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Interviewing the Interviewer
Prem Thakker on his Relentless Reporting on Gaza and U.S. Government Accountability
Illustrations by Yassa Almokhamad-Sarkisian
CÉLINE: Hi Prem! I just want to say that what we find particularly interesting in your reporting career are the ways in which you talk about climate, about Gaza, about so many different things. How do you see a subject like climate politics connect to the situation in Gaza?
PREM: A big part of my evolution was just trying to understand power dynamics, trying to understand incentive structures, motivations, broader systems of power and social management. And so I think with all these issues, of course, there are intersectional, material ways in which they all connect, whether it’s arguments regarding capitalism or production or military industrial complex and so on and so forth. But there’s also just this broader sense of the way in which many things seem to happen in a very undemocratic way, in a way that the more these things happen and the more intense scale at which they happen, the easier it is for them to continue happening, because people on an individual scale can only care about so much, can only manage so much, particularly when there’s so much they have to care about in their own personal lives and spheres. And the more these violent systemic issues escalate and intensify, the more overwhelming they are for an individual person, and the less bandwidth they have to care about them, leaving the government and the powers that be more leeway to escalate further. It’s a very cyclical, circular dynamic that understandably alienates people from each other. And so for me, a through-line between all this is that personal aspect of it, of trying to approach all these with a sense of generosity and empathy, in the same way that I can see myself as a subject in these things too.

AFEEF: We have been following your work for a while, but we really know you best from your interactions with the government, pushing Matt Miller into a corner. What does it feel like to face down the government nearly every day and try to hold them to account? Can you give us a bit of a peek behind the curtain?
PREM: I’m still a fairly young journalist; I’m fairly new to a lot of this, especially things like the government briefing rooms, and the way I approach it is just very earnestly. I’ve been trying my best to learn from the veterans in those rooms, because I think they’re all very talented and very good at what they do. But I think I’m just there to ask questions that many people have. There’s this veneer in Washington, for which stem certain assumptions about how things work, and therefore, there’s other questions to be asking that these veterans have been conditioned not to ask. There are a lot of basic tensions and contradictions in Washington, and not just about Gaza, and a lot of things that merit a more basic questioning. So I do this as much as I can in the Capitol briefing rooms. I’m just trying to ask questions that would be reasonable for any observer to be asking. That’s my goal. My general approach is just…if something seems a little confusing or weird or contradictory, or actively antithetical to purported government values, or purported government statements, those should be questioned.
AFEEF: Give us a bit of an understanding of the tension. Any anecdotes or memories that jump out?
PREM: One would just be that it’s been 273 days since the Israeli military killed Hind Rajab and her family members and the paramedics that were sent to save her. That has been a case that I’ve continually asked the government about. She’s just one amongst tens or hundreds of thousands of children who’ve been killed, and those paramedics are amongst hundreds who’ve been killed. Those are family members amongst the tens or hundreds of thousands who have been killed. But it sticks out because this specific case is so prominent. There is such an abundance of material evidence available—the horrifying emergency call, time stamps, locations, emergency workers and unit soldiers to interview and interrogate—that if it were a priority for the Israeli government, for the US government by proxy, that if it were a priority this would not take 273 days to get an accountability resolution. It’s very striking. This case is very emblematic and illustrative of how the US government has responded to how the Israeli government has operated, and how tall the stack is of alleged human rights violations.
CÉLINE: Totally. With all the evidence and all of the ways in which everything has been documented and verified, it seems that you’re always faced with the same sort of robotic answers by these people. What’s the best case scenario in that press room, and what’s the worst case scenario?
PREM: There has definitely been an understandable questioning by a lot of people of the merits of these briefings entirely, about what they’re for. And I understand that, especially for those who just see the videos and see the non- answers. This isn’t necessarily an aberration for government spokespeople, especially for US spokespeople, to operate this way. Their role is to defend the party line. To defend the policy of the US government. Obviously, what’s unique is just how much more visible this is with tools like Twitter and so on. I think I don’t actually have a perfect answer of what these briefings mean, or what the merits are. I’m just there as much as I can to try to find answers and to try to ask questions.
