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Welcome back to The Daily’s Sunday culture edition, in which one Atlantic writer or editor reveals what’s keeping them entertained. Today’s special guest is Kevin Townsend, a senior producer on our podcast team. He currently works on the Radio Atlantic podcast and has helped produce Holy Week—about the week after Martin Luther King Jr.’s assassination—and the Peabody-winning Floodlines, which explores the devastation of Hurricane Katrina.

Kevin enjoys reading Philip Levine’s poems and visiting the National Gallery of Art, in Washington, D.C., where he can sit with Mark Rothko’s large-scale works. He’s also a Canadian-punk-music fan—Metz is one of his favorite bands—and a self-proclaimed Star Trek nerd who’s excited to binge the final season of Star Trek: Discovery.

First, here are three Sunday reads from The Atlantic:

Amanda Knox: “What if Jens Söring actually did it?” How Daniel Radcliffe outran Harry Potter The blindness of elites

The Culture Survey: Kevin Townsend

A quiet song that I love, and a loud song that I love: In college, I developed a steady rotation of quiet songs that didn’t distract me while I was studying. Artists such as Tycho and Washed Out were some of my favorites.

Recently, I’ve been into Floating Points, the moniker for Samuel Shepherd, a British electronic-music producer. I could recommend his Late Night Tales album or Elaenia, but the one that stands out most to me is his collaborative album, Promises, featuring the saxophonist Pharoah Sanders and the London Symphony Orchestra. It’s a gorgeous, layered work that’s best listened to all the way through—but if you’re pressed for time, “Movement 6” is an exceptional track.

As for a loud song, one of my favorite bands is the Canadian punk trio Metz. I’ve had “A Boat to Drown In” on heavy rotation for the past year. It doesn’t have the thrumming precision of their earlier singles such as “Headache” and “Wet Blanket,” but the song is a knockout every time. Metz just released a new record, Up on Gravity Hill, that I’m excited to get lost in.

The last museum or gallery show that I loved: “Mark Rothko: Paintings on Paper,” an exhibition at the National Gallery of Art, showcased some of the abstract painter’s lesser-known works. The show closed recently, but the museum’s permanent collection features a good number of his works, including some of his famous color-field paintings. The National Gallery is also home to many pieces from the collection of the now-closed Corcoran Gallery of Art, and they’re worth a visit—especially the Hudson River School paintings, which must be seen in person in all of their maximalist glory.

Best novel I’ve recently read, and the best work of nonfiction: A few months ago, on my honeymoon, I reread No Country for Old Men. It’s far from a romantic beach read, but few writers are as tersely gripping as Cormac McCarthy. The Coen brothers’ film adaptation is fantastic, but the novel—published in 2005, two years into the Iraq War—encompasses a wider story about generations of men at war. It’s worth reading even if you’ve seen the movie.

I also brought with me a book I’d long meant to read: Lulu Miller’s Why Fish Don’t Exist. Part science history, part memoir, the book is mostly a biography of David Starr Jordan, Stanford University’s first president and a taxonomist who catalogued thousands of species of fish. It’s a unique and remarkable read that I can’t recommend highly enough. Fundamentally, it’s about our need for order—in our personal world, and in the natural world around us.

Miller’s book reminds me of a recent Radio Atlantic episode that I produced, in which Atlantic staff writer Zoë Schlanger discusses her new book, The Light Eaters, about the underappreciated biological creativity of plants. Miller and Schlanger both examine and challenge the hierarchies we apply to the natural world—and why humanity can be better off questioning those ideas.

A poem, or line of poetry, that I return to: My favorite poet is Philip Levine. His work is spare and direct, alive with love for the unsung corners of America and the people who inhabit them. Levine lived in Detroit during the Depression and spent more than three decades teaching in Fresno. Having grown up in Pittsburgh and moved to California as a teenager, I connected easily with the world he saw.

“What Work Is” and “The Simple Truth” are two of his poems that I often return to, especially for the final lines, which feel like gut punches. [Related: An interview with Philip Levine (From 1999)]

Speaking of final-line gut punches, the poem (and line) that I think of most frequently is by another favorite poet of mine: the recently departed Louise Glück. “Nostos,” from her 1996 book, Meadowlands, touches on how essential yet fragile our memories are, and there’s a haunting sweetness to its last line: “We look at the world once, in childhood. / The rest is memory.”

