Leading Lebanese Novelist Elias Khoury Dies at 76

Lebanese prominent writer and intellectual Elias Khoury speaks during an interview with The Associated Press at his office in the Institute for Palestine Studies in Beirut, Lebanon, Friday, Aug. 8, 2014. (AP)
Lebanese prominent writer and intellectual Elias Khoury speaks during an interview with The Associated Press at his office in the Institute for Palestine Studies in Beirut, Lebanon, Friday, Aug. 8, 2014. (AP)
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Leading Lebanese Novelist Elias Khoury Dies at 76

Lebanese prominent writer and intellectual Elias Khoury speaks during an interview with The Associated Press at his office in the Institute for Palestine Studies in Beirut, Lebanon, Friday, Aug. 8, 2014. (AP)
Lebanese prominent writer and intellectual Elias Khoury speaks during an interview with The Associated Press at his office in the Institute for Palestine Studies in Beirut, Lebanon, Friday, Aug. 8, 2014. (AP)

Lebanese novelist Elias Khoury who dedicated much of his writings to the Palestinian cause and taught at universities around the world, making him one of Lebanon’s most prominent intellectuals, has died. He was 76.

Khoury, a leading voice of Arab literature, had been ill for months and admitted and discharged from hospital several times over the past year until his death early Sunday, Al-Quds Al-Arabi daily that he worked for said.

The Lebanese writer, born and raised in Beirut, was outspoken in defense of freedom of speech and harsh criticism of Middle East politics.

In addition to his novels, Khoury wrote articles in different Arab media outlets over the past five decades making him well known throughout the Arab world.

Two days after the Israel-Hamas war broke out on Oct. 7, Khoury wrote an article in Al-Quds A-Arab daily titled “It’s Palestine.” Khoury wrote then that “the biggest open-air prison, the besieged Ghetto of Gaza, has launched a war against Israel, occupied settlements and forced settlers to flee.”

Born in Beirut on July 12, 1948, Khoury had been known for his political stances from his support of Palestinians to his harsh criticism of Israel and what he called its “brutal” settling policy in Palestinian territories. He studied at the Lebanese University and later at the University of Paris, where he received a PhD in social history.

"The Catastrophe began in 1948 and it is still going on,” he once wrote referring to Israel’s settlement policies in occupied Palestinian territories. The “nakba,” or “catastrophe” is a term used by many Arabs to describe the displacement of hundreds of thousands of Palestinians when Israel was created in 1948.

Khoury was an outspoken supporter of Arab uprisings that broke out in the region starting in 2011 and toppled several governments.

Khoury, who belonged to a Greek Orthodox Christian family, took part in Lebanon’s 1975-90 civil war and was wounded in one of the battles.

From 1992 until 2009, Khoury was the editor of the cultural section of Lebanon’s leading An-Nahar newspaper. Until his death, he was the editor-in-chief of the Palestine Studies magazine, a bulletin issued by the Beirut-based Institute for Palestine Studies.

His first novel was published in 1975, but his second, Little Mountain, which he released in 1977 and was about Lebanon’s devastating civil war was very successful.

Bab al-Shams, or Gate of the Sun, released in 2000, was about Palestinian refugees in Lebanon since 1948. A movie about the novel was made in Egypt.

His novels were translated to several languages including Hebrew.

Khoury also taught at different universities including New York University, Columbia, Princeton and Houston, as well as the University of London.



Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
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Libyans Savor Shared Heritage at Reopened National Museum

Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)
Libyans visit the National Museum after its reopening, following a closure of more than a decade in the Libyan capital Tripoli on December 23, 2025. (AFP)

In a historic building in central Tripoli, Libyans wander past ancient statues and artifacts, rediscovering a heritage that transcends political divides at their national museum which reopened this month after a 2011 uprising.

"I got here barely 15 minutes ago but I already feel like I've been transported somewhere. It's a different world," said architecture student Nirmine Miladi, 22.

In the waterfront building known as the red citadel -- once the seat of power -- visitors journey through a history that includes ancient art, Greek and Roman antiquities and Ottoman-era weapons and jewellery.

Miladi's sister Aya, 26, an interior design student, said she liked the bright new museum's layout, "the careful lighting, the screens and interactive tools" that all help make the museum accessible to all.

Libya plunged into chaos after a NATO-backed uprising toppled and killed longtime leader Moammar al-Gadhafi in 2011, and the country has struggled to regain stability.

Since then, the North African country has been divided, with two rival executives vying for power: a Tripoli-based Government of National Unity and an administration based in Benghazi in the country's east.

Mohamed Fakroun, head of international cooperation at the antiquities department, said the museum went through "a dark period during its 14-year closure".

Fearing looting and vandalism after Gadhafi's overthrow, the antiquities department removed "all the artifacts until the country re-stabilized", said Fakroun, 63, who has worked at the French archaeological mission to Libya for almost four decades.