AFEEF: Your profile has probably risen a lot in the last few months, and I wonder what it’s been like personally for you to get TV time and go viral and what, what has that been like personally.
PREM: A difficult aspect of being in journalism, particularly journalism that is focused on politics, corruption, civil rights, foreign policy, the environment and so on, is that oftentimes the reason some journalists’ careers accelerate is because of work that they’re doing that’s focused on very horrific, sad things. I’m glad that people seem to be finding the work we’re doing helpful and beneficial, and that they resonate with it. But it’s a very weird and complex feeling to have your career as a journalist benefit from the work you’re doing when the work you’re doing is actually quite painful.
CÉLINE: How do you sustain your mental health? Do you have a practice? Do you have any rituals to stay afloat?
PREM: I’m surrounded by very, very good people who have hearts of gold and are also very compassionate and caring about the world, but are also compassionate and caring about what’s right in front of them, and so to be something that’s in front of them, and to be a benefactor of that caring compassion is very sustaining. I do like to meditate. I do like to play sports. I feel like a big part of life is just playing. And I feel like as much as we can play and can play with other people and just hang out is very sustaining. It’s understandable for people who are so immersed in these kinds of topics, whether it’s climate change or war or attacks on civil liberties, civil rights, systematic discrimination, racism, you name it, to just feel very hopeless, or to feel very conflicted about removing yourself from that, even for a moment. But it seems like if we’re going to care about the world, you also have to care about not just your own world, but the people who share that world with you, including your loved ones, your friends, your neighbors, and part of that involves enjoying being around them. And so I think it’s not just a philosophical act of resistance to love life and share good times. It’s important because it’s a coherent part of caring about the world. Those reminders that others have shared with me have been very grounding and important.
CÉLINE: What do you hope is the impact on culture from your work? Younger journalists seeing you in these rooms; that alone is an important image. You wearing black nail polish in these rooms. That’s another image. What is the impact that these images have on culture?
PREM: Going back to what we talked about earlier, about the assumptions of the way this place is supposed to work.
There are questions that no one really asks because that’s not the news of the day, that should not be controversial questions. Even very basic ones, like, “Hey, Senator, the world’s on fire. Why are you behaving this way? It’s the world’s hottest year on record. What do you say to your constituents who just suffered from a hurricane made worse by climate change?” I try to pursue those questions and not fall into the understandable tendency to just operate on the assumptions of how this place is supposed to work. Washington is supposed to serve people, so if myself and my colleagues can be a part of encouraging other journalists to embrace that spirit, to be much more empowered, and to see that other people feel that way too, and bring them to be even more engaged. I think that’s a good thing, because a lot of people in this country, for very good reason and in different flavors, are disenchanted, alienated, separated from politics. I empathize with that and sympathize with that, but I think it’s all the more important for them to be here too, to be skeptical, to be present, to be reading and learning.
That is my broader hope with the work we try to do: to listen to the disempowered and give them voice and to make them feel power, and to not make them feel like they’re always spoken down to. With regards to things like me wearing nail polish, or things like that, or just basically looking a little different. The world needs a little more color. What’s wrong with that?
In Conversation:
Illustration by:
For the last year, all of us have watched Prem Thakker. He has consistently interrogated the U.S State Department in their daily press briefings to shed major light on stories coming out of the genocide in Palestine. Always insistent and clear-eyed, Prem has never shied away from asking hard questions of people who are seemingly lying directly to the American public. Prem sat with Céline Semaan and Afeef Nessouli to explain what it has been like to go toe to toe with staffers from the State Department at daily press briefings, what it has been like to be thrust into the spotlight and what it is like to carry this heavy responsibility at a time when honest journalism is needed most.
