{"id":8036,"date":"2019-08-28T21:42:33","date_gmt":"2019-08-29T04:42:33","guid":{"rendered":"https:\/\/worldcampaign.net\/?p=8036"},"modified":"2019-08-30T04:22:14","modified_gmt":"2019-08-30T11:22:14","slug":"message-of-the-day-human-rights-war-2","status":"publish","type":"post","link":"https:\/\/worldcampaign.net\/?p=8036","title":{"rendered":"Message of the Day: Human Rights, War"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-medium wp-image-8028\" src=\"https:\/\/worldcampaign.net\/wp-content\/uploads\/2019\/08\/2048-1-300x292.jpeg\" alt=\"\" width=\"300\" height=\"292\" srcset=\"https:\/\/worldcampaign.net\/wp-content\/uploads\/2019\/08\/2048-1-300x292.jpeg 300w, https:\/\/worldcampaign.net\/wp-content\/uploads\/2019\/08\/2048-1-150x146.jpeg 150w, https:\/\/worldcampaign.net\/wp-content\/uploads\/2019\/08\/2048-1.jpeg 678w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: 8pt;\">Sama\u00a0al-Kateab, Allepo, 2016, <em>The Observer,<\/em> 25 August 2019<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Comfort the afflicted. Afflict the comfortable.<\/p>\n<p>The former requires the latter.<\/p>\n<p>So, in the late days of August for the comfortable, we bring affliction.<\/p>\n<p>Fix your eyes on a baby girl in Syria. Then on her millions of sisters and brothers. And then millions of adults suffering, dying, resisting, running to save the children and themselves when they can, endlessly.<\/p>\n<p>Three million people are at risk as we write in Syria, in the northern Idlib province. Actually, many more. This on top of the hundreds of thousands of deaths and millions of displaced refugees over the past several years, in what has often been described as the greatest catastrophe of its kind since World War Two.<\/p>\n<p>The proximate cause has been the butchery of the Bashar Al-Assad dictatorship in collusion with Russia and Iran, drawing in or chasing out and enabled by&#8211;everyone&#8211;including US policy or the lack thereof, and that of the UK and Europe as well. ISIS and other extremist groups were launched or kept alive by the Syrian blood bath, with the original moderate majority of Syrians in resistance increasingly destroyed; Turkey has been pulled and pulls in all directions and is dealing with millions of refugees; Israel and Iran are increasingly at war in Syria, Iraq and Lebanon; the Saudis in Yemen are an offshoot of this chaos in many ways; Jordan is over-run with refugees. And the next wave is headed for Europe, again.<\/p>\n<p>History and karma redux, maybe times Armageddon.<\/p>\n<p>As we&#8217;ve noted during our series,<em> The End Of Civilization As We Knew It<\/em>, a direct line can be drawn from Syria to the hyper-sped up disintegration of the international order and values at least aspired to in the World War Two aims in defeating fascism. Of course, it was a moment as a lever created by many forces and events over many years. As we&#8217;ve pointed out relentlessly, the lack of equality in basic needs and rights for all is at the core of what&#8217;s occurred. And the context of the age of weapons of mass destruction and now the digital age has amplified everything in ways that can&#8217;t be overstated.<\/p>\n<p>Any possibility of hope and survival as a species starts with not averting our eyes.<\/p>\n<p>Today, we focus on what has happened and is happening, in Syria.<\/p>\n<p>We salute The Observer in London for forcing us to not avert our eyes.<\/p>\n<p>Here are two articles from Sunday&#8217;s edition.<\/p>\n<p>The first is an editorial. It sums up the situation briefly and powerfully. It is <em>critical<\/em> that the reader go to the links in the editorial, and then the links in the linked articles, which go back years, for a full view of what has occurred. It will be a fair amount of reading, but compared to what? Being a baby girl in Syria running from Assad&#8217;s bombs?<\/p>\n<p>The second is an interview with and overview from\u00a0award-winning Syrian journalist Waad al-Kateab&#8211;a revelatory read and experience. Her new documentary film is a history of what has happened in Syria, from the most human on the ground perspective possible. As a mother, with the film dedicated to her daughter, born in Aleppo in 2016, and featured in the film.<\/p>\n<p>Aleppo.<\/p>\n<p>A place that made the White Helmets famous.<\/p>\n<p>A place that compelled courageous journalists of the likes of CNN&#8217;s chief international correspondent, Clarissa Ward, while reporting from what WBUR&#8217;s profile of her called &#8220;the most dangerous country in the world&#8221;, to beg the audience and the world to wake up and act.<\/p>\n<p>A place, and a word, that will, with certainty, echo through history.<\/p>\n<p>Even more so in the future, if there is one, when individuals in the main value the learning and memory of it once again.<\/p>\n<p>The documentary by al-Kateab, <em>For Sama<\/em>, which won Best Documentary at Cannes this year and other such awards, is opening at cinemas starting in Portland in 48 hours, then throughout the UK, and broadcast there on Channel 4 and on the acclaimed PBS Frontline in the US in the Fall.<\/p>\n<p>Keep your eyes on the venues and schedules.<\/p>\n<p>Do.Not.Miss.It.<\/p>\n<p>Here are the articles:<\/p>\n<p><a href=\"https:\/\/www.theguardian.com\/commentisfree\/2019\/aug\/25\/observer-view-on-syria-the-wests-shameful-failure-to-act\">&#8220;The Observer view on Syria and the west\u2019s shameful failure to act&#8221;<\/a><\/p>\n<p>Editorial, The Observer, London, 25 August 2019<\/p>\n<p><em>The slaughter in Idlib is intensifying and millions have nowhere to go. The whole stability of the Middle East is at risk<\/em><\/p>\n<p>The crisis in Syria does not feature high on the agenda at this weekend\u2019s G7 summit in Biarritz. The absence of two key players \u2013 Russia and Turkey \u2013 means any substantive initiatives are unlikely. Donald Trump has washed his hands of the conflict, although Pentagon chiefs are <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.independent.co.uk\/news\/world\/middle-east\/trump-isis-syria-syrian-democratic-forces-pentagon-fight-a9045136.html\" data-link-name=\"in body link\">resisting his demand<\/a> to withdraw all US forces. European leaders, beset by many other urgent problems, seem to prefer not to think about Syria at all.