JEDDAH: “Every child in Gaza is me,” writes Palestinian poet Mosab Abu Toha in the creed-like opening of “Forest of Noise,” setting the tone for the poems to come and establishing his profound connection to his people and Palestine.

The poems within the slim but impactful volume by the Palestine Book Award-winning poet blend personal narratives with the broader documentation of life under Israeli occupation, siege, and bombardment in Gaza.

Released amidst one of the most turbulent periods in recent Palestinian history, Abu Toha uses the art form to not only capture personal memory, but to document Israel’s atrocities committed against Palestinians and the resilience of the people living in a continuous state of emergency.

Written in clear, simple language that often evokes visceral, painful imagery, his poetry oscillates between moments of loss, destruction, and survival, and glimpses of peace that seem fantastical in their rarity.

In “Palestinian Village,” Abu Toha imagines a peaceful scene “where a canary never tires of singing” that feels like a distant memory or a dream in stark contrast to the harrowing reality on the ground. The poem, like others in the collection, is a reminder of the cultural and natural heritage that Palestinians are fighting to preserve amid what Amnesty International, as well as some regional states, have termed a genocide.

In “On Your Knees” he powerfully uses repetition of the line “on your knees!” to document the humiliating and horrifying experience of being abducted by Israeli forces as he attempted to cross the Rafah border with his family in November 2023.

Abu Toha resists physical subjugation with poetry as a form of resistance and memory — asserting the Palestinian self and narrative and highlighting the power of art to fight back against erasure.

In “After Allen Ginsberg,” the Palestinian poet draws from the American’s iconic work “Howl,” writing:

“I saw the best brains of my generation

protruding from their slashed heads.”

By adopting Ginsberg's confrontational style, Abu Toha’s unrestrained voice laments and protests Israel's ongoing assault that has claimed the lives of thousands of children, women, and men. 

The poet’s unwavering voice in “Forest of Noise” challenges readers to see Gaza not as a distant conflict but as a human tragedy that demands attention.

SHIRAZ, Iran: In the winding alleys of southern Iran, artist Adel Yazdi has taken it upon himself to turn his rustic old neighborhood into a cultural and tourist hub through vibrant paintings and carved relief faces.
Narenjestan, a neighborhood characterized by crumbling, uninhabited houses, is nestled in Shiraz, a southern city celebrated for its historic architecture, lush gardens, and revered poets.
“Most of the dilapidated walls in old Shiraz have no historical value,” said Yazdi, a bushy-bearded, bespectacled 40-year-old artist who has dedicated himself to revitalizing Narenjestan.
Over the years, Yazdi has turned the long-neglected neighborhood walls into a vivid visual tapestry “telling the stories of the people living here,” he said.
Arabesque patterns and relief faces carved with intricate details and painted in vivid hues of greens, pinks, blues, and purples now adorn the walls.
With its striking designs and bright colors, Yazdi’s art can be reminiscent of Surrealism. It often comes across as surprising, showcasing a different side of Iran’s artistic heritage that goes beyond the conventional focus on traditional architecture.
The artwork includes the face of Scheherazade, Yazdi said, referencing the legendary storyteller from the “One Thousand and One Nights” collection of folktales.
Yazdi’s work stands out in Shiraz, where graffiti and murals are rare, and it has become a social media sensation and a tourist attraction.
Yazdi said he drew inspiration from the Pompidou Center in Paris, a cultural hub that transformed the heart of the French capital in the 1970s. He hopes his efforts can turn Shiraz’s alleyways into a more vibrant cultural center.

At his residence, visitors are particularly drawn to what Yazdi calls “the Finger Room.”
Inside, he installed around 14,000 finger sculptures on the ceiling, all pointing downward.
“The room is inspired by the legend of an angel that counts raindrops with thousands of fingers,” he said, referring to a religious fable.
“These fingers constantly remind us that the present moment is precious and that we must seize it.”