
‘My sister is forced to feed her children grass in Gaza, while in London my son spits out his peas.'
From nine in the morning until four in the afternoon, under the scorching July sun, they dug. With bare hands. In an area still designated by the Israeli military as a 'combat zone'. They knew they could be shot. They knew the air could be torn apart at any moment by a drone strike. But they had no choice. They were starving.
And this is what it has come to: Palestinians risking death to dig through the ruins of their own homes, not to bury the dead, but to unearth a few cans of beans.
My sister, meanwhile, spent hours searching for something – anything – to feed her four children who are aged from 10 and 16. She came back empty-handed, except for some grass. That's what she gave them that day. There was nothing else.
What is happening in Gaza is not famine. This is not some cruel twist of nature. It is not the result of drought or the climate crisis or a supply chain breakdown. This is man-made starvation. Deliberate. Calculated. Imposed.
The head of Gaza's largest hospital said 21 children have died due to malnutrition and starvation in the Palestinian territory in the past three days. Twenty-one human beings reduced to statistics. Humanitarian agencies warn that a quarter of a million people in Gaza are now at starvation‑risk thresholds, and without immediate assistance, the situation is expected to worsen sharply.
We are watching a slow, deliberate process of extermination, carried out not only with bombs but with hunger, with deprivation, with the systematic destruction of everything that makes survival possible. The UN has warned that Gaza is on the brink of full-scale famine. But famine is not just looming – it is here.
I write this from London where I have lived for 22 years. I work in finance and have a comfortable home in Islington where I am sitting at a table. I walk to the kitchen and open a fridge that hums with abundance. I boil water for tea. I walk past shops and markets with shelves overflowing. And I feel sick. Sick with guilt. Sick with helplessness. I eat and choke on the shame of it.
I sleep and wake feeling like I've abandoned my own blood. My brother is digging through the rubble of our bombed home for canned food, while I feel the softness of my mattress beneath me. My sister feeds her children grass, while my 10-month-old son in London spits out peas because he's decided he doesn't like them.
There is no moral universe in which what is happening in Gaza can be justified.
On Monday, David Lammy and his counterparts from 24 other nations, including France, Canada and Australia, urged Israel to lift restrictions on the flow of aid into Gaza. In a joint statement shared on Monday afternoon, the politicians said: 'The suffering of civilians in Gaza has reached new depths. The Israeli government's aid delivery model is dangerous, fuels instability, and deprives Gazans of human dignity.'
The nations condemned the current aid delivery model, backed by the Israeli and American governments, which has reportedly resulted in IDF troops firing on Palestinian civilians in search of food on multiple occasions. Asked for his personal reaction to the scenes in Gaza, the foreign secretary told BBC Breakfast: 'I feel the same as the British public: appalled, sickened. I described what I saw yesterday in parliament as grotesque.'
And yet, my government – the British government – continues to sell weapons to Israel. It provides diplomatic cover at the UN. It repeats the tired lines about Israel's 'right to defend itself' while my family and thousands like them are being starved to death.
This isn't passive complicity. To me, this is active participation.
Starvation is being used as a weapon of war – and Britain is helping to fund the siege. Our politicians speak of peace and stability while backing a regime that bombs bakeries, shoots at aid convoys, and turns food into a battlefield. They speak of 'balance' while Gaza wastes away. What kind of balance exists when one side controls the skies, the borders, the water, the electricity, the food, the very air?
Only days ago, there were reports of Israeli forces opening fire on a crowd of starving Palestinians waiting for flour. At least 93 people were killed. Shot while trying to eat. Some died with empty sacks still clutched in their hands. What crime had they committed? Hunger?
Every day in Gaza, survival is a form of resistance. Every bite is a battle. Every day my family remains alive is an act of defiance against a world that has accepted their death as inevitable.
After the 25-truck convoy carrying vital food assistance came under fire from Israeli tanks, snipers and other gunfire shortly after passing the final checkpoint, the World Food Programme said: 'Gaza's hunger crisis has reached new levels of desperation. People are dying from lack of humanitarian assistance. Malnutrition is surging with 90,000 women and children in urgent need of treatment. Nearly one person in three is not eating for days.'
I cannot describe the torment of knowing my loved ones – my mother, my father, my sisters, brother, nieces and nephews are starving – while the world watches and does nothing. Knowing that the country you now live in, pay taxes to, and try to call home is directly involved in their suffering. The guilt doesn't go away. It shouldn't.
Because we are enabling what is happening. With silence. With money. With political cowardice.
The children of Gaza are not starving because the world can't help. They are starving because the world has chosen not to. Because their lives have been deemed expendable. Because Palestinians are not seen as fully human. And because many in the West still believe that Israeli power must be protected at all costs, no matter how many innocents it crushes.
I write because I have no other weapon. I write because my voice is the only thing left to send across the border. I write because if I don't, then the silence wins.
But I also write to ask: what will you do?
One day, this will end. One day, the dust will settle. The graves will be counted. And Gaza will ask: Where were you? What did you do while we starved?
And I will ask too.
Because my family is starving. My people are starving. And the world is watching.
And if you look away, you are part of it too.