<\/p>\n<p>This attitude is intolerably shortsighted. <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/world\/2018\/feb\/10\/epic-failure-of-our-age-how-west-failed-syria\" data-link-name=\"in body link\">Western governments\u2019 neglect<\/a> of the eight-year war and, in particular, its impact on civilians is a sadly familiar phenomenon, but no more acceptable for being predictable. Their involvement has been sporadic and uneven, spurred from time to time by headline events such as chemical weapons attacks or war crimes too horrific to ignore. The campaign against Islamic State (Isis) was given priority.<\/p>\n<figure id=\"img-2\" class=\"element element-image img--landscape element--supporting fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"2bbdb877107a9a1827fbc2a0919ceb923a529299\">\n<div class=\"u-responsive-ratio\"><picture><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=380&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=5bbb8a84d143d0dbd8177f50e70cd932 760w\" media=\"(min-width: 1300px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 1300px) and (min-resolution: 120dpi)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=380&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=4fa334f24b64b09a741b52b6c9eff787 380w\" media=\"(min-width: 1300px)\" sizes=\"380px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=300&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=f476abf3f3ab57e67fdb5e9708d9acdd 600w\" media=\"(min-width: 980px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 980px) and (min-resolution: 120dpi)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=0d1c6ba8fd2162a5e0f06b12ed41ee37 300w\" media=\"(min-width: 980px)\" sizes=\"300px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=620&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=831d0cad44d3d28e3545580042873540 1240w\" media=\"(min-width: 660px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 660px) and (min-resolution: 120dpi)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=620&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=84d196244055b4deebd63fa888b61a0a 620w\" media=\"(min-width: 660px)\" sizes=\"620px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=605&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=a95cbb3b16502fee015a77e47fd02d8f 1210w\" media=\"(min-width: 480px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 480px) and (min-resolution: 120dpi)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=605&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=ff489b8eb2ad675c053a0fd7b69385a6 605w\" media=\"(min-width: 480px)\" sizes=\"605px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=445&amp;quality=45&amp;auto=format&amp;fit=max&amp;dpr=2&amp;s=4536b3bbdb346c101b08a2f400cb8333 890w\" media=\"(min-width: 0px) and (-webkit-min-device-pixel-ratio: 1.25), (min-width: 0px) and (min-resolution: 120dpi)\" sizes=\"445px\" \/><source srcset=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=445&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=23fce8b64b1c7f6443532365411076f0 445w\" media=\"(min-width: 0px)\" sizes=\"445px\" \/><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/2bbdb877107a9a1827fbc2a0919ceb923a529299\/387_514_5830_3499\/master\/5830.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=0d1c6ba8fd2162a5e0f06b12ed41ee37\" alt=\"Civilians flee a conflict zone in Syria\u2019s rebel-held region of Idlib.\" \/><\/picture><\/div>\n<div class=\"block-share block-share--article hide-on-mobile \" data-link-name=\"block share\"><span style=\"font-size: 8pt;\">Civilians flee a conflict zone in Syria\u2019s rebel-held region of Idlib. Photograph: Omar Haj Kadour\/AFP\/Getty Images<\/span><\/div>\n<\/figure>\n<p>The price of this collective failure to tackle head-on one of the greatest strategic challenges of our time is now being paid, once again, by Syria\u2019s population. In Idlib, north-west <a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/world\/syria\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Syria<\/a>, more than 3 million people are under fire from Syrian regime forces, backed by Russian bombers and artillery. More than 800 noncombatants have died since April. At least half-a-million civilians, many previously displaced, have fled towards the Turkish border.<\/p>\n<p>Despite repeated appeals for help by the UN, aid agencies and local organisations such as the White Helmets, the slaughter and mayhem are intensifying following last week\u2019s fall to Bashar al-Assad\u2019s troops of the southern Idlib town of <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.bbc.co.uk\/news\/world-middle-east-49404741\" data-link-name=\"in body link\">Khan Sheikhoun.<\/a> The plight of the fleeing population is compounded by Turkey\u2019s reluctance to accept more refugees and <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/global-development\/2019\/aug\/23\/its-not-legal-un-stands-by-as-turkey-deports-vulnerable-syrians\" data-link-name=\"in body link\">its determination to force <\/a>many among 3.6 million Syrians already in Turkey out of the big cities and back across the border.