In January 2013, Palestinian activists set up a camp on Israeli-occupied land in the West Bank to protest Israeli settlement plans. They named their village “Bāb al-shams,” or “Gate of the Sun,” after Ilyās Khūrī’s novel by the same name that chronicles the Palestinian refugee experience from the beginning of the conflict to the present. A subsequent protest camp, called “Aḥfād Yūnis” or “the Grandchildren of Yūnis,” positioned the protesters as the heirs to the struggle waged by the novel’s hero, Yūnis, an aging Palestinian freedom fighter who has fallen into a coma. They drew upon the novel’s narrative and characters to create videos, images, and songs in support of their protest. This article uses this moment of interaction between literature and politics to consider how the protesters’ invocation of the novel complicates the relationship between literature, memory, and political activism. Just as the novel critiques an overreliance on certain forms of memory of Palestine, the protesters use the novel’s narrative to move beyond memory as a primary mode of articulating Palestinian political aims in the present. They seek a mode of engaging with the past that is not bound by the fragmented and unreliable recollections of earlier generations, but rather one that is dynamic and constituted through acts of infiltration and movement.

中文翻译：

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尤尼斯的孙辈：巴勒斯坦抗议营、渗透和伊利亚斯·库里的巴布·沙姆斯

2013 年 1 月，巴勒斯坦激进分子在约旦河西岸以色列占领的土地上建立了一个营地，以抗议以色列的定居计划。他们以 Ilyās Khūrī 的同名小说命名他们的村庄“Bāb al-shams”或“太阳之门”，该小说记录了从冲突开始到现在的巴勒斯坦难民经历。随后一个名为“Aḥfād Yūnis”或“Yūnis 的孙子”的抗议阵营将抗议者定位为小说主人公尤尼斯（Yūnis）所进行的斗争的继承人，尤尼斯是一位陷入昏迷的老年巴勒斯坦自由斗士。他们利用小说的叙述和人物创作了视频、图像和歌曲来支持他们的抗议。本文利用文学与政治互动的这一时刻来思考抗议者对小说的引用如何使文学、记忆和政治激进主义之间的关系复杂化。正如小说批评对巴勒斯坦某些记忆形式的过度依赖一样，抗议者使用小说的叙事超越记忆，作为表达巴勒斯坦当前政治目标的主要方式。他们寻求一种与过去打交道的方式，这种方式不受前几代人碎片化和不可靠的回忆的束缚，而是一种动态的、通过渗透和运动行为构成的方式。抗议者使用小说的叙述超越记忆，作为目前阐明巴勒斯坦政治目标的主要方式。他们寻求一种与过去打交道的方式，这种方式不受前几代人碎片化和不可靠的回忆的束缚，而是一种动态的、通过渗透和运动行为构成的方式。抗议者使用小说的叙述超越记忆，作为目前阐明巴勒斯坦政治目标的主要方式。他们寻求一种与过去打交道的方式，这种方式不受前几代人碎片化和不可靠的回忆的束缚，而是一种动态的、通过渗透和运动行为构成的方式。