Gaza by The Sea

What the Sea Leaves Behind

By Ibrahim Isam

I was standing on a rock farther along the same shoreline, some distance away, waiting for a seagull to cross before the setting sun so I could capture it in a photograph.

But the man who appeared in the frame caught my attention more. He was not a fisherman, nor had he come to the sea looking for a catch. He was simply a passerby who had found a piece of an abandoned fishing net on the sand. He picked up one end and walked toward the water, as if a human being, when life grows narrow around him, needs nothing more than a small possibility to try his luck.

I tried to bring the scene closer with my modest cameras. I did not know what he was really searching for: a fish, a little sustenance, or perhaps something that could not be seen.

I watched him and thought about the strange nature of being human. We reach our hands into the unknown, not because we know what will come back to us, but because something within us refuses to stop trying.

The sunset was pouring its gold across the water, without promise or question, as though reminding us that sustenance is not always what we carry home. Sometimes it is the space that remains in the heart for hope, the capacity for acceptance, and the eyes that are still able to see beauty amid so much weariness.

I had come waiting for a seagull, hoping to make a photograph, and instead I found another image—one I had never been looking for.

An image of a human being reaching toward the sea, not knowing what would return to his hands, and doing it anyway.

Perhaps that is the whole story:
to strive without demanding certainty from life, to hope without resisting what comes, and to leave the unknown its share of the story.

For some forms of sustenance never arrive in the net…
they arrive in the heart, when it learns to keep trying, and then leaves the rest to the sea.

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Palestine: Heritage, Folklore

From Palestinian Heritage:

The image shows a Palestinian girl wearing a traditional dress embroidered in black and red with a white headdress, carrying a basket full of rural Battiri eggplants on her head. The red and black embroidered dress embodies a part of the region’s rich heritage and folklore, reflecting its traditional identity and culture. The image shows a basket of local (Battiri) eggplants, renowned for their quality and distinctive taste, which are associated with Palestinian agricultural villages.

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Al-Zahra Palace is a historical landmark built in 1900 in Jerusalem by the brothers Said and Imran Al-Daqqaq in the Al-Sahira Plain. The vibrant Al-Zahra Street is named after it. The palace was built in 1900 by two brothers Said and Imran Al-Daqqaq from the Al-Daqqaq family of Jerusalem and is located in the Al-Sahira Plain area, outside the northern wall of the Old City of Jerusalem. It was designed by a Turkish architect, combining a distinctive architectural style reflecting the late Ottoman period with information given by Abir Abu Nimeh.

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Reem Arkan: The woman from Rafah who knows only too well about misery, destruction and dereliction. These are not mere thoughts but sad, practical realities at the end of the Israeli gun-barrel. The hands, broken face, closed eyes and more against the background of a whirlpool of destruction are not just mere imaginations. It is about what people, ordinary women, children, men, old, are going through in Gaza through no fault of their own. These are grim realities that haunt the work artist who lives in Rafah, one of the war cauldrons of the Israeli-imposed genocide .

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Sad Woman of Palestine

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