<\/p>\n<p>If not out of compassion then for reasons of narrow self-interest, western leaders must pay more attention. Recep Tayyip Erdo\u011fan, Turkey\u2019s president, has helped hold the line in Idlib since last year, when he set up military observation posts to keep regime forces, rebels and jihadists apart. But this arrangement is falling apart. Last week a Turkish convoy was attacked, prompting Erdo\u011fan to seek an <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.aljazeera.com\/news\/2019\/08\/turkey-erdogan-visit-moscow-convoy-targeted-syria-190823175438699.html\" data-link-name=\"in body link\">emergency meeting<\/a> with Vladimir Putin, his Russian counterpart.<\/p>\n<figure id=\"img-3\" class=\"element element-image img--landscape fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"76dc6afb16dc8faad4002db2f20f26aaa16db8e9\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/76dc6afb16dc8faad4002db2f20f26aaa16db8e9\/0_233_3500_2100\/master\/3500.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=e8e65c87deda70804facf2631bb0ef88\" alt=\"President Erdo\u011fan shakes hands with Vladimir Putin in Osaka, June 2019.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">President Erdo\u011fan shakes hands with Vladimir Putin in Osaka, June 2019. Photograph: POOL New\/Reuters<\/span><\/figcaption><\/figure>\n<p>If a politically weakened Erdo\u011fan loses patience, the consequences could be dire. In line with previous Turkish operations in al-Bab, Afrin and Azaz, he could order more military incursions into Syria to create what Ankara calls refugee \u201csafe havens\u201d. He may further challenge the pro-western Syrian Kurds\u2019 control of areas east of the Euphrates. And by<a class=\"u-underline\" title=\"\" href=\"http:\/\/www.hurriyetdailynews.com\/over-340-000-syrians-returned-home-from-turkey-cavusoglu-145997\" data-link-name=\"in body link\"> blocking the main escape route<\/a> for Idlib\u2019s civilians, he could trigger another mass refugee exodus in the direction of Europe, similar to what happened in 2015.<\/p>\n<div id=\"dfp-ad--inline2\" class=\"js-ad-slot ad-slot ad-slot--inline ad-slot--offset-right ad-slot--inline2 ad-slot--rendered\" data-link-name=\"ad slot inline2\" data-name=\"inline2\" data-mobile=\"1,1|2,2|300,197|300,250|300,274|fluid\" data-phablet=\"1,1|2,2|300,197|300,250|300,274|620,350|fluid\" data-desktop=\"1,1|2,2|300,250|300,274|620,1|620,350|fluid|300,600|160,600\" data-google-query-id=\"CJbLpNDTp-QCFUVqfgodOV0KHg\">\n<p>All this matters greatly for the wider stability of the Middle East. Despite Turkey\u2019s view of them as terrorists, Syria\u2019s Kurds, backed on the ground by US and British special forces, are a vital element in the unfinished fight against Isis. Reports across the region speak of <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.france24.com\/en\/20190807-islamic-state-group-resurgance-syria-iraq-pentagon-usa-soldiers-trump\" data-link-name=\"in body link\">a significant Isis resurgence<\/a> in northern Syria and Iraq. <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.al-monitor.com\/pulse\/originals\/2019\/08\/syria-kurdish-east-euphrates-isis-attacks-terrorist-sdf-war.html\" data-link-name=\"in body link\">Sleeper cells <\/a>have reportedly mounted 43 attacks in Syrian Kurdish areas since late July. There is even a suspicion that Turkey is covertly assisting them.<\/p>\n<p>At the same time Israel, with Trump\u2019s blessing and <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.timesofisrael.com\/netanyahu-discusses-syria-ukraine-trip-with-putin\" data-link-name=\"in body link\">possibly Putin\u2019s too<\/a>, is using Syrian chaos to widen an undeclared war with Iran. It has launched numerous airstrikes on Iranian forces and their proxies inside Syria. Now it is expanding its campaign to include Iranian targets in Iraq. Munitions warehouses and a military base north of Baghdad used by Iran\u2019s Revolutionary Guards were hit in recent, unacknowledged Israeli strikes. These escalations presage ever-deepening instability.<\/p>\n<p>Idlib, Isis, Israel-Iran: it is a toxic mix. And all are byproducts of the west\u2019s abject failure to move decisively to halt the Syrian war.<\/p>\n<p style=\"text-align: center;\"><strong>. . .<\/strong><\/p>\n<\/div>\n<p><a href=\"https:\/\/www.theguardian.com\/film\/2019\/aug\/25\/for-sama-documentary-interview-waad-al-kateab#img-3\">&#8220;\u2018My daughter was raised during the siege of Aleppo. I had to make a film for her\u2019&#8221;<\/a><\/p>\n<p>Kate Kellaway, Documentary films, The Observer, London, 25 August 2019<\/p>\n<p><em>For Sama, a new documentary from award-winning Syrian journalist Waad al-Kateab, has won global acclaim. She talks about filming and family life on the frontline<\/em><\/p>\n<p><span class=\"drop-cap\"><span class=\"drop-cap__inner\">T<\/span><\/span>he camera focuses on Sama\u2019s face. She is the sweetest baby and looks, at first glance, as though her life might be ordinary. Her eyes are a transitory newborn colour, greyish green, waiting to turn brown. Her gold earrings look over-large in her tiny ears. Sama means sky in Arabic \u2013 a sky, as her mother imagines it, where no bombs fall, with ordinary clouds and sunshine. So far, this is footage that could be the work of any doting parent, but Sama\u2019s mother is journalist Waad al-Kateab and this is her documentary <em>For Sama<\/em>, filmed during the Syrian war. In the film al-Kateab sings a lullaby that almost lulls us \u2013 if not Sama \u2013 into a false sense of security. Sama is chewing her toe investigatively, as babies do, when a tank shell explodes. It sounds like a nightmare next-door neighbour heaving heavy furniture about and there is a shout: \u201cDownstairs, downstairs, there\u2019s another one coming\u2026\u201d It is the summer of 2016, the beginning of the siege of <a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/world\/aleppo\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Aleppo<\/a>. The camera loses focus, swerves incoherently. Al-Kateab calmly asks someone to \u201ctake Sama\u201d. By now, the shells are deafening.