Nadia Yaqub is Professor of Arabic Language and Culture and at the University of North Carolina at Chapel Hill. Her research has examined Arab medieval literature and contemporary oral poetry, as well as modern prose fiction and visual culture. I spoke to her about three of her books: Bad Girls of the Arab World, which is about women and transgression in the Arab world, Palestinian Cinema in the Days of Revolution, which is an invaluable study of Palestinian resistance through the lens of Third Cinema, and her most recent edited anthology, Gaza on Screen.

I learned a lot in this conversation about humility, opacity and the limits of solidarity across distance and across gaps in exposure to vulnerability. Yaqub has a deep understanding of the politics of the so-called “humanitarian image,” which is something she is very conflicted about in her work. She asks whether humanitarian images of Palestinian suffering “are always depoliticizing or victimizing, or whether the depoliticization occurs through the inherently ideological frameworks in which such images circulate.”

I ask, as my first question to Nadia, what that idea of the framework means in the current moment, where Palestinians are limited in using artistic practices to demand freedom. I think a lot of us are wondering about the political forces that exist around the overwhelmingly terrifying images we’re receiving of total war being waged on Palestine’s civilian population and infrastructure. Nadia’s insight are really helpful here.

There’s this idea in her work that the visual practices of Palestinians make up what she calls an “image archive of steadfastness.” Steadfastness is a core value in Palestinian culture. Yaqub is picking it up in a unique way to say that, especially in terms of art and storytelling, steadfastness is about trying to sustain a sense of community. There’s power in this idea for thinking about the role that communication plays in providing the conditions for political sympathy with Palestinian liberation.