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{
"article":
{
"title" : "Interviewing the Interviewer: Prem Thakker on his Relentless Reporting on Gaza and U.S. Government Accountability",
"author" : "Prem Thakker, Céline Semaan, Afeef Nessouli",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/prem-thakker-reporting-gaza-us-accountability",
"date" : "2024-12-11 14:33:00 -0500",
"img" : "https://everythingispolitical.com/uploads/prem-thumb.jpg",
"excerpt" : "Illustrations by Yassa Almokhamad-Sarkisian",
"content" : "Illustrations by Yassa Almokhamad-SarkisianCÉLINE: Hi Prem! I just want to say that what we find particularly interesting in your reporting career are the ways in which you talk about climate, about Gaza, about so many different things. How do you see a subject like climate politics connect to the situation in Gaza?PREM: A big part of my evolution was just trying to understand power dynamics, trying to understand incentive structures, motivations, broader systems of power and social management. And so I think with all these issues, of course, there are intersectional, material ways in which they all connect, whether it’s arguments regarding capitalism or production or military industrial complex and so on and so forth. But there’s also just this broader sense of the way in which many things seem to happen in a very undemocratic way, in a way that the more these things happen and the more intense scale at which they happen, the easier it is for them to continue happening, because people on an individual scale can only care about so much, can only manage so much, particularly when there’s so much they have to care about in their own personal lives and spheres. And the more these violent systemic issues escalate and intensify, the more overwhelming they are for an individual person, and the less bandwidth they have to care about them, leaving the government and the powers that be more leeway to escalate further. It’s a very cyclical, circular dynamic that understandably alienates people from each other. And so for me, a through-line between all this is that personal aspect of it, of trying to approach all these with a sense of generosity and empathy, in the same way that I can see myself as a subject in these things too.AFEEF: We have been following your work for a while, but we really know you best from your interactions with the government, pushing Matt Miller into a corner. What does it feel like to face down the government nearly every day and try to hold them to account? Can you give us a bit of a peek behind the curtain?PREM: I’m still a fairly young journalist; I’m fairly new to a lot of this, especially things like the government briefing rooms, and the way I approach it is just very earnestly. I’ve been trying my best to learn from the veterans in those rooms, because I think they’re all very talented and very good at what they do. But I think I’m just there to ask questions that many people have. There’s this veneer in Washington, for which stem certain assumptions about how things work, and therefore, there’s other questions to be asking that these veterans have been conditioned not to ask. There are a lot of basic tensions and contradictions in Washington, and not just about Gaza, and a lot of things that merit a more basic questioning. So I do this as much as I can in the Capitol briefing rooms. I’m just trying to ask questions that would be reasonable for any observer to be asking. That’s my goal. My general approach is just…if something seems a little confusing or weird or contradictory, or actively antithetical to purported government values, or purported government statements, those should be questioned.AFEEF: Give us a bit of an understanding of the tension. Any anecdotes or memories that jump out?PREM: One would just be that it’s been 273 days since the Israeli military killed Hind Rajab and her family members and the paramedics that were sent to save her. That has been a case that I’ve continually asked the government about. She’s just one amongst tens or hundreds of thousands of children who’ve been killed, and those paramedics are amongst hundreds who’ve been killed. Those are family members amongst the tens or hundreds of thousands who have been killed. But it sticks out because this specific case is so prominent. There is such an abundance of material evidence available—the horrifying emergency call, time stamps, locations, emergency workers and unit soldiers to interview and interrogate—that if it were a priority for the Israeli government, for the US government by proxy, that if it were a priority this would not take 273 days to get an accountability resolution. It’s very striking. This case is very emblematic and illustrative of how the US government has responded to how the Israeli government has operated, and how tall the stack is of alleged human rights violations.CÉLINE: Totally. With all the evidence and all of the ways in which everything has been documented and verified, it seems that