<\/p>\n<div id=\"dfp-ad--inline1\" class=\"js-ad-slot ad-slot ad-slot--inline ad-slot--inline1 ad-slot--rendered\" data-link-name=\"ad slot inline1\" data-name=\"inline1\" data-mobile=\"1,1|2,2|300,197|300,250|300,274|fluid\" data-phablet=\"1,1|2,2|300,197|300,250|300,274|620,350|fluid\" data-desktop=\"1,1|2,2|300,250|300,274|620,1|620,350|fluid\" data-google-query-id=\"CKnHpOzJp-QCFZE4fwodLrIMyQ\">\n<p>\u201cThis is insane \u2013 we\u2019re getting this every day,\u201d she goes on in her low, musical voice \u2013 her calm as abnormal as her situation (during the siege there were cluster bombs, chlorine gas, barrel bombs and air strikes). There is fire at the end of their corridor and smoke pours in. They live in the hospital that her husband, Hamza, has started from scratch. And now they are moving a baby on life support and Hamza is shouting: \u201cCome on! We need to pump the ventilators by hand.\u201d In the dark, al-Kateab calls out: \u201cWho\u2019s got Sama?\u201d<\/p>\n<p>A UN spokesman recently said the world had become \u201cnumb to the carnage\u201d in <a class=\"u-underline\" href=\"https:\/\/www.theguardian.com\/world\/syria\" data-link-name=\"auto-linked-tag\" data-component=\"auto-linked-tag\">Syria<\/a> after more than eight years of war and that even the rising death toll in Idlib \u2013 the country\u2019s last rebel-held stronghold \u2013 was being met by \u201ca collective shrug\u201d. No wonder al-Kateab feared her film \u2013 which starts with the peaceful protests against President Bashar Al-Assad in 2011 and goes on through the Arab spring to the sacking of Aleppo by regime forces in 2016 \u2013 would be greeted with indifference. But the reaction has been unanimous and overwhelming: audiences in every country in which the film has been shown stand and clap (at Cannes in May, they apparently did so for six minutes).<\/p>\n<aside class=\"element element-rich-link element-rich-link--tag element--thumbnail element-rich-link--upgraded\" data-component=\"rich-link-tag\" data-link-name=\"rich-link-tag\">\n<div class=\"rich-link tone-news--item rich-link--pillar-news\"><\/div>\n<\/aside>\n<p>Al-Kateab started out as a citizen journalist for Channel 4 news and has already been acclaimed for her harrowing and human series of reports Inside Aleppo (for which she has won an Emmy and the foreign affairs prize at the British journalism awards). But this film, dedicated to her daughter, is more personal. This is a mother\u2019s film in which the normal rhythms of parenthood become disrupted. Al-Kateab worries that nappies and baby formula will run out. Toddlers use a bombed bus as their playground, painting it all the colours of the rainbow (even little Sama is helped to wield a brush) and al-Kateab\u2019s stoical best friend Afraa never loses the twinkle in her eye as she keeps quiet about weevils she finds in the rice. In the unreality of war, the domesticity startles: an ordinary cooking pot looks outlandish. But this is <em>For Sama\u2019s<\/em> strength: the tender stuff of family life, often ignored in war reporting, is all there.<\/p>\n<figure class=\"element element-video fig--has-shares fig--narrow-caption\" data-canonical-url=\"http:\/\/www.youtube.com\/watch?v=vsvBqtg2RM0\" data-component=\"video-inbody-embed\"><figcaption class=\"caption caption--img\"><a class=\"u-underline\" href=\"https:\/\/www.youtube.com\/watch?v=vsvBqtg2RM0\" data-link-name=\"in body link\">Watch a trailer for For Sama.<\/a><\/figcaption><\/figure>\n<div id=\"dfp-ad--inline2\" class=\"js-ad-slot ad-slot ad-slot--inline ad-slot--offset-right ad-slot--inline2 ad-slot--rendered\" data-link-name=\"ad slot inline2\" data-name=\"inline2\" data-mobile=\"1,1|2,2|300,197|300,250|300,274|fluid\" data-phablet=\"1,1|2,2|300,197|300,250|300,274|620,350|fluid\" data-desktop=\"1,1|2,2|300,250|300,274|620,1|620,350|fluid|300,600|160,600\" data-google-query-id=\"CJSby-_Jp-QCFYMofwody-IOEg\">\n<p>Already garlanded with awards including best documentary at the Cannes and SXSW film festivals and a special jury prize at Hot Docs, <em>For Sama<\/em> also shows what it is to destroy a family. We see mothers in fierce, tearless overdrive, like figures from Shakespearean tragedy. One mother searching for her son, Mohammad, gives us the film\u2019s most revealing line. On finding his dead body she postpones the evidence of what she sees, crying hysterically: \u201cIt\u2019s Mummy, I\u2019ve got your milk, wake up!\u201d At this moment, she sees al-Kateab filming. What you expect her to say is: \u201cHow dare you?\u201d Instead, she screams at the top of her voice: \u201cFilm this!\u201d<\/p>\n<p>\u201cMy lens,\u201d al-Kateab says now, \u201cwas, for her, the world outside. She wanted her grief witnessed.\u201d<\/p>\n<p>Last week \u2013 three years later \u2013 a small girl skips along the corridor of a photographic studio in north London, holding the hand of a babysitter. \u201cWhere\u2019s Mama?\u201d she calls out. Sama is about to join her mother and have her picture taken. She does several experimental twirls in her flowery frock and puts on her shoes with satisfaction. The moment comes to comb her hair: Mama must do it. Sama prefers not to stand still. Asked how old she is, she holds up three fingers, eyes shining. She is an enchanting child, extraordinarily animated. Her mother, beautiful and immaculately dressed \u2013 responding to her daughter at every turn \u2013 is still by contrast. Looking at them after having seen the film, one feels a marvelling gratitude that they have survived. It seems bordering on unreal that she and her family have swapped east Aleppo for east London (she is currently employed by <em>Channel 4 News<\/em>\/ITN).