The television show I’m most enjoying right now: It’s May, so, honestly: the NHL playoffs. (And it’s been a great year for hockey.) But when it comes to actual television, I’m excited to binge the fifth and final season of Star Trek: Discovery.

It’s bittersweet that the series is ending. Sonequa Martin-Green gives an Emmy-worthy lead performance, but for all of the show’s greatness, it can lean a bit too much into space opera, with the galaxy at stake every season and a character on the verge of tears every episode. Trek is usually at its best when it’s trying to be TV, not cinema. (And that’s including the films—Star Trek II: The Wrath of Khan succeeded by essentially serving up a movie-length episode.) [Related: A critic’s case against cinema]

Being a friend of DeSoto, I want to give another Trek-related recommendation: The Greatest Generation and Greatest Trek podcasts, which go episode by episode through the wider Trek Industrial Complex. The humor, analysis, and clever audio production elevate the shows above the quality of your typical rewatch podcast. I came to The Greatest Generation as an audio-production and comedy nerd, and it turned me into a Trek nerd as well. So be warned.

Something I recently rewatched, reread, or otherwise revisited: The Hunt for Red October. Somehow, it gets better with every watch. “Give me a ping, Vasili. One ping only, please.”

The Week Ahead

Kingdom of the Planet of the Apes, an action sci-fi movie about a young ape who must face a tyrannical new ape leader (in theaters Friday) Dark Matter, a mystery series, based on the best-selling novel, about a man who is pulled into an alternate reality and must save his family from himself (premieres Wednesday on Apple TV+) First Love, a collection of essays by Lilly Dancyger that portray women’s friendships as their great loves (out Tuesday)

Essay

Illustration by Ben Kothe / The Atlantic. Source: Courtesy of Elena Dudum.

I Am Building an Archive to Prove That Palestine Exists

By Elena Dudum

My father collects 100-year-old magazines about Palestine—Life, National Geographic, even The Illustrated London News, the world’s first graphic weekly news magazine. For years, he would talk about these mysterious documents but rarely show them to anyone. “I have proof,” he would say, “that Palestine exists.”

His father, my paternal grandfather, whom I called Siddi, had a similar compulsion to prove his heritage, though it manifested differently. Siddi used to randomly recite his family tree to my father when he was a child. As if answering a question that had not been asked, he would recount those who came before him …

Although my American-born father didn’t inherit Siddi’s habit of reciting his family tree, he did recite facts; he lectured me about Palestine ad nauseam in my youth, although he had not yet visited. Similar to his father’s, these speeches were unprompted. “Your Siddi only had one business partner his entire life,” he would say for the hundredth time. “And that business partner was a rabbi. Palestinians are getting pitted against the Jews because it’s convenient, but it’s not the truth.”

Read the full article.

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My father collects 100-year-old magazines about Palestine—Life, National Geographic, even The Illustrated London News, the world’s first graphic weekly news magazine. For years, he would talk about these mysterious documents but rarely show them to anyone. “I have proof,” he would say, “that Palestine exists.”

His father, my paternal grandfather, whom I called Siddi, had a similar compulsion to prove his heritage, though it manifested differently. Siddi used to randomly recite his family tree to my father when he was a child. As if answering a question that had not been asked, he would recount those who came before him: “First there was Hassan,” he would say in his thick Arabic accent, “and then there was Simri.” Following fathers and sons down the line of paternity, in a rhythm much like that of a prayer, he told the story of 11 generations. Every generation until my father’s was born and raised in Ramallah, Palestine.

After 1948, however, almost our entire family in Ramallah moved to the San Francisco Bay Area. Although my American-born father didn’t inherit Siddi’s habit of reciting his family tree, he did recite facts; he lectured me about Palestine ad nauseam in my youth, although he had not yet visited. Similar to his father’s, these speeches were unprompted. “Your Siddi only had one business partner his entire life,” he would say for the hundredth time. “And that business partner was a rabbi. Palestinians are getting pitted against the Jews because it’s convenient, but it’s not the truth.”

His lectures were tedious, repetitive, and often fueled with so much passion that they overwhelmed me into silence. And yet they took up permanent residence in my brain, and I would reach for them when pressed to give political opinions after new acquaintances found out I was Palestinian. “So what do the Palestinians even want?” a co-worker’s husband once asked me as we waited in line for the bar at my company’s holiday party. I said what I imagined my father would have said in the face of such dismissiveness: “The right to live on their land in peace.”

