Article
Comment
Gaza
Middle East
5 min read

The human cost of the Israel-Gaza war

A veteran volunteer surgeon laments a well lived life.

Tim Goodacre is a reconstructive plastic surgeon, and volunteer at a hospital in Gaza.

A young doctor wearing scrubs smiles.
AbdulRahman at work.
Tim Goodacre.

The Israel-Gaza war rages on. Every few days a new tragedy hits our dulled senses. The West Bank and now Lebanon are getting dragged into the conflict. Palestinians and hostages continue to die, and hunger and disease threaten Gaza's displaced people as autumn and winter approach. 

Yet what is often lost is the human face of this conflict. This is the story of one such life. 

AbdulRahman was an intelligent, gentle and diligent young third year medical student in his early twenties, with judgement well beyond his peers. Towards the end of 2023, as the war spread more viciously towards southern Gaza, he was one a group of around 10 students who volunteered to join the team of health care workers at the European Gaza Hospital (EGH). I was volunteering there as a reconstructive plastic surgeon and and met him in the hospital.

Both medical schools in Gaza before the war began were in the north alongside their parent universities. They had been destroyed during the onslaught in the early months of fighting. In the southern town of Khan Younis, the EGH was the sole surviving operational facility to which the wounded could be transferred. It was overwhelmed by the vast numbers of families also taking refuge in what was deemed a safer space than most of the surrounding war zone.  

Many of the senior medical staff and surgeons had retreated to scattered parts of the strip, displaced frequently by the ever-moving conflict and driven by the need to support their families and stay together. ‘Live together-die together’ is an understandable feature in the horror show of war. Students, frequently left with no money or resources, started to volunteer to serve in hospitals in exchange for a little food and a sense of worth in the work they could offer. Any functioning hospital, if briefly ‘deconflicted’ so they could provide relatively safe care, found itself staffed by a disparate crew of local staff, displaced students, and an indeterminate number of more senior surgeons from both Gaza and humanitarian agencies. 

His desire to learn all that could be learnt, and to try to become the best surgeon possible, was palpable.

It was into this chaotic mix that young AbdulRahman walked having fled his family home in the east of Khan Younis in November 2023. A bright young man, with great aspirations to qualify as a surgeon and serve his community, he had spent the first six weeks of the war at home, unable to attend his medical school in Gaza City to the north, but working hard at his studies regardless, using every online and library resource available to him.  

At some point in late November, the battle zone moved south, and his family home was shelled along with many dwellings in the vicinity. Caught in crossfire, he sheltered in his neighbouring relative’s house after his parents and other close family had escaped to Rafah. 

Abdulrahman told me the dramatic story of his escape into the house in which he survived for a week alongside his relative’s family when I spoke to him in late January 2024. This young man not only survived an ordeal of indescribable fear and potential slaughter, but he was then arrested and interrogated in brutal fashion by IDF forces.  

On his release after a harrowing week, he made his way barefoot to the nearest hospital, which happened to be the EGH. In that place of safety, he was given food and water and after recuperation, volunteered to work alongside a reconstructive plastic and burns surgeon who had recently returned to Gaza after training in the UK. 

Although his family were still all alive in Rafah in displaced makeshift shelters, he opted to stay and throw his weight into whatever he could do to support the hospital whilst continuing to learn his profession as a doctor. Travelling occasionally at great personal risk to see and support his family, he devoted all his waking hours to surgical work in EGH operating theatres and wards. His excellent command of English made him immensely valuable to any visiting surgeons who managed to access Gaza during the war months. He was always cheerful, always willing to respond to requests for his time, however stressful the surrounding clamour from desperate patients and relatives might become.  

When his working day was done, in the middle of the night he would arrange for his fellow students to have informal teaching seminars from whoever he could cajole to deliver them, and would absorb knowledge and ideas about best practice like a sponge. His desire to learn all that could be learnt, and to try to become the best surgeon possible, was palpable.  

I had every intention of supporting this fine young man in achieving his professional aspirations by whatever means I could once a ceasefire arose and he could be brought safely to Europe to continue his training. 

In the last week of August, AbdulRahman was sheltering in a relative’s house in Khan Younis. In the small hours of the morning an Israeli attack was launched on the neighbourhood and the house took a direct hit. AbdulRahman was killed instantly. 

He knew, as does every Gazan in these troubled times, that nowhere was safe, and all lives in that tragic zone are at risk. His is a story of a life tragically cut short, of the randomness and destructiveness of war. His death strikes right at the heart of my hopes for the remnant of the fine young population of such a desperately sad nation state. He, and those like him, could have been at the heart of the re-building of Gaza, able to live in what now feels a far-off peace. I cannot translate this into anger, as AbdulRahman himself had a passionate concern for peace and reconciliation, and never once spoke to me in many conversations of support for Hamas, or of hatred for those who had destroyed his country.  

What can be done however, is to honour his life and commitment with similar tenacity in supporting the pursuit of peace, justice for his people, learning and education for the remnant of the nation, and reconstruction of a Palestine that can proudly and honourably reflect the finest values it possesses. AbdulRahman was a great Palestinian, and his all too short life was one which I want to celebrate as one of the finest I have seen in many students of the next generation of doctors. May he rest in peace, and may a lasting peace come quickly to Gaza, to all of Palestine and the whole of the Middle East.

Review
Art
Culture
Ethics
War & peace
5 min read

Can we stop killing each other?

How art, theology, and moral imagination confront our oldest instinct

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A 17th Century painting of Moses and the brazen cross.
Luca Giordano, The Brazen Serpent, c.1690, oil on canvas.
Compton Verney, photography by Jamie Woodley.