<\/p>\n<p>The family was compelled to leave Syria on 21 December 2016 (the city\u2019s sixth month under siege). Hamza was recognised \u2013 as manager of the only surviving hospital and responsible for civilian healthcare in east Aleppo\u2019s last besieged quarter \u2013 to be one of the most significant figures in the civilian administration area and it was he who received the phone call from the UN with a message from the Russians to say that if those remaining in Aleppo wanted to survive, they must surrender and go into exile immediately. Al-Kateab asks in the film: \u201cSama, will you remember Aleppo? Will you blame me for staying here? Or blame me for leaving now?\u201d They had never intended to leave. And, in one sense al-Kateab (not her real name, she uses the pseudonym to protect her relatives) has never left: she brought Syria with her to the UK, arriving with a dozen hard drives initially cut down to 300 hours of footage \u2013 which she then spent two years, with fellow director Edward Watts (an independent film-maker who has made more than 20 documentaries), editing into their 95-minute film.<\/p>\n<p>Watching her having her picture taken, she seems professional and aloof \u2013 as if elsewhere (as she presumably feels she is). But as she sits down beside me on a small sofa, that changes. Attentive and warm, she pats my arm to emphasise her points. \u201cI filmed everything,\u201d she explains. Selecting material for the film, the challenge was to achieve a balance between \u201cdark and light, life and death\u201d. At first, she had felt adamant that showing the worst was what mattered: her footage was \u201cevidence\u201d. But then, as Watts explains on the phone, they ran an early test screening at Channel 4, for friends and family \u2013 \u201cjust 15 people or so\u201d \u2013 and realised they had \u201cgone too far into the darkness.\u201d<\/p>\n<figure id=\"img-2\" class=\"element element-image img--portrait element--supporting fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"c01abdc6bd8932d5878c246bc30c0819d3d5bf55\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/c01abdc6bd8932d5878c246bc30c0819d3d5bf55\/441_1262_5387_6732\/master\/5387.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=092b6f3a74d83c90e06ab4fd3add5f93\" alt=\"Waad al-Kateab and her daughter Sama in London last month.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">Waad al-Kateab and her daughter Sama in London last month. Photograph: P\u00e5l Hansen\/The Observer<\/span><\/figcaption><\/figure>\n<p>Their first cut was in chronological order. It started with hope, descended into despair. This, they realised, did not work. It is hard to imagine more devastating images than those shown in the film, but al-Kateab and Watts insist many were worse \u2013 including \u201ca pile of very young children\u2019s dead bodies\u201d abandoned at a hospital. The audience could not cope and sometimes, during editing, Watts had found himself putting his hand in front of the screen. They had to think again. Hundreds of thousands of people have been killed in the Syrian war and more than 10 million displaced, and while audiences needed to be aware of \u201ccarnage en masse\u201d, this had not to be at the expense of individual dignity.<\/p>\n<p>The collaboration between al-Kateab and Watts started uncertainly because they were in different countries: she was in Turkey (where her family spent a year after fleeing Syria), he was in London. She applied for asylum in the UK on the basis that she and Hamza were targets for reprisals by the regime and on the strength of their work for Channel 4 news and in east Aleppo. Her story had received attention in parliament during the 2016 siege and with the backing of <em>Channel 4 News<\/em>, her case was swiftly processed. Making the film, al-Kateab had been understandably nervous that a foreigner might falsify or appropriate her emotional copyright. But nowadays, she happily declares that, while most collaborators \u201cstart together and end apart\u201d, she and Watts went the opposite way. It was Watts who had the brainwave to make Sama the key to structuring the film and they discovered that, with a flashback format, they could move between dark and light, with Sama as their \u2013 and our \u2013 lifeline. And, by this stage, the film was becoming a love story.<\/p>\n<p>It begins with 18-year-old al-Kateab (she is 26 now) about to study economics at Aleppo university. Hamza is a close friend but married to someone else. She describes him as having the gift of making her feel safe with \u201ca constant smile on his face\u201d. One of the few doctors in Aleppo who is also an activist, his smile is to be tested in the years that follow. East Aleppo lacks schools and emergency and medical services \u2013 thus the urgent need for his hospital. We watch him at work: a confidence-inspiring hero \u2013 his makeshift hospital run, extraordinarily impressively, partly on willpower. In the weeks before they leave the country, the hospital (Hamza\u2019s second after the first was destroyed by bombs) performed 890 operations in 20 days and received 6,000 wounded people.<\/p>\n<p>One scene shows a massacre in east Aleppo. Al-Kateab films the rows of bodies hauled out of a river \u2013 like a dormitory for the dead. Heads stick out of the tops of blue sleeping bags, awaiting identification. These civilians have been handcuffed, tortured and executed. Their crime? They lived in \u201careas opposed to the regime\u201d. Hamza\u2019s smile has gone but his composure is holding. As corpses are thrown in makeshift shrouds into a mass grave, there is high and defiant singing: \u201cOur dead have gone to paradise.