But sometime after the luster of young adulthood wore off, I found my piecemeal understanding of Palestinian history—what I’d gleaned from passively listening to my father—no longer sufficient when navigating these conversations. When a man I was on a date with learned where my olive skin and dark hair came from, he told me that Palestinians “were invented,” even though I was sitting right in front of him, sharing a bowl of guacamole. I left furious, mostly at myself. I had nothing thoughtful to say to prove otherwise.

Like my father, I started collecting my own box of scraps about Palestine, although I couldn’t have said why. Perhaps I wanted to slice through a conversation just as others had sliced through my existence, but not even this was clear to me yet. Magazines, books, old posters, and stickers found a home in a corner of my bedroom. My collecting was an obsession. I’d buy books by Edward Said, Mahmoud Darwish, and Mourid Barghouti, not necessarily because I knew who these men were at the time, but because the word Palestine was right there, embossed on the cover.

At first I didn’t dare open these books. They became an homage to my identity that I both eagerly honored and wanted to ignore. My eventual engagement with the material was slow, deliberate. I wanted to preserve a semblance of ease that I feared I would lose once I learned more about my people’s history. I bookmarked articles on Palestine in my browser, creating a haphazard folder of links that included infographics on Palestine’s olive-oil industry, news clippings about the latest Israeli laws that discriminated against Palestinians, and articles on JSTOR with provocative titles like “Myths About Palestinians.” I was building an archive as if I were putting together an earthquake kit—like the ones my parents kept in our basement in San Francisco—even though I didn’t know when this particular survival kit would be useful or necessary.  

But my father knew. His father knew. Our liberation may eventually hang on these various archives.

Even more true: These archives validate Palestinians’ existence.  

In the 19th century, before a wave of European Jews settled in Palestine following the Holocaust, early Zionists leaned on the mythology that the land was empty and barren. The movement advocated for the return of Jews to their ancestral homeland. In 1901, the Zionist author Israel Zangwill wrote in the British monthly periodical The New Liberal Review that Palestine was “a country without people; the Jews are a people without a country.”

In 1969, Israeli Prime Minister Golda Meir was quoted in The Sunday Times of London: “[There is] no such thing as Palestinians … It was not as though there was a Palestinian people in Palestine considering itself as a Palestinian people and we came and threw them out and took their country away from them. They did not exist.” This idea has been similarly reused for more than a century, evolving very little. As recently as February 2024, Israeli Minister of Settlement and National Missions Orit Strock repeated the sentiment during a meeting of Israel’s Parliament, saying, “There is no such thing as a Palestinian people.”

But this fiction of Palestinians’ nonexistence feels tired. It’s a distraction that not only invalidates us but also places Palestinians on the defensive while Israel’s government builds walls and expands illegal settlements that separate Israelis from their very real Palestinian neighbors.

It feels especially absurd in the face of Israel’s latest military campaign in Gaza, launched in response to Hamas’s attacks on October 7. Since then, Israeli strikes have killed more than 34,000 people, according to Gaza’s Ministry of Health, although that number is incomplete. It does not include all of the civilians who have died from hunger, disease, or lack of medical treatment. If Palestinians don’t exist, then who is dying? I fear that Strock’s words may become true, that Palestinians soon will not exist, that slowly they will become extinct. It’s a cruel self-fulfilling prophecy—claim that Palestinians were never there, and do away with them when they continue to prove otherwise.

While listening to my father’s monologues, I used to think about how exhausting it must be for him to keep reminding himself that the place where his father was born is real. At the time, I didn’t think about my place in this heartbreak. But I can’t ignore that heartbreak any longer.

Since October, I’ve returned to my own little box on Palestine. I used to think that this haphazard archive lacked direction, but I see it differently now. This collection proves to me that the place where my great-grandfather owned orchards and grew oranges was real, that the land Siddi was forced to leave behind was a blooming desert before others claimed its harvest. It’s also a catalog of my own awakening, a coming to terms with a history that I didn’t want to know. My ignorance is shattered over and over again when I look through this box and think about all that we are losing today.

