Exhibit G: Poems, Essays, and Photographs of Gaza

Finalist for the 2026 National Book Awards

A New Yorker Best Book of the Year

A Millions Most Anticipated 2026 Selection

"This is poetry of the highest order, and a stunning reminder of what words can do.”—Omar El Akkad

"Hold this book, read every word, study every picture, notice the prints you leave behind—a reminder that no one’s hands are clean."—Robin D. G. Kelley, author of Freedom Dreams

From National Book Award Finalist Fady Joudah, a collection of poems, essays, and photographs that offers a Palestinian representation of not only the staggering grief, but the unwavering resilience and prevailing life force of a people and place enduring genocide.  

Fady Joudah writes from the split perspective of a Palestinian American physician caring for the sick while watching the destruction of Gaza from the United States, a nation complicit in that destruction. He locates the paradox of his position everywhere: in the seed a sparrow eats from his proffered hand; in his writing in English, the oppressor’s language; in the faces of Palestinian children receiving meals from aid kitchens—a glimpse into what his life could have been, and what is being lost in a war disproportionately impacting children and their families. Throughout the book, beauty insists on its survival not only through the Palestinian people, but also through the nonhuman world in which he takes occasional refuge from the devastation that humanity brings upon itself.

By placing before readers a series of carefully chosen images from Gaza, Joudah presses his reader to comprehend that the experience of both the individual and the whole are integral to an explicitly Palestinian understanding of genocide, even if that rendering is a nearly impossible endeavor. Exhibit G insists on the immensity of Palestinian interiority, and finds in this collective act of creation a hyper-present awareness. “By claiming what is being actively erased,” Joudah writes, “I become presence.”

At once an indictment of genocide, a rendering of catastrophic loss, and “an affirmation of life instead of a staging of death” (Katherine Larson), Exhibit G insists that love exists in all its variousness, and that it is the only defense against a totalizing, destructive force.