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The Anger of Recognition: Witnessing Gaza and the Pain of Belated Solidarity
Recent polls show growing support for Palestine—especially among Democrats, where support has risen to 59% and continues to grow. Even among Republicans, only 16% now support U.S. military aid to Israel. These numbers should fill anyone in the movement for a free Palestine with hope—but for many of us, they don’t.
Not because they aren’t significant. They are. But because numbers don’t hold the urgency of lives. Of children. Of hunger. Of grief. We’re watching a genocide unfold in real time. So while public opinion shifts in the right direction, our people are still being starved, bombed, and buried. Support is rising—but so are the death tolls. So is the silence from those with power.
It’s not that we’re not hopeful. It’s that we’re holding our hope alongside unbearable loss.
In my case, I’ve been struggling with anger. For almost two years, I have witnessed my people in Gaza endure unspeakable horrors, their lives reduced to statistics, their suffering met with global indifference. The anger I feel is not new, but it has transformed—deepened into something I can only describe as qahr.
In Arabic, qahr is a term that encapsulates more than just anger. It embodies a profound sense of oppression, a grief so intense it becomes a part of one’s very being. As described by Palestinians, qahr is “when you take anger, place it on a low fire, add injustice, oppression, racism, dehumanization to it, and leave it to cook slowly for a century. And then you try to say it but no one hears you. So it sits in your heart. And settles in your cells. And it becomes your genetic imprint.” The word was made popular by Khadija Muhaisen Dajani who took the definition to another level and reached millions in expanding its meaning.

Now, as the world finally begins to acknowledge the genocide in Gaza, I find myself engulfed in a new wave of anger—not just at the atrocities themselves, but at the delayed recognition by those who now, because it is safe, choose to speak out. Their newfound awareness feels like a betrayal, a reminder of the years spent shouting into the void.
Psychologically, anger is often seen as a progression from the paralysis of grief, a step towards healing. Elisabeth Kübler-Ross’s model outlines anger as a natural stage in processing trauma. But what stage accounts for the fury directed at latecomers to a cause? What explains the resentment towards those who now wear solidarity as a badge, oblivious to the weight we’ve carried?
This is not just anger; it’s the manifestation of qahr—a collective, inherited anguish that doesn’t dissipate with time. It’s a reminder that while others had the privilege of ignorance, we bore witness, we mourned, and we resisted.
In Arab mythology, healing from such profound anger isn’t about forgetting or moving on—it’s about transformation. The phoenix, or Anqa, rises from its ashes, not unscathed, but reborn. A metaphor that we have overused in our history of rising from the rubbles, yet what else are we expected to do, but rise? Our path to healing lies in channeling this qahr—this inherited, collective anguish—into acts of creation, education, and unwavering advocacy.
Our strength lies in our wisdom and thousands of years of knowledge embedded in our stories, our bones and in our land.
This is why I wrote A Woman is a School: to honor the stories of my ancestors, to give voice to the generational pain that has long been silenced, and to offer a way forward rooted in the ancient wisdom of our lands. It’s a testament to our ability to transform even the deepest anger into a force for healing and liberation. Through storytelling, we remember. Through remembrance, we resist. And in the act of sharing these stories, we reclaim the knowledge and power that has always been ours.
Nothing seems to pull me out of this wave of anger. I try—on and off—to anchor myself in gratitude, in presence, but that moment flickers quickly into guilt… and then back into rage. How could it not? How does one stay still while our people are being erased in front of the world’s eyes?
Words fail. Language has collapsed under the weight of what we’re witnessing. My only solace is in action—in showing up with the full weight of my being. Designing, documenting, writing, witnessing, teaching, amplifying—doing everything I know how to do in service. But even that feels like trying to sew shut a wound that is still being torn open in real time.
And still, I return to the only clarity that remains: stopping this genocide is the singular goal. Seeing a free Palestine in our lifetime is the compass. Because that’s when the real work begins. When the walls fall, we will need every ounce of imagination to rebuild what was stolen. To heal the land and those who survived. To love through the pain. To unlearn the machinery of oppression and begin again—rooted in justice, in reciprocity, in memory.
Until then, I keep channeling the fire into motion. This anger is a current. Let it move us forward.
