I'm looking for a story that confronts destruction

“Writing with Specters of Erasure” was the theme of the meeting, supported by Dar al-Adab and “Fam” magazine, and it approached Shipley’s novel and short story writing, which moves between the margin and the body, secondary and important, especially his latest novel “Second Level Detail”, in which he talked about his second level, “the moment of focusing on a detail, like you're walking by a tall building and suddenly you see something smaller. A tree growing out of a wall makes you wonder how it found its way into life through building and asphalt. It is a detail or secondary edge that takes us to a shop for life, as if it saves us. Even if we are not at the center, we are still here, and this edge allows us to be together in Palestine at the height of power, oppression, suffering and despair. These details come from unknown sources. Take note and remind yourself that there are other opportunities.

Regarding secondary detail, which has become a craft in writing, perception, and awareness, Shipley said: “Art and literary sensibility develop through constant attention to these compassionate details. Breaking free from the limitations of reality and history that do not allow for secondary existence is a critical moment for literature. History is always central and History focuses on all those people who have no place in history, and literature secures a place for them in existence.

Athenia Shipley's novel begins at a pivotal historical moment in Arab history, the summer of 1949, a year after the Nakba, which led to the displacement and expulsion of more than 700,000 Palestinians, and the consolidation of a state institution that realizes it. Its continued existence is based on the obliteration and removal of the other's identity. A history of blind oppression and violence affects the characters in Shipley's stories, which are narratively fractured.

The author says: “I am not ready to tell the story. During my childhood, we would go to the surrounding villages with our family to pluck trees and play as children. As I grew up, I learned that the family used it. We had to go and pick the trees from the insects, and as children we used to protect the trees with a silent, hidden story. “Unlike the novel that tries to destroy… For example, when we turn on television in Palestine, and listen to the spokesmen of the Israeli government, we see that their novel is integrated, organized, has the characteristics of a unified narrative, so how can I trust this narrative structure that works all the time to destroy me? Here. I am looking for any kind of confrontation with destruction, a narrative practiced by occupying authorities without slipping into violence, and without suffocation or suffocation, a kind of harassment or confrontation with the world that creates an emotional relationship with the world, but rather a narrative that chooses moments of absence and presence, such as the relationship between silence and sound. Absence is prevention. Or if it's a hidden, driving narrative that's not just a decision to persecute, it has many other meanings.”