The symbolism is striking given that the play, which was written in 1994, in the time of Hafez El-Assad, clearly announces what we today observe on either side of the Mediterranean. One thinks of the Arab spring, but also, if one carefully listens to Wannous, one thinks of all the sexual and financial scandals which happen at the same time a little more to the North.

I had to return to Syria. Assad’s aircrafts were bombing bakeries, villages and farms. They bombarded civilians with explosives and sent a rain of poison down. In July last year I went back to the north, to the village of Banash, near Idlib. It was here that I saw the real Syria for the first time. The assault was continuous. Snipers were dotted throughout the rebel-controlled areas and Free Syrian Army checkpoints were all along the roads. There was scarcely any sign of extremist Islamists. In towns such as Saraqeb, the poetry of Mahmoud Darwish and Muthafar al‑Nawab and songs of love and struggle spread through the streets. The notion of a civil state dominated. The economic situation had deteriorated but was still bearable and sectarian tensions were not high. I travelled between the villages of the liberated north, hearing stories of death and heroism. I had conversations with various factions of the FSA, who spoke of a civil state even though many of them were Islamists.

TIME OF WHITE HORSES, by my friend, Ibrahim Nasrallah, was a fabulous read that I had to put down, repeatedly.
I read the first 300 pages of this translated work from the original Arabic in just a few days. Then the world changed and I moved through the next 300 pages slowly, tiptoeing through lives I recognised and characters I came to love. I turned these pages with trepidation for nearly a month, sometimes holding my breath and swallowing hard. I was reading the unfolding of my own life, and the lives of all Palestinians. I knew what was going to happen and in the strange ways of a heart touched by literature, I wanted to warn the characters. I needed them to make different decisions to save us all from our fate; until, I finally came upon the last chapter and stopped. I put the book down and left it there for another 2 weeks.

First awarded in 1990 to Orhan Pamuk and translator Victoria Holbrook for The White Castle, the Prize ran until 1995 and was then revived in 2000 with the support of Arts Council England, who continue to fund the award. The 2012 prize was won by Aharon Appelfeld and translator Jeffrey M Green for Blooms of Darkness. Khaled Khalifa’s In Praise of Hatred, banned in Syria, has made the longlist for the Independent Foreign Fiction Prize 2013.