{
"article":
{
"title" : "The Anger of Recognition: Witnessing Gaza and the Pain of Belated Solidarity",
"author" : "Céline Semaan",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/the-anger-of-recognition-witnessing-gaza-and-the-pain-of-belated-solidarity",
"date" : "2025-06-02 14:14:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2025_6_2_Anger_EIP_Cover.png",
"excerpt" : "Recent polls show growing support for Palestine—especially among Democrats, where support has risen to 59% and continues to grow. Even among Republicans, only 16% now support U.S. military aid to Israel. These numbers should fill anyone in the movement for a free Palestine with hope—but for many of us, they don’t.",
"content" : "Recent polls show growing support for Palestine—especially among Democrats, where support has risen to 59% and continues to grow. Even among Republicans, only 16% now support U.S. military aid to Israel. These numbers should fill anyone in the movement for a free Palestine with hope—but for many of us, they don’t.Not because they aren’t significant. They are. But because numbers don’t hold the urgency of lives. Of children. Of hunger. Of grief. We’re watching a genocide unfold in real time. So while public opinion shifts in the right direction, our people are still being starved, bombed, and buried. Support is rising—but so are the death tolls. So is the silence from those with power.It’s not that we’re not hopeful. It’s that we’re holding our hope alongside unbearable loss.In my case, I’ve been struggling with anger. For almost two years, I have witnessed my people in Gaza endure unspeakable horrors, their lives reduced to statistics, their suffering met with global indifference. The anger I feel is not new, but it has transformed—deepened into something I can only describe as qahr.In Arabic, qahr is a term that encapsulates more than just anger. It embodies a profound sense of oppression, a grief so intense it becomes a part of one’s very being. As described by Palestinians, qahr is “when you take anger, place it on a low fire, add injustice, oppression, racism, dehumanization to it, and leave it to cook slowly for a century. And then you try to say it but no one hears you. So it sits in your heart. And settles in your cells. And it becomes your genetic imprint.” The word was made popular by Khadija Muhaisen Dajani who took the definition to another level and reached millions in expanding its meaning.Now, as the world finally begins to acknowledge the genocide in Gaza, I find myself engulfed in a new wave of anger—not just at the atrocities themselves, but at the delayed recognition by those who now, because it is safe, choose to speak out. Their newfound awareness feels like a betrayal, a reminder of the years spent shouting into the void.Psychologically, anger is often seen as a progression from the paralysis of grief, a step towards healing. Elisabeth Kübler-Ross’s model outlines anger as a natural stage in processing trauma. But what stage accounts for the fury directed at latecomers to a cause? What explains the resentment towards those who now wear solidarity as a badge, oblivious to the weight we’ve carried?This is not just anger; it’s the manifestation of qahr—a collective, inherited anguish that doesn’t dissipate with time. It’s a reminder that while others had the privilege of ignorance, we bore witness, we mourned, and we resisted.In Arab mythology, healing from such profound anger isn’t about forgetting or moving on—it’s about transformation. The phoenix, or Anqa, rises from its ashes, not unscathed, but reborn. A metaphor that we have overused in our history of rising from the rubbles, yet what else are we expected to do, but rise? Our path to healing lies in channeling this qahr—this inherited, collective anguish—into acts of creation, education, and unwavering advocacy.Our strength lies in our wisdom and thousands of years of knowledge embedded in our stories, our bones and in our land.This is why I wrote A Woman is a School: to honor the stories of my ancestors, to give voice to the generational pain that has long been silenced, and to offer a way forward rooted in the ancient wisdom of our lands. It’s a testament to our ability to transform even the deepest anger into a force for healing and liberation. Through storytelling, we remember. Through remembrance, we resist. And in the act of sharing these stories, we reclaim the knowledge and power that has always been ours.Nothing seems to pull me out of this wave of anger. I try—on and off—to anchor myself in gratitude, in presence, but that moment flickers quickly into guilt… and then back into rage. How could it not? How does one stay still while our people are being erased in front of the world’s eyes?Words fail. Language has collapsed under the weight of what we’re witnessing. My only solace is in action—in showing up with the full weight of my being. Designing, documenting, writing, witnessing, teaching, amplifying—doing everything I know how to do in service. But even that feels like trying to sew shut a wound that is still being torn open in real time.And still, I return to the only clarity that remains: stopping this genocide is the singular goal. Seeing a free Palestine in our lifetime is the compass. Because that’s when the real work begins. When the walls fall, we will need every ounce of imagination to rebuild what was stolen. To heal the land and those who survived. To love through the pain. To unlearn the machinery of oppression and begin again—rooted in justice, in reciprocity, in memory.Until then, I keep channeling the fire into motion. This anger is a current. Let it move us forward."
