and as for my inflammatory writ

First Look Pictures from Wolf Hall: The Mirror and the Light

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A speech made at the Academy Awards by Jonathan Glazer, along with the subsequent reactions, sheds light on how people tend to distort others' words to portray themselves as victims and, more concerning, their willingness to reside in a dystopian bubble as long as it doesn't affect them directly.

Rather than idolising Hollywood, I've previously posted about the complexities of my evolving parasocial relationships. But to disregard the influence wielded by these elites would be naive. It's frustrating to witness those in power facing backlash when they attempt to bring attention to pertinent issues.

While the Oscars' prominence in Western pop culture is waning, the ceremony and the fervour surrounding the nominees and winners, especially in the major acting categories, still hold significant sway in film culture and the broader world.

So when such a speech is delivered at the Oscars, it's bound to garner attention:

Glazer highlighted in his speech that victims of the ongoing situation and the last 75 years, whether Palestinian and Israeli, all stem from the occupation and are casualties of entrenched ideologies like Zionism. But when he said this on stage and was immediately misquoted online on social media and by reputable news sources, alleging that he simply renounced his Jewish identity.

He also faced considerable backlash from those indicating a persistent conflation of anti-Zionism with anti-Semitism. It really parallels previous speeches of resistance at the Oscars. Boos rang loud and clear during Michael Moore's opposition to the Iraq war (which we know was a colossal failure by Geroge Bush and the US Government who perpetuated and pardoned multiple war crimes in the region after lying to their own people about evidence of weapons of mass destruction).

There was also Sacheen Littlefeather's advocacy for Native American representation and the direct of attention to the Wounded Knee Occupation, a speech that had bodyguards having to restrain people from getting on the stage and attacking her.

And, of course, Vanessa Redgrave's aim at “a small bunch of Zionist hoodlums whose behaviour is an insult to the stature of Jews all over the world and to their great and heroic record of struggle against fascism and oppression”, which still feels relevant today.

Turning to Glazer's film, I am baffled at those who vehemently objected to it: Did they actually watch it? Because if they had any negative feelings towards Glazer's speech, especially after watching his film, it suggests, to me, a deficiency in critical thinking.

Glazer's film portrays a chilling atmosphere where genocide becomes normalised, echoing real-world situations like the ongoing conflict in Gaza. The film serves as a stark reminder of humanity's ability to coexist with atrocities, often turning a blind eye for the sake of comfort.

The horrors adjacent to the characters' lives evoke contemporary parallels, particularly in regions like Gaza. With over five months of relentless violence, Israel's defiance of international court orders, and Western governments passively reprimanding while fueling the conflict with arms shipments, the spectre of genocide looms ominously. It risks becoming a mundane backdrop to daily existence. It is a stark portrayal of how affluent lifestyles can be linked to neighbouring atrocities, challenging the notion of denial and complicity.

The film doesn't centre around the Holocaust (Glazer's own words), with its specific historical context. Instead, it delves into a more universal theme: humanity's ability to coexist with atrocities and even derive some form of reconciliation or gain from them. The discomforting reflections are on purpose. It prompts us to acknowledge that the threat of annihilation of any people is always closer than we might imagine.

One of the most poignant moments in the film occurs when a package filled with clothing and lingerie pilfered from the prisoners of the camp arrives at the Höss household. The commandant's wife decides that everyone, including the servants, can select one item. She claims a coat for herself and trys on makeup discovered in one of its pockets.

How can the people who are so staunch against Glazer not draw parallels with Israeli soldiers who have recorded themselves rummaging through the lingerie of Palestinian women and slut shaming them? (Why are Israeli soldiers obsessed with Gaza women's underwear?) Or proudly displaying stolen shoes and jewellery for their partners back home (Israeli soldier loots Palestinian homes for his engagement party). Or celebrating International Women's Day with a photo of women soldiers posing for selfies against the backdrop of destruction (How an AP photographer made this image of Israeli soldiers taking a selfie at the Gaza border).

The film is rife with these parallels that it feels like a chilling documentary. It is a grim reality: the potential emergence of the first live-streamed genocide, captured by its very architects.

Gaza doesn't mirror the systematic mass murder machinery of Auschwitz, nor does it approach the scale of Nazi atrocities. However, the entire purpose behind establishing the postwar framework of international humanitarian law was to equip us with the means to collectively recognise practices before history repeats itself on a large scale. And disturbingly, some of these practices – such as the construction of walls, creation of ghettos, mass killings, openly stated intentions of elimination, widespread starvation, plundering, gleeful dehumanisation, and deliberate humiliation – are recurring. And have been long before October 7th.

