July 2020

Noted

‘Minor Detail’ by Adania Shibli (trans. Elisabeth Jaquette)

By Mireille Juchau
‘Minor Detail’ by Adania Shibli
The Palestinian author’s haunting novel about an atrocity committed by Israeli soldiers in 1949

A coiled hose, a howling dog, terebinth trees, soap suds, the smell of petrol on human skin. These details are so subtly embedded in part one of Minor Detail (Text) that when they recur in part two they gain a holographic glow. Palestinian Adania Shibli’s cinematic novel stages a return of the repressed on a national scale by reprising an atrocity committed by Israeli soldiers in the Negev region in 1949. In 2003, Israeli newspaper Haaretz used newly unclassified army documents to uncover the crime: “In August 1949 an IDF unit caught a Bedouin girl, held her captive in a Negev outpost, gang-raped her, executed her at the order of the platoon commander and buried her in a shallow grave in the desert.” After a secret trial the commander was jailed and 19 soldiers received light sentences. “On the first night the soldiers abused her,” reported the commander, “and the next day I saw fit to remove her from the world.”

Shibli reimagines this event from two viewpoints. Part one unfolds over four days in August, 1949. From a cool distance we follow the commander as he orders his soldiers to detain the girl, then collectively vote on her fate. In his hut, feverish from an insect bite and compulsively washing, he unravels. Shibli’s third novel is an unflinching account of violence and dehumanisation, and J.M. Coetzee’s endorsement might alert us to the tradition in which this exceptional writer is working – except that Shibli breaks new ground. 

Her masterstroke is to abruptly change tone, setting part two in the present, where a young woman from Ramallah undertakes her own investigation into the crime. This perspective shift reminds us of the continuing violence in Palestine, where our unnamed narrator lives and works with the ceaseless noise of warplanes, shelling, ambulances and military sirens. Obsessed with a “minor detail” in the account of the atrocity that “will stay with me forever; in spite of myself and how hard I try to forget it”, she borrows an identity card, hires a car and packs competing maps of the territory’s changing borders and settlements. After passing through several checkpoints, each time growing more terrified that her identity will be discovered, our narrator reaches the site of the murder. Why does it haunt her? A less skilful writer might have reproduced the lurid details from the press, but those reports relied solely on what the soldiers disclosed. Shibli instead uses a lyrical, intensely sensory mode to describe how we identify with figures from the past, and especially the restless dead. She reprises the howling dog, the trees, the hose, the petrol stench. Now more potent, now spectral, these motifs link past and present. 

Shibli’s protagonist is in the mould of literature’s obsessives. Coetzee calls her “profoundly self-absorbed” and “high on the autism scale”. But this doesn’t address the way external conditions – life under occupation, being repeatedly held at gunpoint – are the likely cause of her agitation. She’s foolhardy, apologetic, a stutterer, unable to “evaluate situations rationally”. At every checkpoint, she experiences “the barrier of fear, fashioned from fear of the barrier”. Ultimately, she resists self-absorption by seeking justice – however minor, however private – through her rash act of witnessing. Minor Detail refuses the commander’s “I saw fit to remove her from the world”, by restoring an unnamed Bedouin girl to history. It is brutal, hypnotic and haunting.

Mireille Juchau

Mireille Juchau is a writer and critic. Her most recent novel is The World Without Us.

In This Issue

Illustration by Jeff Fisher

Witnessing the unthinkable

New climate modelling suggests planetary crisis is coming much sooner than previously thought

Image of Scott Morrison with Guugu Yimidhirr people at Reconciliation Rocks, Cooktown, 2019

Reconciliation and the promise of an Australian homecoming

What would make an acknowledgement of country more welcome

Illustration by Jeff Fisher

Weal of fortune

Rebuilding the economy means government investment, but not all public spending is equal

Illustration by Jeff Fisher

Weathering the cost

After 300 inquiries into natural disasters and emergency management, insurers are taking the lead


Online exclusives

Image of Joseph Engel and Sara Montpetit in Falcon Lake, directed by Charlotte Le Bon. Photo by Fred Gervais, courtesy of MK2 and Metafilms

Cannes Film Festival 2022 highlights: part one

Mia Hansen-Løve’s ‘One Fine Morning’, Charlotte Le Bon’s ‘Falcon Lake’ and Dmytro Sukholytkyy-Sobchuk’s ‘Pamfir’ were bright spots in an otherwise underwhelming line-up

Image of a man updating a board showing a tally of votes during independent candidate Zoe Daniel’s reception for the 2022 federal election. Image © Joel Carrett / AAP Images

The art of the teal

Amid the long decline of the major parties, have independents finally solved the problem of lopsided campaign financing laws?

Image of Monique Ryan and family on election night

The end of Liberal reign in Kooyong

At the Auburn Hotel on election night, hope coalesces around Monique Ryan

Image of US President Joe Biden meeting virtually with Chinese President Xi Jinping from the Roosevelt Room of the White House, November 15, 2021. Image © Susan Walsh / AP Photo

The avoidable war

Kevin Rudd on China, the US and the forces of history