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'We had different points of views: the American, the European, the Egyptian, the Israeli, but never the Palestinian. It started really bothering me, and at some point I couldn't live with it any more.' In spring last year she flew to Cairo with the idea that she could somehow find a way across the Gaza border to film the war firsthand. That quickly proved a naive and futile mission, so she began filming Gazan refugees in Egypt. One of them suggested to Farsi that if she wanted to talk to someone inside, he could put her in touch with his friend Fatma in the al-Tuffah neighbourhood of Gaza City. We first see Hassouna the way Farsi meets her, on her little phone screen, materialising with green hijab, big glasses and her broad white strip of a smile. They clearly delight in each other's presence from the outset. 'From the first call, I felt that she was someone very special, and that something clicked between the two of us immediately,' Farsi says. 'As soon as we connected, I would be smiling or laughing, and she was the same on her side.' There had been no guarantee the two would get along. Farsi is significantly older, with a daughter Hassouna's age, and she is a cosmopolitan, sophisticated woman who has travelled the world, while Hassouna has been restricted to Gaza all her life. Hassouna is devout while Farsi is profoundly sceptical of any religious talk and challenges her new young friend over what kind of god would allow innocent people to suffer so painfully. However there is far more that draws them together, in ways that are harder to define. 'She had this energy, this shining thing. She was solar,' Farsi says. 'That's the adjective that fits her. Her natural smile. There was this mutual fascination, sorority, comradeship – a mixture of all of these things – and we were happy as soon as we connected.' Farsi makes her phone a portal through which Hassouna recounts her story and the tragedy of Gaza. She talks about her family and introduces her shy brothers to Farsi. She has already made herself a photographer and poet by the time they meet, and Farsi coaches her into being a film-maker and to send out video of the ruination around her. Hassouna is supremely, naturally talented. Her pictures capture the everyday effort of her neighbours trying to survive in the rubble, while her use of language – in her poems and in conversation – is every bit as evocative. The film's title is taken from her passing description of what it is like to venture outside: 'Every second you go out in the street, you put your soul on your hands and walk.' In another conversation, struggling to make sense of what is happening, Hassouna asks: 'We live a very simple life, and they want to take this simple life from us. Why? I'm 24 and I don't have any of the things that I want. Because every time you reach what you want, there's a wall. They put up a wall.' The film should not work. It is determinedly rudimentary, filmed largely on one phone pointed at another. The image of Hassouna sometimes freezes and buffers as the internet connection ebbs and flows. But these glitches draw us in and make us experience the precariousness of their connection. 'That's why I decided to keep this low resolution and not to use a regular camera,' Farsi explains. 'I wanted it to be very low-key technically, to match the connection problems with her, to match the disparity of life here and there.' She had originally attempted a cleanly edited version with all the disconnections cut out. 'It was lacking soul. It didn't breathe. So we put it back in – this brokenness of image and sound.' The sweetness of the relationship at the core of the film is made bittersweet by the constant threat of death around Hassouna. Every so often she reports the death of relatives, or neighbours whose eviscerated homes she points to out of her window. It feels like the encircling darkness is in a direct struggle with Hassouna's smile and her instinctive optimism. Anyone who does not want to know which triumphs in the end should stop reading here. Towards the end of the film, Farsi calls Hassouna to give her the happy news that the film has been selected to be screened at Cannes. They excitedly talk about Farsi obtaining a French visa that might allow Hassouna to get out of Gaza temporarily to attend the festival. While they are talking, the young Palestinian sends the film-maker a photo of her passport. That was 14 April this year. The next day, a Tuesday, Farsi could not get through to Gaza to give Hassouna an update on preparations. 'So I said, 'OK, we'll do it on Wednesday,' the director recalls. 'On Wednesday, I was working on the film on my computer with my phone beside me, and all of a sudden I saw a photo pop up. I opened the notification and saw her photo with a caption saying she had been killed. I didn't believe it. I started calling her frantically, and then called a mutual friend, the one who introduced us, and he confirmed it was true.' In the middle of the night, two missiles fired by an Israeli drone had pierced the roof of her building and burrowed through before detonating, one of them exploding in the family's second floor apartment, the other just below. Fatma Hassouna was killed along with her three brothers and two sisters. Her father died later of his wounds leaving her mother, Lubna, as the sole survivor. The investigative group Forensic Architecture studied the missile strike and declared it a targeted strike aimed at Hassouna for her work as a journalist and witness. Farsi has no doubt. 'She was targeted by the IDF,' she says. 'There were two missiles dropped by a drone on her house. It means they found out where she was living, planned a drone with missiles to go through three storeys of that building and explode on the second floor. It's amazingly well planned in order to eliminate somebody who just does photography. 'I still can't believe it,' Farsi says, speaking from Bogotá, where she is touring with the film, which is now Hassouna's legacy. 'It's three months now, a bit more, and it's still quite unbelievable. For me, she is somewhere out there and I believe I will meet her someday.' In their conversations, Hassouna talked about all the places in the world she dreamed of seeing, while insisting she would always return home to Gaza. Shortly before she died, she told Farsi: 'I have the idea that I must keep going and I must document everything, to be part of this story, to be me!' She imagined passing on her experiences to her children, but instead they have been captured for a cinematic audience, and Hassouna's arresting personality has been preserved at the same time, a portrait of a unique individual among the 60,000 dead. Put Your Soul on Your Hand and Walk is in UK and Irish cinemas from 22 August. Tickets at