This essay explores how contemporary Palestinian cultural producers—across literature, art, and film—simultaneously expose and disrupt the chronopolitics of settler occupation. It pairs Adania Shibli's 2002 novella Masās (Touch) with the 2013 short film Condom Lead directed by Tarzan and Arab in order to theorize a poetics of the everyday. Their works generate an ontology of the present eschatologically bound to an emptied future time–space. The essay then turns to Khalil Rabah's conceptual multisite project the Palestinian Museum of Natural History and Humankind (2003) and Larissa Sansour's science fiction trilogy: A Space Exodus (2009), Nation Estate (2012), and In the Future They Ate from the Finest Porcelain (2015). Their projects engage in speculative modes of world-building that bridge past and future temporalities in order to render legible the unviability of the present. I situate these works, on the one hand, in relation to scholarship on affect and ṣumūd (steadfastness) in post-Oslo popular Palestinian cultural production. On the other, I put them into conversation with theorizations of counter-futurism and Afrofuturism as historical recovery projects. Read paratactically, this body of Palestinian art illustrates the critical potential of impossible acts of imagination.

这篇文章探讨了当代巴勒斯坦文化生产者——跨越文学、艺术和电影——如何同时揭露和破坏定居者占领的时间政治。它将 Adania Shibli 2002 年的中篇小说Masās (Touch) 与 2013 年由 Tarzan 和 Arab 导演的短片Condom Lead配对，以将日常生活的诗学理论化。他们的作品产生了一个与空的未来时空相关联的当前末世本体论。然后，这篇文章转向 Khalil Rabah 的概念性多站点项目巴勒斯坦自然历史和人类博物馆（2003 年）和 Larissa Sansour 的科幻三部曲：太空出走（2009 年）、国家庄园（2012 年）和在未来他们从最好的地方吃瓷(2015)。他们的项目参与了世界构建的思辨模式，连接了过去和未来的时间，以使现在的不可行性清晰可见。一方面，我将这些作品置于后奥斯陆流行的巴勒斯坦文化生产中关于情感和ṣumūd（坚定）的学术研究中。另一方面，我将它们与作为历史恢复项目的反未来主义和非洲未来主义的理论进行了对话。并列地阅读，这一系列巴勒斯坦艺术展示了不可能的想象行为的关键潜力。