you’re always faced with the same sort of robotic answers by these people. What’s the best case scenario in that press room, and what’s the worst case scenario?PREM: There has definitely been an understandable questioning by a lot of people of the merits of these briefings entirely, about what they’re for. And I understand that, especially for those who just see the videos and see the non- answers. This isn’t necessarily an aberration for government spokespeople, especially for US spokespeople, to operate this way. Their role is to defend the party line. To defend the policy of the US government. Obviously, what’s unique is just how much more visible this is with tools like Twitter and so on. I think I don’t actually have a perfect answer of what these briefings mean, or what the merits are. I’m just there as much as I can to try to find answers and to try to ask questions.AFEEF: Your profile has probably risen a lot in the last few months, and I wonder what it’s been like personally for you to get TV time and go viral and what, what has that been like personally.PREM: A difficult aspect of being in journalism, particularly journalism that is focused on politics, corruption, civil rights, foreign policy, the environment and so on, is that oftentimes the reason some journalists’ careers accelerate is because of work that they’re doing that’s focused on very horrific, sad things. I’m glad that people seem to be finding the work we’re doing helpful and beneficial, and that they resonate with it. But it’s a very weird and complex feeling to have your career as a journalist benefit from the work you’re doing when the work you’re doing is actually quite painful.CÉLINE: How do you sustain your mental health? Do you have a practice? Do you have any rituals to stay afloat?PREM: I’m surrounded by very, very good people who have hearts of gold and are also very compassionate and caring about the world, but are also compassionate and caring about what’s right in front of them, and so to be something that’s in front of them, and to be a benefactor of that caring compassion is very sustaining. I do like to meditate. I do like to play sports. I feel like a big part of life is just playing. And I feel like as much as we can play and can play with other people and just hang out is very sustaining. It’s understandable for people who are so immersed in these kinds of topics, whether it’s climate change or war or attacks on civil liberties, civil rights, systematic discrimination, racism, you name it, to just feel very hopeless, or to feel very conflicted about removing yourself from that, even for a moment. But it seems like if we’re going to care about the world, you also have to care about not just your own world, but the people who share that world with you, including your loved ones, your friends, your neighbors, and part of that involves enjoying being around them. And so I think it’s not just a philosophical act of resistance to love life and share good times. It’s important because it’s a coherent part of caring about the world. Those reminders that others have shared with me have been very grounding and important.CÉLINE: What do you hope is the impact on culture from your work? Younger journalists seeing you in these rooms; that alone is an important image. You wearing black nail polish in these rooms. That’s another image. What is the impact that these images have on culture?PREM: Going back to what we talked about earlier, about the assumptions of the way this place is supposed to work.There are questions that no one really asks because that’s not the news of the day, that should not be controversial questions. Even very basic ones, like, “Hey, Senator, the world’s on fire. Why are you behaving this way? It’s the world’s hottest year on record. What do you say to your constituents who just suffered from a hurricane made worse by climate change?” I try to pursue those questions and not fall into the understandable tendency to just operate on the assumptions of how this place is supposed to work. Washington is supposed to serve people, so if myself and my colleagues can be a part of encouraging other journalists to embrace that spirit, to be much more empowered, and to see that other people feel that way too, and bring them to be even more engaged. I think that’s a good thing, because a lot of people in this country, for very good reason and in different flavors, are disenchanted, alienated, separated from politics. I empathize with that and sympathize with that, but I think it’s all the more important for them to be here too, to be skeptical, to be present, to be reading and learning.That is my broader hope with the work we try to do: to listen to the disempowered and give them voice and to make them feel power, and to not make them feel like they’re always spoken down to. With regards to things like me wearing nail polish, or things like that, or just basically looking a little different. The world needs a little more color. What’s wrong with that?"
