Khaled Juma
Poet, Author, and Children’s Books Author
Born in Rafah, on October 25,1965, Khaled Juma was raised in Al-Shaboura Refugee Camp, in the Gaza Strip. He is currently Head of the Cultural Department in Palestine News and Information Agency (WAFA) , and was previously Editor-in-Chief of Roya Magazine for seven years. He has a vast portfolio of over 28 publications in a variety of genres; poetry, short stories, children’s stories, TV sketches plays and over 100 songs.
So far, Khaled Juma has published nine poetry collections; Nothing Walks in this Dream,2015, So the Gypsie Wouldn’t Love You,2012, As Horses Alter,2011, Such Is the Habit of Cities,2009, You Still Resemble Yourself,2004, Therefore,2000, Irrelevant Texts,1999, Thus, The Khalife Begins,1996, Rafah; Alphabet, Distance and Memory, a joint production with Othman Hussein,1992.
Khaled Juma’s children’s books have a distinguished content, that is both inspiring and constructive, put in a fun engaging narration that both adults and children enjoy. Numerous examples can be cited here such as The Rabbit Who Did Not Like His Name treating the issue of self acceptance despite others’ judgement, Sheep Do Not Eat Cats tackling the issue of bias, Diaries of a Germ promoting cleanliness and hygiene and Black Ear, Blonde Ear promoting tolerance and accepting others.
Khaled Juma has written and adapted a number of theatrical plays, like Play Away and Shaifinkous directed by Ibrahim Muzayyan, Out of the Picture Directed by Philippe Dumola, Gaza, Your Sea, a dance musical which was the opening for The First Sea Festival, and a musical based off Kalila Wa Dimna’s The Pigeon, The Fox and The Heron, composed by Moneim Adwan and performed in Aix en Provence Festival, France.
He has also written over 100 songs in both classic Arabic and Palestinian dialect, composed by important palesinian musicians such as Said Murad, Moneim Adwan, Odeh Turjman and his lifetime friend Mahmoud Al-Abbadi, and were performed by several palestinian singers, such as Reem Talhami, Moneim Adwan, Mohammad Assaf and Mahmoud Al-Abbadi.
Khaled Juma does not stop at authoring different genres of literature. He has founded a folklore dance group in Gaza, he documents signifact parts of Palestinian life and history and has pertinent and concept changing works on the lives of people during the war, in addition to conducting creative writing workshops for children and adults. He has published a number of researches on Palestinian history, and has written a large number of articles covering the latest war against Gaza. Some of his works were translated and published in several languages including English, French, Spanish, Bulgarian and Portuguese.
Khaled Juma is currently living in Ramallah.
'Await not that I play for you…'
Says the flute maker to the strange moon,
'I am but a flute maker'
*
...
My face is the forests' unease. I occupy a chapter in the tale. I sleep with one eye open, puzzling the night, star by star. Solitary, I arrange seasons, and trees. Solitary, I make imaginings from fear. I induct the words of a scared rabbit to make my fable. I am the wolf, unsurpassed. Only I know the roads that curve and turn in the mountain's slope. Only I hide the distress in a rock on which a shepherd sits with his flute, dripping sadness, not knowing that I am right behind him, memorizing the melody to repeat as howls on assumptions of hills.
My claw is the tale's pen, lightening my way whenever the smell of homes reaches my tame forest. Homes are the death of the wildness in us. When we befriended their owners, we became dogs, guarding goats from the assaults of our brothers. We sit planted like gratis soldiers at masters' doors. We glorify the moment they release our necks from collars of imprisonment, having entirely forgotten how we were the freedom of land, time and magic spells. We have totally forgotten our children, who we left in battles with nights and wails. We forgot and we attacked them as if we never knew them. They killed us. We killed them, and did not notice that the circles in the lake's water were the place's cries for what we have become. We did not notice, not for a moment that our names have also changed.
...
To the boy abandoned at the edge of a homeland abandoned at the edge of a boy
What would I tell you if I were there?
You scream with two legs folded underneath you, blood streaming from a place in your body I do not know, I feel horror sneaking into your tender soul, as they are about to attack you, not only with words, but with a Talmudic history mobilized like a war machine aged a million years. In every one of their pockets is a Torah, in every one of their eyes is a gun and in every one of their hands is a heart, afraid of a twelve-year-old boy, abandoned on the roadside. Were you an easy hunt? Even in jungles, predators sometimes hesitate to hunt a little one when they're hungry, they smell the milk off the newborn's lip and turn back, perhaps, they transcend from preying on a little defenseless child who cannot even escape. However, they all were there, and the others wished to be there, so they sent their thoughts instead.
...
-1-
Nobody raised me to love you. My mother did not plant virtues of death in her tales. My father did not tell me that men had to die in order to be Men. He said, take the city's distress off her eyes, and she shall love you forever; and at that moment of my death, and in the long time between my stand and my fall, I saw her, with my heart, I saw her, crying and smiling, while calls for prayer arose like a premade ritual.
-2-
...
Tomorrow, I shall die
Like everyone alive, I shall die
Death will not warn me
Will not give me a chance to say, any last words
...