1. This line is from Darwish’s prose poem, which I thought will help readers understand the hardship of immigrants. I use Darwish to articulate the political connection between the 9/11 tragedy that took place in New York and U.S. Middle Eastern policies. Mahmoud Darwish, Memory for Forgetfulness: August, Beirut, 1982 (Berkeley; Los Angeles; London: University of California Press, 1995), p.60.

2. The Darwishes stole back to Galilee a year after 1948, and found too late to be included in the census of Palestinian-Arab citizens of Israel, and consequently the poet lost his legal identity. His escape from Israel took place in 1971.

3. Luis H. Francia, “ Inventing the Earth,” in Across the Pacific: Asian Americans and Globalization, ed. Hu-DeHart, Evelyn (Philadelphia: Temple University Press, 1999), p. 206.
4. News release, “Migrations, Humanity in Transition: Photographs by Sebastião
Salgado,” International Center for Photography.

5. Rosalind E. Krauss, “Notes on the Index: Part 1,” in The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, Massachusetts; London: The MIT Press, 1986) p. 196-209.

6. Edward W. Said, Culture and Imperialism (New York: Vintage Books, 1994), xiii.

7. James Thrall Soby & Dorothy C. Miller, Romantic Painting in America (New
York: Museum of Modern Art, 1987), p. 7.

8. Oswaldo Rodriguez Roque, “The Exaltation of American Landscape Painting,”
in American Paradise: The World of the Hudson River School (New York: Metropolitan Museum of Art, 1987), p. 21.

9. Ibid., p. 24.

10. This observation on homogenous versus cultural diversity is also given by Said.
See Said, Culture and Imperialism, p. xxv.

11. The work’s title was originally Ed goes to the East, was changed to the current title on the occasion of the Talwar Gallery exhibition.

12. Said, Culture and Imperialism, p. xxi.

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