}
,
"relatedposts": [
{
"title" : "Skims, Shapewear, and the Shape of Power: When a Brand Expands Into Occupied Territory",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/skims-shapewear-and-the-shape-of-power",
"date" : "2025-11-17 07:13:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Skims_Israel.jpg",
"excerpt" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.",
"content" : "On the evening of November 11, Kris Jenner celebrated her 70th birthday inside the fortified sprawl of Jeff Bezos’s $175 million Beverly Hills compound, hidden behind hedges so tall they violate city regulations, a rule he bypasses with a monthly $1,000 fine that functions more like a subscription fee than a penalty. The theme was James Bond, black tie and martini glasses, a winking acknowledgment of Amazon’s new ownership of the 007 franchise. Guests surrendered their phones upon arrival, a formality as unremarkable as valet check-in. Whatever managed to slip beyond the gates came in stray fragments: a long-lens photograph of Oprah Winfrey stepping out of a black SUV, Mariah Carey caught mid-laugh on the curb, Kylie Jenner offering a middle finger through the window of a chauffeured car. The rest appeared hours later in the form of carefully curated photos released by an official photographer, images softened and perfected until they resembled an ad campaign more than documentation. Nothing inside was witnessed on anyone’s own terms.The guest list felt less like a party roster and more like an index of contemporary American power. Tyler Perry arrived early, Snoop Dogg later in the evening, Paris Hilton shimmering in a silver column that clung like liquid metal. Hailey Bieber drifted past in a slinky black dress, while Prince Harry and Meghan Sussex appeared in images that were quietly scrubbed from the family grid a day later. Nine billionaires circulated among the luminaries, their combined wealth brushing toward $600 billion. Mark Zuckerberg and Priscilla Chan joined Bill Gates at the poker table, while Bezos himself wandered through the party with Lauren Sánchez, doing the kind of effortless hosting that comes with having $245B in the bank.Jenner, dressed in red vintage Givenchy by Alexander McQueen, floated from conversation to conversation. She paused for a warm embrace with Perry, raised a glass with Hilton, and eventually made her way to the dance floor with Justin Bieber. At 70, she remains the family’s central command center, equal parts mother, manager, strategist, and brand steward. The celebration functioned as a kind of coronation, a reaffirmation that the Kardashian-Jenner empire is not stagnating but expanding, stretching itself into new sectors and new narratives with the same relentless ease that has defined its last decade.Just two weeks earlier, on a bright Monday in late October, a very different scene unfolded at the SKIMS flagship on the Sunset Strip. That morning, the boutique had been cleared to host Hagiborim, the Israeli nonprofit that supports children of fallen IDF soldiers and orphans of the October 7 attacks. Around a dozen girls wandered the store, laughing among themselves, perusing tank tops, and snapping selfies before assembling outside with those unmistakable beige SKIMS shopping bags. The images of the visit were sparse and easily missed unless one went searching; they appeared only on Hagiborim’s Instagram highlights. The event took place on October 28, less than a week before news began to circulate about SKIMS’s upcoming entry into the Israeli market.The launch itself unfolded with clinical precision. On November 10th in partnership with Irani Corp, SKIMS went live on Factory 54’s Israeli website, with in-store boutiques planned for December and ten to fifteen standalone stores projected to open across Israel by 2026. The company’s official language remained on brand, warm and relentlessly forward-looking. It spoke of “inclusivity,” of “community presence,” of broadening the global market. Nowhere did it acknowledge the war in Gaza, though the border sits just over an hour away and the headlines that week were filled with rising casualty counts and allegations of cease-fire violations, an entirely different reality unfolding parallel to the brand’s expansion.Hours after the SKIMS launch, Kardashian’s Instagram shifted into overdrive. She posted a carousel of herself in a gray bikini, captioned with a single emoji racking up millions of likes. The images came just two days after news of her fourth unsuccessful attempt at the California Bar had broken, a reminder that in the Kardashian ecosystem, social media momentum often outweighs any setback.Beneath the SKIMS machine which just raised $225M in funding is a quieter network of capital. Joshua Kushner, Jared’s younger brother, the polished, soft-spoken investor whose firm helped seed Instagram, owns a 10 percent stake and a board seat in SKIMS, a detail that surfaces only in required filings and the occasional business-page profile. The Kushner family’s ties