Minor Detail

I see how mercilessly the wind is pulling at the grasses and trees, shaking their branches in every direction, while the leaves tremble and writhe back and forth, nearly ripping off as the wind viciously toys with them. And the plants simply don’t resist. They just surrender to the fact of their fragility, that the wind can do what it wishes with them, fooling around with their leaves, passing between their branches, penetrating their boughs, and all the while it carries the dog’s frantic barking, tossing the sound in every direction. And again, a group of soldiers capture a girl, rape her, then kill her, twenty-five years to the day before I was born; this minor detail, which others might not give a second thought, will stay with me forever; in spite of myself and how hard I try to forget it, the truth of it will never stop chasing me, given how fragile I am, as weak as the trees out there past the windowpane.

And it is possible, at first glance, to mock this tendency, which could compel someone, after the building next to their office at their new job is bombed, to be more concerned about the dust that was created by the bombing and that landed on their desk than about the killing of the three young men who had barricaded themselves inside, for instance. But despite this, there are some who consider this way of seeing, which is to say, focusing intently on the most minor details, like dust on the desk or fly shit on a painting, as the only way to arrive at the truth and definitive proof of its existence. There are even art historians who make these same claims. All right, they don’t exactly claim to notice fly shit on a painting, but they do make a point of focusing on the least significant details, not the most significant ones, in order to determine, for example, whether a painting is an original or a copy. According to them, when art forgers imitate a painting, they pay attention to major, significant details, like the roundness of the subject’s face or the position of the body, and these they reproduce precisely. However, they rarely pay attention to little details like earlobes or fingernails or toenails, which is why they ultimately fail to perfectly replicate the painting.

As for the incident mentioned in the article, the fact that the specific detail that piqued my interest was the date on which it occurred was perhaps because there was nothing really unusual about the main details, especially when compared with what happens daily in a place dominated by the roar of occupation and ceaseless killing. And bombing that building is just one example. Even rape. That doesn’t only happen during war, but also in everyday life. Rape, or murder, or sometimes both; I’ve never been preoccupied with incidents like these before. Even this incident in which, according to the article, several people were killed, only began to haunt me because of a detail about one of the victims.

The place looks like a little park; the ground is sandy and uneven, and there are a few eucalyptus trees and wooden benches scattered around.

After the establishment of the state of Israel was announced on May 14, 1948, Nirim was the first settlement to be attacked by the Egyptian Army.

At the time, the aim of their operation was to expand the territory of Jewish settlements in the south.

All that is left, all that hasn’t been destroyed, is a single house, and I catch a glimpse of it on my left, surrounded by cypress trees and with grass growing through the stones.

A very large park called Canada Park now extends over the area where all these villages used to be.

checkpoints in the West Bank and Gaza.

murder as the girl experienced it, not relying only on what the soldiers who committed it disclosed, as the author of that article did.