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# “Palestine: A Personal History”, Karl Sabbagh
- URL: https://www.opendemocracy.net/en/palestine-3411jsp/
- Published: 2006-04-02T23:04:00.000Z
- Updated: 2026-04-17T11:49:14.000Z
- Author: Open democracy
- Tags: #en, #Migrated, #Import 2026-04-09 19:27, #ImagesUploaded

![“Palestine: A Personal History”, Karl Sabbagh](https://storage.ghost.io/c/3f/80/3f804bea-4b2d-4ddf-9ff0-6ec7d0afa5fa/content/images/2026/04/karl_sabbagh_MyiMVJm-1776425890224.jpg)

“Palestine: A Personal History”, Karl Sabbagh

Buy now: UK, US, Worldwide

**“Palestine: A Personal History”** 
**by Karl Sabbagh**  
Atlantic | March 2006 | ISBN 1843543443

\* \* \*

**About the author**: Karl Sabbagh is a British writer, journalist and television producer. He has produced major documentaries for American and British broadcasters and has written for the *Sunday Times*, *New Scientist*, *Guardian*, *Sunday Telegraph* magazine and *Scientific American*. He is the author of several books including *A Rum Affair*, *Power Into Art* and *Dr Riemann's Zeros*.

**Buy now:** [**UK**](http://www.amazon.co.uk/exec/obidos/redirect?path=ASIN/1843543443&link%5Fcode=as2&camp=1634&tag=opendemocracy-21&creative=6738&ref=opendemocracy.net)**,** [**US**](http://www.amazon.com/exec/obidos/redirect?path=ASIN/1843543443&link%5Fcode=as2&camp=1789&tag=opendemocra0a-20&creative=9325&ref=opendemocracy.net)**,** [**Worldwide**](http://www.amazon.com/exec/obidos/redirect?link%5Fcode=ur2&camp=1789&tag=opendemocra0a-20&creative=9325&path=tg/stores/static/-/gateway/international-gateway/ref=gw%5Fsubnav%5Fin&ref=opendemocracy.net)

Alfredo Jaar's *Rwanda Project: 1994–2000* is a series of photography-based installation works derived from his experiences in Rwanda. He first travelled there in the summer of 1994 while the genocide was still ongoing and overwhelmingly ignored by the international community. It is estimated that almost one million people were killed over a period of three months, from April–July 1994.

The *Rwanda Project* attempts to counter and transform the conventions of photojournalism, which frequently objectifies violence through unmediated images of victimization. Alternatively, Jaar reverses the lens' eye to focus on the eyes of the witnesses and the hauntingly beautiful landscape in which this massacre was enacted as a means of eliciting an emotional response from the viewer.