Gaza is considered one of the oldest continuously inhabited areas in the world; some of its monuments date back to Byzantine, Greek, and Islamic times. Since the October 7 attacks, however, Israel’s air raids on Gaza have demolished or damaged roughly 200 historical sites, including libraries, hundreds of mosques, a harbor dating back to 800 B.C.E., and one of the oldest Christian monasteries in the world. In December, an Israeli strike destroyed the Omari Mosque, the oldest and largest mosque in Gaza City, which housed dozens of rare ancient manuscripts. Israeli strikes have endangered Gaza’s remaining Christian population, considered one of the oldest in the world, and have destroyed every university while killing more than 90 prominent academics.

The destruction of cultural heritage is not new in the history of war. Perhaps that’s why when my father came across a tattered hardcover titled Village Life in Palestine, a detailed account of life in the Holy Land in the late 1800s, in a used-book store in Cork, Ireland, he immediately purchased it. He knew that books like these were sacred artifacts that hold a truth—a proof of existence outside political narratives. My father’s copy was printed by the London publishing company Longmans, Green, and Co. in 1905. The first few pages of the book contain a library record and a stamp that reads CANCELLED. Below is another stamp with the date: March 9, 1948. I’m not sure if that date—mere months before the creation of Israel—signifies when it was pulled out of circulation, or the last time it was checked out. But the word cancelled feels purposeful. It feels like another act of erasure, a link between my father’s collection and the growing list of historical sites in Gaza now destroyed. We are losing our history and, with that, the very record of those who came before us.

After I started my own collection on Palestine, my father entrusted me with some of his scanned copies of Life that mention Palestine. He waited to show them to me, as if passing on an heirloom. Perhaps he wanted to be sure I was ready or that I could do something with them. One of the magazines dates back to May 10, 1948, four days before the creation of Israel. There’s a headline that reads, “The Captured Port of Haifa Is Key to the Jews’ Strategy.” The author goes on to write that the port “improved Jews’ strategic position in Palestine. It gave them complete control of a long coastal strip south to Tel Aviv … They could look forward to shipments of heavy military equipment from their busy supporters abroad.” Right next to this text is a picture of Palestinian refugees with the caption “Arab Refugees, crammed aboard a British lighter in the harbor at Haifa, wait to be ferried across the bay to the Arab-held city of Acre. They were permitted to take what possessions they could but were stripped of all weapons.”

I can’t help but feel the echo of this history today. I think about President Joe Biden’s plans to build a temporary port in Gaza to allow humanitarian aid in, even though about 7,000 aid trucks stand ready in Egypt’s North Sinai province. Back in October, Israeli Prime Minister Benjamin Netanyahu appeared to welcome the idea of letting help arrive by sea,which at first confused me because not only has he denied that Palestinians are starving, but his government has also been accused by the United Nations and other humanitarian groups of blocking aid trucks from entering Gaza (a claim that Israel denies). Nevertheless, the historical echo seems quite clear to me now as I look through my father’s magazine and see refugees leaving by port 75 years earlier.

I believe my father didn’t want to be alone in his recordkeeping. Who would? It’s endlessly depressing to have to write yourself and your people into existence. But writing about Palestine no longer feels like a choice. It feels like a compulsion. It’s the same drive that I imagine led Siddi to recite his family tree over and over, a self-preservation method that reminded him, just as much as it reminded his young son, of where they came from. It’s the same compulsion that inspires my father to collect the rubble of history and build a library from it.

This impulse is reactive, yes, a response to the repeated denial of Palestine’s existence, but it’s also an act of faith—faith that one day all of this work will be useful, will finally be put on display as part of a new archive that corrects a systematically denied history. Sometimes I hear my father say that his magazines and books will one day be in a museum about Palestine.

“Your brother will open one, and these will be there,” he muses to himself.

Just as the compulsion to archive is contagious, so is hope. Since I’ve started publishing articles and essays about Palestine, I’ve had close and distant relatives reach out to me and offer to share pieces from their own collections.

They ship me large boxes of books and newspapers, packed up from the recesses of their parents’ homes. “Can you do something with these?” they ask. My answer is always yes. I’m realizing that this archiving is not only work I have to do, but something I get to do.

In the middle of the night, my father sends me subjectless emails with links to articles or scanned copies of magazines about Palestine that he’s been waiting to show to someone, anyone, who will care. I save each email in a folder in my Gmail account labeled “Palestine”—a digital version of the box in my bedroom, an archive that I return to whenever I feel despair.

“It’s all here,” my father writes. “We existed. We were there.”