- 'National symbol' -

Curator Fathiya Abdallah Ahmad is among a handful of people who knew the location of secret, sealed rooms where the museum's treasures were taken into hiding for more than a decade.

She said the antiquities department and staff worked to "preserve a historic and cultural heritage that belongs to all Libyans".

This allowed the works to be safeguarded until the museum could reopen "in a modern format that conforms to international standards", she added.

The bright new facility includes digital projections and interactive screens as well as videos, audio guides and QR codes enabling visitors to delve further.

Fakroun noted the museum has a room dedicated to Roman emperor Septimius Severus, who was born in the ancient city of Leptis Magna -- now a UNESCO World Heritage site east of Tripoli.

Another room is dedicated to stolen items that have since been returned, including from the United States and the United Kingdom, he added.

Interior design student Aya Miladi said many Libyans saw the museum's inauguration as the "return of a national symbol".

It is also "a step towards reconciliation between Libyans and with their often little-known past", after years of war, as well as a sign of stability, she added.

- 'Not without past' -

Teacher Fatima al-Faqi, 48, said there was "a world of difference" between the reopened museum and the dark, dusty facility she visited 30 years ago on a school trip.

This time, she was leading a group of high-school students to help them "discover Libya's history and nourish their sense of patriotism", she said, as pupils goggled at items from Roman statues to stuffed animals in the natural history section.

The Tripoli government has invested more than five million dollars in rehabilitating the museum and its surrounding area, despite the oil-rich country's economic woes including frequent cash and fuel shortages.

Fakroun said the six-year renovations were carried out in cooperation with the French mission and the ALIPH foundation -- the International Alliance for the Protection of Heritage.

The museum seeks to convey a hope-filled message about Libya's identity to its visitors, most of whom "were not born when it was last open before 2011", he added.

Visitor Sarah al-Motamid, 34, said that "many people don't know about our country's ancient history and look at us as if we were worthless".

She said she was visiting with her six-year-old daughter Mariam because she wanted her to "understand that we are not without a past or civilization".


Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
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Cultural Camp at King Abdulaziz Camel Festival Showcases Saudi Heritage

The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA
The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity - SPA

The cultural camp is a key feature of the 10th King Abdulaziz Camel Festival, held in Al-Sayahid desert. The camp celebrates authentic Saudi heritage and reinforces culture as a cornerstone of national identity, according to SPA.

It offers a range of programs, including live performances and interactive events, that highlight camels' historical significance in Arab culture and illustrate the values of patience, strength, and belonging.

The camp has attracted over 2,000 guests from 71 nationalities, emphasizing its global appeal as a cultural platform for diversity and tradition.

Visitors engage with cultural content through innovative methods that merge authenticity with modern technology, enhancing awareness of the camel's cultural legacy. This initiative aligns with Saudi Vision 2030 by preserving heritage and connecting younger generations with their roots.


Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
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Tuwaiq Sculpture 2026 Announces 25 Participating Artists for Seventh Edition

The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA
The 2026 edition features a month-long live sculpting phase alongside a community engagement program - SPA

Under the Royal Commission for Riyadh City and Riyadh Art, Tuwaiq Sculpture has announced the selection of 25 artists for the seventh edition of the annual sculpture symposium and exhibition, taking place from January 10 to February 22, 2026.

This year’s edition unfolds under the curatorial theme “Traces of What Will Be,” inviting artists to reflect on how sculptural form can express the physical, cultural and conceptual traces that shape the future of cities and communities, SPA reported.

A total of 25 artists from 18 countries, including Saudi artists, have been selected for the seventh edition. Their proposals reflect a diverse range of artistic approaches, responding to the theme through explorations of transformation, place, and materiality.

Director of the Tuwaiq Sculpture Symposium Sarah Alruwayti said: "The seventh edition of Tuwaiq Sculpture received more than 590 applications, reflecting the cultural diversity and global interest in the symposium. The selection of the 25 participating artists was carried out by a jury of industry experts and specialists. Their proposals show meaningful engagement with the theme and reflect the strength and diversity of contemporary sculptural practice. We look forward to welcoming them to Riyadh for the creation of new works that will become lasting additions to the city.”

Building on the evolving material practice of the symposium, Tuwaiq Sculpture 2026 introduces two sculpting categories: granite with optional stainless-steel integration and reclaimed metal. Twenty artists will work in granite, while five will create new works in reclaimed metal. Over four weeks, they will produce large-scale sculptures that will later be added to Riyadh Art’s permanent public art collection.

The 2026 edition features a month-long live sculpting phase alongside a community engagement program, inviting visitors to witness the creation of artworks and take part in panel discussions and workshops. The symposium will conclude with a public exhibition showcasing the completed sculptures from its seventh edition.