\u201d<\/p>\n<p>When Hamza\u2019s wife urges him to flee the country, he chooses Syria over his first marriage. Armed rebels by this point have freed the city but retaliation is intensifying. Al-Kateab\u2019s camera repeatedly shows terrible smoke on the horizon, rising above the city\u2019s brick buildings like grey plumage. She explains that she started filming on a mobile, graduated to a camera and even borrowed a drone from a friend (she had trouble learning to use it but eventually got superb results).<\/p>\n<p>Hamza has come up with a rule for the two of them: no crying in hospital. \u201cHe explained that people saw me as powerful because I was filming and believed in the revolution. If they saw me break down, however strong they might be, it would weaken them. And Hamza felt he had to have strength for everyone. He was a leader.\u201d Hospital staff used to tell her: \u201cWe\u2019re very strong because of Hamza \u2013 he is very cool.\u201d<\/p>\n<p>But one day, watching an attempt to save a boy\u2019s life, al-Kateab cannot help herself. Hamza ticks her off: \u201cYou can\u2019t cry in here \u2013 get out.\u201d But then he goes after her. It is striking how often in the film people ask one another: \u201cWhat\u2019s wrong?\u201d It seems a redundant question, the answer everywhere to be seen. Al-Kateab agrees but explains: \u201cIt\u2019s about care. Even though I might know you have lost your child, it\u2019s my way of asking what\u2019s going on in your heart.\u201d<\/p>\n<figure id=\"img-3\" class=\"element element-image img--landscape fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"7e742987f09f19994e4801a61d8b8e6c4978790c\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/7e742987f09f19994e4801a61d8b8e6c4978790c\/0_129_2048_1229\/master\/2048.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=228243029b47b88c04218d92e4bdbabe\" alt=\"Sama at the end of the documentary holding a sign that formed al-Kateab\u2019s response to US presidential candidate Gary Johnson\u2019s remark, \u2018What\u2019s Aleppo?\u2019\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">Sama at the end of the documentary holding a sign that formed al-Kateab\u2019s response to US presidential candidate Gary Johnson\u2019s remark, \u2018What\u2019s Aleppo?\u2019<\/span><\/figcaption><\/figure>\n<p>Hamza told her: \u201cDon\u2019t you realise I\u2019m in love with you? Will you marry me?\u201d The film answers his question with footage of their wedding: Hamza in black suit and lilac tie, Waad in a veil with white silk roses in her hair. Confetti falls through the air, as though there might still be room for a fairytale in Aleppo. It is one of the rare times the camera is not in al-Kateab\u2019s hands. They dance to Willie Nelson\u2019s Crazy and Hamza tells her: \u201cThis is the road we\u2019re taking, it is a long road full of danger and fear but freedom waits for us at the end.\u201d The tenderness of the dancing is offset by what is, in a sense, their most dangerous wedding vow: \u201cCome, let\u2019s walk it together.\u201d<\/p>\n<div id=\"dfp-ad--inline5\" class=\"js-ad-slot ad-slot ad-slot--inline ad-slot--offset-right ad-slot--inline5 ad-slot--rendered\" data-link-name=\"ad slot inline5\" data-name=\"inline5\" data-mobile=\"1,1|2,2|300,197|300,250|300,274|fluid\" data-phablet=\"1,1|2,2|300,197|300,250|300,274|620,350|fluid\" data-desktop=\"1,1|2,2|300,250|300,274|620,1|620,350|fluid|300,600|160,600\" data-google-query-id=\"CNTqv_TJp-QCFc2Sfgodb-EMUQ\">\n<p>In the early days, friends would tease: \u201cThey\u2019d say: Waad\u2019s playing with her camera again\u2026\u201d This changed after one of their dearest friends, Gaith \u2013 a nurse \u2013 and his brother Mahmoud were killed in an air raid. \u201cWe had lost Gaith,\u201d says al-Kateab. \u201cWe knew he was never coming back to this Earth but had this incredible footage of him laughing, working, sad\u2026 the life he\u2019d shared was recorded.\u201d Filming was remembering and the people who once mocked now apologised.<\/p>\n<p>Sama\u2019s birth is an ordinary \u2013 and extraordinary \u2013 event, discreetly presented. We see her friends with ears pressed to the door of the hospital room, listening out for the baby\u2019s first cry and jumping for joy when they hear it. Al-Kateab is then seen crying, holding Sama in her arms \u2013 and Hamza teasingly tells her to stop upsetting their baby. What was in her mind? \u201cI was crying because this was a room where two of my friends \u2013 Gaith and Omar \u2013 used to work before they were killed. I was thinking: I\u2019ve brought life to this place. I\u2019d been terrified I\u2019d not live to see Sama born. I was terrified about the future but also so happy. I could see Hamza\u2019s and my story in Sama\u2019s face. Yet I missed Gaith and Omar and wished they were alive.\u201d<\/p>\n<p>If filming was remembering, it was also, crucially, about resistance. Al-Kateab emphasises new media\u2019s role in the Arab spring: \u201cMobiles became the only way to show the world that we were fighting for our freedom.\u201d Early student protests were peaceful and festive with fireworks and dancing in the streets. But by 2015, the security forces were beating up student protesters. \u201cThey\u2019d turn up and five minutes later, the place would empty. A presenter from the official channel would ask: \u2018Has anything happened here?\u2019 \u2018No, nothing,\u2019 the remaining students would reply.\u201d Al-Kateab\u2019s footage would capsize that lie. Similarly, she would later secure evidence that Assad\u2019s regime was using chemical weapons.<\/p>\n<figure id=\"img-4\" class=\"element element-image img--landscape fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"a7b66ad675e23a5cf464ad3c966cd62bda8bb190\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/a7b66ad675e23a5cf464ad3c966cd62bda8bb190\/60_0_1800_1080\/master\/1800.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=68724cfeb75a89ffdd4f0aa50ec25c41\" alt=\"An image from al-Kateab\u2019s coverage of the siege of Aleppo broadcast on Channel 4 News.