How do we disrupt the cycle of trivialisation and normalisation? What actions can we take? There are persistent protests and acts of civil disobedience to "uncommitted" votes, disrupting events, organising aid convoys, fundraising for refugees, and creating radical works of art.

And as genocide fades further into the background of our culture, some people grow too desperate for any of these efforts. I am certainly one of them.

Yet, these efforts seem insufficient, particularly when those in positions of power remain indifferent. It's insufficient when I watch a video of a little girl saying that the violence has made her feel less beautiful before she talks about her father being kidnapped by Israeli soldiers or of the orphans visiting their mother's burial spot in the street. It is insufficient when the death toll rises to exceed the daily death toll of any other major conflict of the 21st century.

Perhaps it's unfair of me to prioritise one tragedy over another, given the multitude of suffering in the world – the ones that are in the news cycle and the ones that are not. Yet, my connection to Palestine and its plight feels as personal as it can be without me actually being Palestinian, fostered from childhood teachings and further enriched through my own research. I have loved ones directly impacted by this conflict: friends in the diaspora grappling with survivor's guilt, friends in the West Bank enduring the daily hardships of occupation. And my friends in Gaza are all either dead, dying or being pushed straight into the arms of death.

The realisation that my efforts to help them are insufficient fills me with frustration. I'm angered by the indifference of those in power and by the hostility encountered by those attempting to bring the truth to the forefront.

I don't think people truly understand the gravity of Rafah being bombed.

There is nowhere left to go.

The lowest cost is $5,000 USD to flee to Egypt. There has been people paying over $10,000 USD.

That is the only option

Pay or die.

Rafah was the only place in Palestine promised not to be bombed. That promise is broken.

1.5 million people have nowhere to go!

Reminder, if possible, please donate to the PCRF, ANERA, Islamic Relief, Palestine Red Crescent Society, Medical Aid for Palestinians, Defense for Children International - Palestine, Doctors Without Borders, and all other trusted organizations.

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“NO.”

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Palestinian artist Imad Abu Ishtayyah painted this piece during Israel's 2014 Genocide on Gaza. It's called 'We Shall Return', with a Palestinian woman wearing a traditional Palestinian dress (thobe) & she is rising from the buildings destroyed by Israel in Gaza, showing hope amidst the destruction.

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if you are unable to donate financially to help palestine, you can donate your time by protesting, boycotting, and putting up posters!

if all you have is your device and internet access, you can put your clicks to good use on arab.org. they use the advertising revenue generated by your clicks to help good causes.

and i would urge those able to spare a few dollars to donate to one or more of the following organizations:

eSims for Gaza

Direct aid for Gaza

Care for Gaza

Women for Women International

Institute for Middle East Understanding

Medical Aid for Palestinians

Palestine Children Relief Fund

Muslim Aid USA

Direct Aid for Gaza

Palestinian American Medical Association

Urgent support for medical professionals in Gaza

Emergency Relief for Gaza

Anera

Taawon

ALICIA VIKANDER as CATHERINE PARR

FIREBRAND (2023)

Support dignity kits for displaced Palestinians as well as other medical aid!

And if you're looking for a more global approach, there's Days for Girls!

BEIT HANUN, GAZA, PALESTINE - 2015/02/27

Photo by Ahmed Hjazy/Pacific Press/LightRocket via Getty Images

Take a good look at the countries leading/have started the legal battles to hold the IOF accountable -their fights to end IOF terrorism and war crimes, as this should have been done months ago, are now beginning.

So many Palestinian people have been genocided, and the rampant global government inaction has caused chaos, death, and destruction of Gaza... I just hope this leads to a permanent ceasefire and an end to the occupation. I truly do.

Eye on Palestine wrote a letter of gratitude to South Africa. It reads:

A letter of gratitude to South Africa

The team of Eye on Palestine wants to express gratitude and pride in South Africa's historical move of charging Israel with the crime of genocide in the International Court of Justice. Our audience has always made us feel that intersectional solidarity is the key, and today South Africa embodied this solidarity and made the world a witness to it; a nation that survived Apartheid is saving another nation that is being torn by it.

Many Palestinian activists started to lose hope in covering the daily atrocities committed by the Israeli Occupation since real actions were never taken. Today, South Africa has broken this cycle of despair. We will continue spreading the word, covering the crimes against humanity, and to keep pushing for concrete actions. We demand the world to keep an eye on this case. To conclude, Nelson Mandela once said, "Freedom is incomplete without the freedom of the Palestinians".

With love,

Eve on Palestine

James Baldwin