to Israel run far deeper than the brand’s marketing conveys: long-standing real-estate ventures in Tel Aviv, and a family foundation that has funneled at least $342,000 to Friends of the IDF and another $58,500 to West Bank settlement groups and yeshivas in places like Beit El and Efrat. Jared Kushner’s diplomatic work on the Abraham Accords carved geopolitical corridors that SKIMS now moves through. The brand may position itself as apolitical, but the infrastructure of its Israel expansion is built on deeply political ground.Fashion media, however, showed little interest in any of this. A wide sweep through the archives of Business of Fashion, WWD, and Vogue Business yields nothing, not a single headline, not even a line buried in a retail digest. The launch through Factory 54, the long-term plan for as many as fifteen stores, the philanthropic event with Hagiborim, all of it passed in silence in the sector that usually treats Kardashian business moves as reliable traffic drivers.Instead, their coverage was devoted wholly to Kris Jenner’s birthday. Harper’s Bazaar published three separate pieces. W Magazine dubbed it “the Kardashians’ own Met Gala.” Vogue broke down the night with a dutifully detailed recap that leaned heavily on Harry and Meghan’s brief presence, clearly recognizing their value as SEO gold.The Kardashians operate with a level of intentionality that has outpaced many political campaigns. They understand the choreography of public-facing narratives better than any other family in American media. The Hagiborim visit, girls only, modest branding, no Kim in sight, served as a small preemptive gesture, a way to soften potential critique before the Israel launch rolled out. While the party dominated the feed, the expansion passed unnoticed and the charity event remained strictly confined to the margins, a calculated sequence, not chaos, the kind of PR mastery we’ve come to expect from Kris Jenner.The same instinct shapes their political signaling. On Inauguration Day 2025, as Donald Trump took the oath of office for a second term, Kim posted a silent Instagram Story of Melania Trump stepping out in a navy ensemble and wide-brimmed hat. She offered no caption, no endorsement, no framing. The image disappeared within 24 hours, but not before sparking a brief firestorm. It is the same familiar pattern, presence without explanation, the kind of ambiguity that allows the public to fill in the blanks while the family remains insulated.Beyond their insulated world, the conflict continues. Inside the bubble, the champagne is crisp, the Hulu cameras are rolling and the narrative is intact. What remains for the public is the split-screen: Kris Jenner blowing out seventy candles beneath a ceiling of crystals, surrounded by some of the wealthiest people alive; and Kim Kardashian posing in a studded bikini, eyes locked on the lens, hinting at the next product drop. Between the two lies a series of transactions, commercial, political, and moral, that the audience is never invited to examine.As for Kris Jenner’s birthday, it will be remembered. The launch will fade. The girls who posed with their new SKIMS pajamas will grow older; the war will either end or shift into some new phase. And the Kardashian-Jenner machine will keep moving, calculating every image, every post, every angle, ensuring the story that matters most is always the one they control."
}
,
{
"title" : "Unpublished, Erased, Unarchived: Why Arab-Led Publishing Matters More Than Ever",
"author" : "Céline Semaan",
"category" : "",
"url" : "https://everythingispolitical.com/readings/unpublished-erased-unarchived",
"date" : "2025-11-13 10:25:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Unpublished.jpg",
"excerpt" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.",
"content" : "At a moment when news of Gaza, West Bank, South Lebanon, and Beirut are slowly disappearing from the headlines—and from public consciousness—Arab writers face a singular burden: We must write the stories that no one else will print. We live in a media landscape that refuses to see us as fully human. A recent analysis from Giving Compass suggests that traditional media skews Palestinian news: seven major U.S. news outlets found that Palestinian stories were 13.6% to 38.9% less likely to be individualized than Israeli ones. Meaning, Palestinians appear as abstractions—statistics, masses, “civilians”—not as people with names, losses, or lives. Meanwhile, reports from the Centre for Media Monitoring (CfMM) show that UK outlets had a fourfold increase in coverage only when Gaza was framed through the lens of “criticism of Israel,” not Palestinian experience itself.Against this backdrop of erasure, the scarcity of Arab women’s voices in publishing is even more alarming. A bibliometric study spanning 1.7 million publications across the Middle East and North Africa shows that men publish 11% to 51% more than women. What’s more, women’s authorship is less persistent, and men reach senior authorship far