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">An image from al-Kateab\u2019s coverage of the siege of Aleppo broadcast on Channel 4 News. Photograph: Waad al-Kateab\/Channel 4<\/span><\/figcaption><\/figure>\n<p>Eventually, filming became her way of surviving: \u201cIt gave me a reason to stay in Aleppo. If I was killed, I\u2019d be leaving something important behind.\u201d Not that it gave her distance on what was happening. It was \u201cdoubly harrowing\u201d and \u201cbrought everything closer\u201d. But for many people, the camera represented hope. And while on the subject, I tell her that, strangely, it was the moments of hope in the film that undid me \u2013 all the more moving for being unexpected. A woman who is nine months pregnant is carried into hospital unconscious. An emergency caesarean is performed. We see the baby pulled out \u2013 lifeless. The misery of it is sickening. War has killed him. Capable gloved hands palpitate the little chest to start the lungs \u2013 surely in vain. The nurse briskly brushes his body with a sweeping movement. They hold him upside down and shake and slap and, just as we have given up on his slippery, grey body, he opens his eyes and cries \u2013 and everyone who sees it will join in. God be praised! His furious frown is a triumph, his cry defies Assad (they save the mother as well). \u201cIt is a miracle,\u201d al-Kateab exclaims. \u201cIt gives us the strength to stay in the struggle.\u201d<\/p>\n<p>But for her, too, hope is hardest to handle: \u201cWhenever I watch the film, it is when everyone else is laughing that I cry. We were creating hope and it was destroyed by the violence of the regime and by the Russians. At the last screening, sitting next to Ed, I started crying as I watched the early days of the revolution. And he was asking me: \u201cWhat\u2019s the matter?\u201d And I said: \u201cIt\u2019s the hope.\u201d<\/p>\n<p>But there has been another, more manageable, version of hope too \u2013 in people\u2019s reactions to the film: \u201cIt\u2019s been amazing \u2013 audiences have given me hope, shown me they really care. I\u2019ve been to Nantucket, Washington, Toronto, and even film distributors, who normally sample a film for 10 minutes and then leave, have stayed and been very moved.\u201d When people went \u201ccrazy\u201d in Cannes, she says, \u201cI can\u2019t describe how proud and happy it made me.\u201d<\/p>\n<p>It will be years before Sama is old enough to see the film made in her name. Al-Kateab addresses her in the film like this: \u201cSama, I know you understand what is happening. I can see it in your eyes. You never cry like a normal baby would. That\u2019s what breaks my heart.\u201d Now she confirms that, on some level, \u201cSama understood everything. That time I was looking for her during the bombing, I found her sleeping in a very quiet way\u201d. Her second daughter, Taima (she became pregnant again while still in Aleppo, the baby was born in Turkey) reacts in a \u201ctotally different way. If a bottle of milk drops, she cries. Sama used to fall from a high bed and not make a sound. But I\u2019d sometimes sense she was scared.\u201d<\/p>\n<figure id=\"img-5\" class=\"element element-image img--landscape element--showcase fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"9cc05bd0fba5472496ba3f6f35d40d3d125f3a06\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/9cc05bd0fba5472496ba3f6f35d40d3d125f3a06\/317_0_4853_2912\/master\/4853.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=0d50d0dd8b543cf9fb9f6b5df92b0e11\" alt=\"Al-Kateab filming in Aleppo during the civil war.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">Al-Kateab filming in Aleppo during the civil war. Photograph: CAP\/PR handout<\/span><\/figcaption><\/figure>\n<p>After leaving Syria, Sama used to wake in the night screaming. They consulted experts \u2013 she is doing better now. Better than her mother, who says: \u201cI still suffer from nightmares. And whenever I hear a very loud sound \u2013 like a train \u2013 I feel it in my body. I tried to seek therapy but it did not work for me.\u201d She has said in the past that her therapist (whom she now wants me to know is \u201camazing\u201d and says she \u201cloves\u201d) herself needed therapy after their sessions together.<\/p>\n<p>The film\u2019s most extraordinary achievement is that, instead of leaving one helpless, it creates resolve. Everyone who sees it feels the same. Al-Kateab says audiences come to her moved and energised and with one question: what can we do? The first step is \u201cunderstanding\u201d, she says \u2013 especially at a point where Idlib\u2019s suffering is starting to resemble Aleppo\u2019s. And she gets out her phone to play the<a class=\"u-underline\" title=\"\" href=\"https:\/\/www.theguardian.com\/us-news\/2016\/sep\/08\/aleppo-gary-johnson-syria-war-question\" data-link-name=\"in body link\"> infamous September 2016 interview<\/a> with US presidential candidate Gary Johnson. Asked about his plans for Aleppo, he replies gormlessly: \u201cWhat\u2019s Aleppo?\u201d It was this interview that stung Al-Kateab into making the banner seven-month-old Sama holds at the end of the film with their city of ash as a backdrop. It reads: THIS IS ALEPPO. WHAT\u2019S JUSTICE?<\/p>\n<p>As well as the need for understanding, she hopes for support for the campaign she and Hamza plan to launch next month on <a class=\"u-underline\" title=\"\" href=\"https:\/\/www.forsamafilm.com\/\" data-link-name=\"in body link\">forsamafilm.com<\/a>, to \u201cstop bombing hospitals\u201d. She argues that the bombing of hospitals is now a \u201cworldwide\u201d problem. When Hamza\u2019s hospital is bombed, it is observed with sober understatement: \u201cTargeting hospitals breaks people\u2019s spirits.