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Khirbet Khizeh by S. Yizhar, in particular the 28 Ibis edition, concludes with intended irony. In particular it is seen through Shulman's afterword through relation to the 1949 novel to modern peace activism within the Palestinian/Israeli region as seen on page 131: Through the carrying of signs both in Arabic and Hebrew, for the benefit of soldiers and villagers alike, including the press, 'No More Khirbet Khizehs' (Yizhar, De Lange & Dweck, 2008). What was intended through this was that no longer would there be events like the one that happened in Khirbet. However because Khirbet Khizeh is not an actual region or historical event, the irony lies in the fact that this fictitious event could never be replicated because it never truly happened. Shulman then creates a confusion of reality and fiction through his unintentionally ironic message. In essence the novel is an example of political critique and literature.
The novel and its apparent transparency is so due to its straightforward structure and narrative. It's ability to showcase struggle as well as a nation makes it a fundamental part of Israeli themed literature and to the founding of Israel. The way in which the story transpires and the use of Hebrew as wellas depiction of Arab language is in a way a means of establishing the country...
A good example of the way the Arab language was perceived can be found on page 97, they could not comprehend much of what the Arab was saying, as the harsh guttural consonants of the Arab's pronounciation appeared exaggerated and odd, like sounds in and of themselves (Yizhar, De Lange & Dweck, 2008).
Conflict is also descibed within the novel, however it is not conflict in a traditional sense of conflict of interest or conflict between characters. More so it is conflict essential regarding semantics. It is clearly shown on page 22 as stated by one of the soldiers: "This here, this isn't a war, it's a children's game" (Yizhar, De Lange & Dweck, 2008, p. 22). The events of the so called "war" do not, in the minds of the soliders, appear like a war, they appear more like a game. This conflict is also represented in the narrator. The narrator in a sense, is constantly questioning, a questioning stemming from the first voice.
To better explain the conflict or questioning of the narrator is more like a split within the conciousness of the narrator instead of, of the conciousness of the narrator. Simply put, it signifies a monologue in the guise of a dialogue. Ulimately what was originally considered a child's game, is then brought back to its reality, a war…
References
Yizhar, S., De Lange, N., & Dweck, Y. (2008). Khirbet Khizeh (1st ed.). Jerusalem, Israel: Ibis Editions.
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