faster. Arab women are not only under-published but also systematically written out of the global record.This is why Slow Factory has founded Books for Collective Liberation, an Arab-led, independent imprint committed to telling Arab stories the way they should be told: authentically, empathetically, and wholly. We publish work that would never survive the filters of legacy publishing: the political hesitation, the “market concerns,” the fear of touching Arab grief, joy, or its future. Independence is not an aesthetic choice; it is the only way to protect our stories from being softened, sanitized, or structurally erased.Our forthcoming title, On the Zero Line, created in partnership with Isolarii, is a testament to that mission. It stands on the knife’s edge where memory is threatened with extinction—a book that documents what official archives will not. It is a testimony that refuses to disappear.But books alone are not enough. Stories need a home that is alive, responsive, and politically unafraid. That is the work of Everything is Political (EIP), our independent media platform and growing archive of essays, investigations, and first-person journalism. In an era where Big Tech throttles dissenting voices and newsrooms avoid political risk, EIP protects the creative freedom of Arab writers and journalists. We publish what mainstream outlets won’t—because our lives, our histories, and our communities, dead or alive, should not depend on editorial courage elsewhere.Together, Books for Collective Liberation and Everything is Political form an ecosystem of resistance: literature and journalism that feed each other, strengthening each other, building memory as infrastructure—a new archive. We refuse the fragmentation imposed on us: that books are separate from news, that culture is separate from politics, that our narratives exist only within Western frameworks. This archive is not static; it is a living, breathing record of a people determined to write themselves into the future.When stories from Gaza, Beirut, and the broader Levant fail to make the news—or make it only as geopolitical abstractions—the result breeds distortion and public consent to eliminate us. It is a wound to historical truth. It erases whole worlds. We will not let that happen.Independent, Arab-led publishing is how we repair that wound. It is how we record what happened, in our own voice. It is how we ensure that no empire, no newsroom, and no algorithm gets to decide which of our stories survive.Tonight, we gather at Palestine House to celebrate the launch of On the Zero Line, a collection of stories, essays, and poems from Gaza, translated in English for the first time. This evening, we are centering the lived experiences of Palestinians from Gaza who have been displaced in London. I have the honor of interviewing journalist Yara Eid and Ahmed Alnaouq, project manager of the platform “We are not Just Numbers.” Here, we will discuss how mainstream literature and journalism have censored us—and how we can keep our stories alive in response."
}
,
{
"title" : "The British Museum Gala and the Deep Echoes of Colonialism",
"author" : "Ana Beatriz Reitz do Valle Gameiro",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/the-british-museum-gala-and-the-deep-echoes-of-colonialism",
"date" : "2025-11-11 11:59:00 -0500",
"img" : "https://everythingispolitical.com/uploads/the-younger-memnon-statue-british-museum%20copy.jpg",
"excerpt" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.",
"content" : "When it comes to fashion, few things are as overblown, overanalyzed, and utterly irresistible as a gala. For instance: hear the name “Met Gala”, and any fashionista’s spine will tingle while every publicist in New York breaks into a cold sweat. While New York has been hosting the original event at the Metropolitan Museum since 1948 and Paris had its Louvre moment in 2024, London finally decided to answer with an event at the British Museum on 18 October this year.The invitation-only event drew high-profile guests such as Naomi Campbell, Mick Jagger, Edward Enninful, Janet Jackson, Alexa Chung, and James Norton. With a theme of ‘Pink Ball,’ the night drew inspiration from the vibrant colors of India and walked hand-in-hand with the museum’s ‘Ancient India: Living Traditions’ exhibition, adding a touch of colonial irony à la British tradition.Unlike its always-talked-about New York counterpart, or Paris’s star-studded affair last year that reunited figures like Doechii, Tyra Banks, Gigi Hadid, and Victoria Beckham, London’s event felt less memorable fashion-wise. With little buzz surrounding it - whether due to a less star-studded guest list, unremarkable fashion, or its clash with the Academy Museum Gala - it ultimately felt more like an ordinary night than a headline-making affair.But the event was not entirely irrelevant. In fact, it prompted reflections rarely discussed in mainstream media. Notably, because in spite of the museum’s sprawling collection of objects from other