\u201d<\/p>\n<p>Meanwhile, Hamza plans to do a master\u2019s degree in public health and has ambitions to reform the UN and World Health Organization\u2019s approach to conflict areas: \u201cHe was put under a lot of pressure by the UN, she says, \u201cto evacuate the hospital in a way that was not to the benefit of his patients. He believes the UN was simply implementing what Russia wanted them to do.\u201d<\/p>\n<p>The film has now been seen at the UN and, at a recent briefing at the UK mission, with ambassadors in attendance. The issue of the bombing of hospitals (with the film as evidence) has also been raised at a security council meeting. And it is hoped that <em>For Sama<\/em> will be shown to the Russian government (although Watts is mindful of the risk that the Russian regime might \u201cpirate, re-edit or misrepresent it\u201d). And might not showing it in Russia be dangerous for al-Kateab? \u201cIt would but I don\u2019t care. I could have been killed three years ago.\u201d<\/p>\n<figure id=\"img-6\" class=\"element element-image img--landscape fig--narrow-caption fig--has-shares \" data-component=\"image\" data-media-id=\"6d4bd44aefa99f833279a80ebc4f2698f202b8c4\">\n<div class=\"u-responsive-ratio\"><picture><img decoding=\"async\" class=\"gu-image\" src=\"https:\/\/i.guim.co.uk\/img\/media\/6d4bd44aefa99f833279a80ebc4f2698f202b8c4\/0_312_5401_3242\/master\/5401.jpg?width=300&amp;quality=85&amp;auto=format&amp;fit=max&amp;s=be79ce3a26795cf4931f260bdcc03cad\" alt=\"Co-director Edward Watts, Waad al-Kateab and her husband Hamza take their message to the Cannes film festival earlier this year.\" \/><\/picture><\/div><figcaption class=\"caption caption--img caption caption--img\"><span style=\"font-size: 8pt;\">Co-director Edward Watts, Waad al-Kateab and her husband Hamza take their message to the Cannes film festival earlier this year. Photograph: Alamy<\/span><\/figcaption><\/figure>\n<p>From an outsider\u2019s point of view what seems most striking in the film \u2013 bordering on mystifying \u2013 is the intensity of the continuing allegiance to Aleppo itself, the wish, expressed repeatedly, to stay no matter what \u2013 a vote to put Aleppo before life itself. One of the oldest and most beautiful cities in the world has had its medieval architecture destroyed by barrel bombs. Wouldn\u2019t you run from the wreckage if you could? A boy, with quavering bravado, says he would stay in the city even if his family were to leave. A girl \u2013 no more than three \u2013 as she is compelled to depart, says in a startlingly adult tone: \u201cAleppo is gone.\u201d Al-Kateab lets us know: \u201cSaying goodbye is worse than death.\u201d<\/p>\n<p>She nods mutely when I ask if the place itself is precious to her. \u201cA journalist visiting Syria can leave any time. I started with Aleppo in my mind and heart.\u201d She speaks eloquently about shared experience in conflict: \u201cThe people I lived with in Aleppo became closer to me than my own parents, sister and brother.\u201d And she makes the point that she and Hamza recognised the necessity of their roles as doctor and journalist.<\/p>\n<p>\u201cWe live for the moment we can go back to Syria,\u201d she says, \u201cbut it will never happen while the Assad regime rules. If he goes, in the same way that we smuggled ourselves back to Aleppo [after a visit to Turkey] in the film \u2013 two headstrong people with a seven-month-old child \u2013 we would smuggle ourselves back again.\u201d The memory of their brave return makes her smile. What else can she find, looking back, that is positive?<\/p>\n<p>\u201cDeath was close. We knew we could be killed at any moment but lived as if each minute was our last. That\u2019s why there is so much joy in the film. When death is all around you, life is cheap but very important. A lot of people in the UK don\u2019t know the value of life. Or the value of minutes. If you enjoy doing something, do it. If you love someone, tell them as soon as possible because this life could end at any moment.\u201d The world, she continues, is a \u201cvery dark place \u2013 with Brexit here, US policy, Russia \u2013 and you feel nothing will change. But if people keep pushing, things will be changed and there will be justice. And we will keep fighting \u2013 no matter how long it takes.\u201d<\/p>\n<p><em><a class=\"u-underline\" href=\"https:\/\/www.forsamafilm.com\/\" data-link-name=\"in body link\">For Sama is released in cinemas on 13 September and on Channel 4 later in the autumn. Preview screenings including Q&amp;A sessions with the film-makers are also happening nationwide<\/a><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Sama\u00a0al-Kateab, Allepo, 2016, The Observer, 25 August 2019 &nbsp; Comfort the afflicted. Afflict the comfortable. The former requires the latter. So, in the late days of August for the comfortable, we bring affliction. Fix your eyes on a baby girl in Syria. Then on her millions [&hellip;]<\/p>\n","protected":false},"author":1001004,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[54],"tags":[],"_links":{"self":[{"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/posts\/8036"}],"collection":[{"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/users\/1001004"}],"replies":[{"embeddable":true,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8036"}],"version-history":[{"count":8,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/posts\/8036\/revisions"}],"predecessor-version":[{"id":8060,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=\/wp\/v2\/posts\/8036\/revisions\/8060"}],"wp:attachment":[{"href":"https:\/\/worldcampaign.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8036"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8036"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worldcampaign.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}