What more important question can there be for humanity, Jago Cooper, Executive Director of the Sainsbury Centre, asks than ‘Can we stop killing each other?’ The Sainsbury Centre’s radical exhibition programme explores the big issues in contemporary society (see my article ‘Life Is more important than art’) so has rapidly arrived at the point where it is exploring what has wrong with the world when killing occurs and how can we put it right. 

Cooper sets out the ground that this series of exhibitions seeks to cover: ‘From interpersonal violence to state level conflict, killing has spread its devastating impact throughout all human cultures across the centuries. Why does this violence occur? And can it be better prevented at a time when increased societal pressures of population growth, resource scarcity, human migration and rapid environmental change make the risk of conflict higher? Every day we read about horrifying acts playing out locally and internationally, but what is the answer to stopping them?’ 

Can we stop killing each other? includes an installation by Aotearoa/New Zealand artist Anton Forde, a series of new paintings reflecting on the refugee crisis by Ethiopian artist Tesfaye Urgessa; presentations of historical artworks such as Claude Monet’s ‘The Petit Bras of the Seine at Argenteuil’, and an exhibition spanning Shakespearean tragedy to Hitchcockian spectacle, which asks questions of violent stage and screen narratives, plus (from November) ‘Seeds of Hate and Hope’ highlighting personal artistic responses to global atrocities, such as genocides, ethnic cleansing, war crimes and crimes against humanity.  

It starts, however, with a room displaying Biblically themed explorations of this question. ‘Denunciation of Cain’ by G.F. Watts depicts the after-effects of the first murder with Watts viewing Cain as a symbol of ‘reckless, selfish humanity’. A pair of paintings by Luca Giordano then take us deeper into the ambiguities of our human responses to anger and violence. ‘The Brazen Serpent’, tells the story of the Israelites’ journey from Mount Sinai in Egypt to the Promised Land of Canaan. On this journey, a plague of poisonous serpents punishes the Israelites for their disobedience and lack of faith. Moses is instructed by God to make a bronze, or ‘brazen’, serpent that will heal those that repent. The curators ask, ‘Does this portrayal of killing as a punishment set a cultural precedent, or establish a moral code for right and wrong?’ Alongside is ‘The Judgement of Solomon’ in which two women both claim to be the mother of a living child and where the true mother is revealed by means of an order that the child to be cut in half with a sword and shared. The true mother reveals herself as the one who will give the baby away to protect the child’s life. Here, the threat of violence is used to bring about justice.  

William Hogarth’s print series The Four Stages of Cruelty, with verses by Reverend James Townley, reveals how violence escalates and shows how a lack of moral supervision can lead to a life of crime. Finally, Matt Collishaw’s series of thirteen photographic works entitled ’Last Meal on Death Row, Texas’ alludes to the number of apostles at the Last Supper while depicting the last meals chosen by condemned prisoners on death row in the state of Texas, United States. 

The curators suggest that: ‘The artworks in this gallery, and beyond, suggest that there is a choice between peace and conflict and that moral stories exist to guide us towards making ethical decisions in real life. Art provides a powerful connection through which to experience life at its most chaotic and incomprehensible, enabling us to pause and reflect on the darkest aspects of human existence. It can also create vital opportunities for society to mourn and remember victims of violence, and to come together in acts of healing and repair.’  

These images and the Bible stories on which they are based give us more than simple moral guidance, however. They also provide an explanation for the existence of conflict between human beings and reveal God’s subversion of that ingrained human tendency. 

In the story of Cain and Abel, Cain is jealous of Abel and kills him as a result. The anthropologist René Girard suggests that this story reveals the way in which we consistently act as human beings. We desire something that is possessed by someone else and become disturbed through our longing for what we don’t have. We resolve our disturbance by creating a scapegoat of the person or people who appear to have or prevent us from having what it is we desire. When the scapegoat is killed, we can gain what we desire and also release the sense of disturbance that we feel.  

This scapegoat mechanism becomes expressed in religions involving human sacrifices as scapegoats to appease their gods. In the story told within the pages of scripture, it is out of such religions that Abraham is called to form a people who do not sacrifice other human beings, but instead use animals as their scapegoats and sacrifices. Jesus is later born into this people who have subverted the existing practice of scapegoating and he further subverts this practice because, as he is crucified, God becomes the scapegoat that is killed. Once God’s Son has become the scapegoat, for those who follow him, the scapegoat mechanism is undermined and the scapegoating of others should no longer be possible. 

In ‘The Judgement of Solomon’, the threat of violence is used to reveal the desire of the woman who had taken the mother’s child and the self-sacrifice of the true mother. On the cross, the violence meted out to Jesus reveals the full horror of the scapegoating mechanism in the torture and violent death of the wholly innocent one.   

Jesus explicitly equated his crucifixion with the raising up of the bronze serpent that brought healing because in that story, when it is raised, as Jesus also was, the image of the source of the poison in the lives of human beings became the source of healing. That is also the promise that Christianity holds out to us in relation to the effect of Jesus’ crucifixion where he becomes sin for us. It heals us of our absolute need to scapegoat and harm others. 

 

Can We Stop Killing Each Other? Sainsbury Centre: 

  • Tiaki Ora ∞ Protecting Life: Anton Forde, 2 August 2025 – 19 April 2026 

  • Eyewitness, 20 September 2025 – 15 February 2026 

  • Roots of Resilience: Tesfaye Urgessa, 20 September 2025 – 15 February 2026 

  • The National Gallery Masterpiece Tour: Reflections on Peace, 20 September 2025 – 11 January 2026 

  • Seeds of Hate and Hope, 28 November 2025 – 17 May 2026 

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