It's essential to comprehend that the objective reality of Israeli literature and art is not solely based on propaganda, nor is it entirely crafted for external export. A one-dimensional view of Israeli literature—encompassing novels, stories, poems, paintings, and films—cannot yield anything other than, at best, cats or rats scurrying over the bookshelves of Arab intellectuals.

In its core essence, Israeli literature aims to provide the Israeli soldier with a sense of connection to the 'homeland' after centuries of dispersion and ghettos. This literature strives to give the Israeli soldier the spiritual joy felt by someone historically detached from land, nationality, or language, who has now become intimately connected to all three.

Israeli literature is directed primarily at presenting art and literature for an Israeli society whose people have historically and psychologically connected with the literary and artistic outputs of the diverse communities in which they lived for centuries. For the first time, they have a literature of their own, one that flourishes on the soil taken by force and violence; a political map beneath which they planted their bayonets and declared from atop tanks: this is our land!

This is the third generation to which contemporary Israeli stories and novels now cater. Despite their ideological backdrop of gas chambers, individual and mass massacres, and the swastikas, they serve as a protective serum against the plague of Haskalah in its old form, first introduced by Moses Mendelssohn, the pioneering philosopher of the Jewish Enlightenment movement, who stood against the religious seclusion of Jews and the thick prison walls they erected between themselves and the societies they lived in, and their dreadful isolation within the walls of the Jewish ghetto.

• Publishing house: Dar Al-Farabi for Publishing and Distribution
• Number of Pages: 127
• Year of publication: 2014