the side of “the good”. Just like, in Letters From Gaza, the relative lack of the word “genocide” keeps the accusation at bay and politics in the background – and it keeps its calls for recognition of suffering at the fore. In this book about “human souls”, the editors call for a recognition of shared humanity.
Tibon is careful not to group “terrorists” under that name – though he uses a Hebrew word that means exactly that. (Mehablim, he calls the people who attacked Nahal Oz.) Why? Though he writes in English and undoubtably spoke Hebrew throughout the siege, why does he speak of the Palestinian attackers as Mehablim?
The answer might be found in the fact no Palestinian name, beyond former Palestinian leader Yasser Arafat, appears in these pages. He has interviewed many people, but none of them are Palestinian. Their narrative remains outside his text.
We must find the humanity of the Palestinians in other stories.
If the safe room is a metaphor for Israel, the tent – as described in so many of the stories in Letters from Gaza, and in Plestia’s account of those 45 days – is a metaphor for the lives of Palestinians in Israel, and perhaps the world’s eyes.
A tent is permeable, fragile, disposable. Bodies within it are subject to displacement, starvation, genocide. Every house in Tibon’s kibbutz has a safe room. There have been
at least seven bombings of tent camps in Gaza. How can you not do the maths?
Stories, awakening and halting the bombsStories demand people are not reduced to mathematics. They place the reader in the scene and plead for identification and understanding. Writing on the Eichmann trial, Holocaust historian and legal scholar Lawrence Douglas
describes “the words of the survivors that built a bridge from the accused to the world of ashes”.
Afrikaaner journalist and poet Antje Krog
writes, on the Truth and Reconciliation Commission in South Africa, “In all the stories a landscape is created.”
But this landscape, if it is to have any effect, must be mapped across previous perceptions. For that, it must do damage to the secure world – the pre-existing imaginative landscape – of the reader or of the listener.
Moral philosopher Rai Gaita
describes remorse as “a dying to the world”: a little death is required of the listener or reader who is implicated as a bystander, encountering the suffering of others. A death of complacency. A small disintegration that may mean our own peaceful worlds are no longer tenable.
This is why stories, particularly, are mobilised in truth commissions. They animate the impossible numbers – the dry policies and repetitive loss – with scenes of humanity. Testimony – personal stories – link the words (genocide, massacre, terror) to an imagination of a scene, a person, a child or a parent. To people we can identify or empathise with.
Like the two worlds connected in Ahmed Mortaja’s poem, Hubb and Harb, In Letters from Gaza:
tonight I will fall asleep telling myself that the noise outside is fireworks, a celebration and nothing more. That the frightened screams of children are the gleeful terror of suspense before something long-awaited, like Eid.
Tonight, I will fall asleep scrolling through the photos on my phone, telling myself that my evening with friends wasn’t that great – really, I was bored – so now I’m skimming through memories to pass the time.
If empathy were all it took to halt the counting of the 646 days in Gaza, then Letters from Gaza and Eyes on Gaza would achieve their aim. But empathy rarely produces political change.
Stories – the 50 voices in Letters from Gaza, accounts like Plestia’s – make us cry, perhaps make us donate, but they do not halt the bombs. This, and more, might be what Yehiel Dinur meant when he asked for the world to “awaken”, that it change, that it stop what Tibon calls “the unimaginable destruction”.
Until then, Dinur pledged to remain Katzetnik 135633. Until then, we will likely only know “Genocide Plestia”: “it’s funny how genocide changes a person”.
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