marginalized countries, the event ‘‘celebrated’’ Indian artifacts looted during colonial rule. Equally noteworthy is the institution’s partnership with BP - the British oil giant whose exports reach Israel, a state that, in the twenty-first century, stands as a symbol of colonialism and the ongoing genocide of Palestinians. And, of course, every penny raised went to the museum’s international initiatives, including an excavation project in Benin City, Nigeria, and other archaeological digs in Iraq.Although excavation is often portrayed as a means of preserving the past, archaeologists acknowledge that it is inherently destructive - albeit justifiable if it provides people with a deeper understanding of the human past. As Geoffrey Scarre discusses in Ethics of Digging, a chapter in Cultural Heritage Ethics: Between Theory and Practice, it matters who has the authority to decide what is removed from the ground, how it is treated, whether it should be retained or reburied, and who ultimately controls it. Something that feels especially relevant when discussing the objects of marginalized communities and the legacies of countries shaped by European colonialism, now just laid bare as trophies to embellish the gilded halls of Euro-American institutions.That the British Museum’s collections were built on the wealth of its nation imperialism is hardly news. Yet the institution, like so many others, from the Louvre to the Met, continues to thrive on those very foundations. As Robert J. C. Young observes in Postcolonial Remains, “the desire to pronounce postcolonial theory dead on both sides of the Atlantic suggests that its presence continues to disturb and provoke anxiety: the real problem lies in the fact that the postcolonial remains.”Although postcolonialism is often mistakenly associated with the period after a country gained independence from colonial rule, academics like Young, Edward Said, Gayatri Chakravorty Spivak, and Frantz Fanon acknowledge that our world is still a postcolonial one, with cultural, political, and economic issues reflecting the lasting effects of colonization. Its aftermath extends beyond labels like “Third World” or the lingering sense of superiority that still marks the Global North; it also fuels a persistent entitlement to our art, culture, and legacy.This entitlement can be seen in the halls of many museums worldwide. And though looting may not always be illegal - as in how these institutions acquire those objects - it is certainly unethical. For decades, scholars and activists have debated that these institutions should restitute the legacies taken from other lands, objects stolen through wars of aggression and exploitation. Still, these museums deliberately choose to hold them, artifacts that bear little cultural resonance for their current keepers, but profound meaning for the people from whom they were taken.But these debates are no longer confined to academic circles. Take Egypt, for instance. Its long-awaited Grand Museum finally opened its doors three decades after its initial proposal in 1992 and nearly twenty years since construction began in 2005. Now fully operational, breathing fresh life into Egypt’s storied past through showcasing Tutankhamun’s tomb among other relics of the country, it is demanding the return of its legacy. Egypt’s former and famously outspoken Minister of Tourism and Antiquities, Dr. Zahi Hawass, for instance, recently told the BBC: “Now I want two things, number one, museums to stop buying stolen artefacts, and number two, I need three objects to come back: the Rosetta Stone from the British Museum, the Zodiac from the Louvre, and the Bust of Nefertiti from Berlin.” Beyond the direct call-out, Dr. Hawass has initiated online petitions demanding the return of the artifacts, amassing hundreds of thousands of signatures. Nevertheless, the world’s great museums remain silent, and the precious Egyptian treasures are still very much on display.With African, Asian, and Latin American legacies still held captive within Euro-American institutions, the echoes of colonialism linger well into the 21st century, keeping the postcolonial order intact. Even fashion, an industry that loves to believe it exists beyond politics, proves such. Whether through events that claim to celebrate certain things but end up being meaningless, the current Eurocentrism that still dominates the industry, or how many labels still profit from the aesthetics of marginalized nations without acknowledgment, fashion, much like museums, reproduces the very hierarchies postcolonial theory seeks to expose.Ultimately, the British Museum’s latest event does not celebrate Indian culture or Nigerian history through its excavation in Benin City. Like so many Euro-American institutions, it reinforces imperial power - masquerading cultural theft as preservation.In fashion as in museums, spectacle too often conceals empire - and beauty, unexamined, can become complicity."
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