}
,
"relatedposts": [
{
"title" : "Black Liberation Views on Palestine",
"author" : "EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/black-liberation-on-palestine",
"date" : "2025-10-17 09:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/mandela-keffiyeh.jpg",
"excerpt" : "",
"content" : "In understanding global politics, it is important to look at Black liberation struggles as one important source of moral perspective. So, when looking at Palestine, we look to Black leaders to see how they perceived the Palestinian struggle in relation to theirs, from the 1960’s to today.Why must we understand where the injustice lies? Because, as Desmond Tutu famously said, “If you are neutral in situations of injustice, you have chosen the side of the oppressor.”{% for person in site.data.quotes-black-liberation-palestine %}{{ person.name }}{% for quote in person.quotes %}“{{ quote.text }}”{% if quote.source %}— {{ quote.source }}{% endif %}{% endfor %}{% endfor %}"
}
,
{
"title" : "First Anniversary Celebration of EIP",
"author" : "EIP Editors",
"category" : "events",
"url" : "https://everythingispolitical.com/readings/1st-anniversary-of-eip",
"date" : "2025-10-14 18:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/WSA_EIP_Launch_Cover.jpg",
"excerpt" : "Celebrating One Year of Independent Publishing",
"content" : "Celebrating One Year of Independent PublishingJoin Everything is Political on November 21st for the launch of our End-of-Year Special Edition Magazine.This members-only evening will feature a benefit dinner, cocktails, and live performances in celebration of a year of independent media, critical voices, and collective resistance.The EventNovember 21, 2025, 7-11pmLower Manhattan, New YorkLaunching our End-of-Year Special Edition MagazineSpecial appearances and performancesFood & Drink includedTickets are extremely limited, reserve yours now!Become an annual print member: get x back issues of EIP, receive the End-of-Year Special Edition Magazine, and come to the Anniversary Celebration.$470Already a member? Sign in to get your special offer. Buy Ticket $150 Just $50 ! and get the End-of-Year Special Edition Magazine Buy ticket $150 and get the End-of-Year Special Edition Magazine "
}
,
{
"title" : "Miu Miu Transforms the Apron From Trad Wife to Boss Lady: The sexiest thing in Paris was a work garment",
"author" : "Khaoula Ghanem",
"category" : "",
"url" : "https://everythingispolitical.com/readings/miu-miu-transforms-the-apron-from-trad-wife-to-boss-lady",
"date" : "2025-10-14 13:05:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_MiuMiu_Apron.jpg",
"excerpt" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.",
"content" : "Miuccia Prada has a habit of taking the least “fashion” thing in the room and making it the argument. For Spring 2026 at Miu Miu, the argument is the apron; staged not as a coy retro flourish but as a total system. The show’s mise-en-scène read like a canteen or factory floor with melamine-like tables, rationalist severity, a whiff of cleaning fluid. In other words, a runway designed to force a conversation about labor before any sparkle could distract us.From the opening look—German actress Sandra Hüller in a utilitarian deep-blue apron layered over a barn jacket and neat blue shirting—the thesis was loud: the “cover” becomes the thing itself. As silhouettes marched on, aprons multiplied and mutated—industrial drill cotton with front pockets, raw canvas, taffeta and cloqué silk, lace-edged versions that flirted with lingerie, even black leather and crystal-studded incarnations that reframed function as ornament. What the apron traditionally shields (clothes, bodies, “the good dress”) was inverted; the protection became the prized surface. Prada herself spelled it out: “The apron is my favorite piece of clothing… it symbolizes women, from factories through to serving to the home.”Miu Miu Spring 2026 Ready-to-Wear. SuppliedThis inversion matters historically. The apron’s earliest fashion-adjacent life was industrial. It served as a barrier against grease, heat, stain. It was a token of paid and unpaid care. Miu Miu tapped that lineage directly (canvas, work belts, D-ring hardware), then sliced it against domestic codes (florals, ruffles, crochet), and finally pushed into nightlife with bejeweled and leather bibs. The garment’s migration across materials made its social migrations visible. It is a kitchen apron, yes, but also one for labs, hospitals, and factories; the set and styling insisted on that plurality.What makes the apron such a loaded emblem is not just what it covers, but what it reveals about who has always been working. Before industrialization formalized labor into factory shifts and wages, women were already performing invisible labour, the kind that doesn’t exist on payrolls but sits at the foundation of every functioning society. They were cooking, cleaning, raising children, nursing the ill. These tasks were foundational to every economy and yet absent from every ledger. Even when women entered the industrial workforce, from textile plants to wartime assembly lines, their domestic responsibilities did not disappear, they doubled. In that context, the apron here is a quiet manifesto for the strength that goes unrecorded, unthanked, and yet keeps civilization running.The algorithmic rise of the “tradwife,” the influencer economy that packages domesticity as soft power, is the contemporary cultural shadow here. Miu Miu’s apron refuses that rehearsal. In fact, it’s intentionally awkward—oversized, undone, worn over bikinis or with sturdy shoes—so the viewer can’t flatten it into Pinterest-ready nostalgia. Critics noted the collection as a reclamation, a rebuttal to the flattening forces of the feed: the apron as a uniform for endurance rather than submission. The show notes framed it simply as “a consideration of the work of women,” a reminder that the invisible economies of effort—paid, unpaid, emotional—still structure daily life.If that sounds unusually explicit for a luxury runway, consider the designer. Prada trained as a mime at Milan’s Piccolo Teatro, earned a PhD in political science, joined the Italian Communist Party, and was active in the women’s rights movement in 1970s Milan. Those facts are not trivia; they are the grammar of her clothes. Decades of “ugly chic” were, essentially, a slow campaign against easy consumption and default beauty. In 2026, the apron becomes the newest dialect. An emblem drawn from leftist feminist history, recoded into a product that still has to sell. That tension—belief versus business—is the Miuccia paradox, and it’s precisely why these aprons read as statements, not trends.The runway narrative traced a journey from function to fetish. Early looks were squarely utilitarian—thick cottons, pocketed bibs—before migrating toward fragility and sparkle. Lace aprons laid transparently over swimmers; crystal-studded aprons slipped across cocktail territory; leather apron-dresses stiffened posture into armor. The sequencing proposed the same silhouette can encode labor, intimacy, and spectacle depending on fabrication. If most brands smuggle “workwear” in as set dressing, Miu Miu forced it onto the body as the central garment and an unmissable reminder that the feminine is often asked to be both shield and display at once.It’s instructive to read this collection against the house’s last mega-viral object: the micro-mini of Spring 2022, a pleated, raw-hem wafer that colonized timelines and magazine covers. That skirt’s thesis was exposure—hip bones and hemlines as post-lockdown spectacle, Y2K nostalgia framed as liberation-lite. The apron, ironically, covers. Where the micro-mini trafficked in the optics of freedom (and the speed of virality), the apron asks about the conditions that make freedom possible: who launders, who cooks, who cares? To move from “look at me” to “who is working here?” is a pivot from optics to ethics, without abandoning desire. (The aprons are, after all, deeply covetable.) In a platform economy that still rewards the shortest hemline with the biggest click-through, this is a sophisticated counter-program.Yet the designer is not romanticizing toil. There’s wit in the ruffles and perversity in the crystals; neither negate labor, they metabolize it. The most striking image is the apron treated as couture-adjacent. Traditionally, an apron protects the precious thing beneath; here, the apron is the precious thing. You could call that hypocrisy—luxurizing the uniform of workers. Or, strategy, insisting that the symbols of care and effort deserve visibility and investment.Of course, none of this exists in a vacuum. The “tradwife” script thrives because it is aesthetically legible and commercially scalable. It packages gender ideology as moodboard. Miu Miu counters with garments whose legibility flickers. The collection’s best looks ask viewers to reconcile tenderness with toughness, convenience with care, which is exactly the mental choreography demanded of women in every context from office to home to online.If you wanted a season-defining “It” item, you’ll still find it. The apron is poised to proliferate across fast-fashion and luxury alike. But the deeper success is structural: Miu Miu re-centered labor as an aesthetic category. That’s rarer than a viral skirt. It’s a reminder that clothes don’t merely decorate life, they describe and negotiate it. In making the apron the subject rather than the prop, Prada turned a garment of service into a platform for agency. It’s precisely the kind of cultural recursion you’d expect from a designer shaped by feminist politics, who never stopped treating fashion as an instrument of thought as much as style.The last image to hold onto is deceptively simple: a woman in an apron, neither fetishized nor infantilized, striding, hands free. Not a costume for nostalgia, not a meme for the feed, but a working uniform reframed, respected, and suddenly, undeniably beautiful. That is Miu Miu’s provocation for Spring 2026: the work behind the work, made visible at last."
}
]
}