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In A Game for Swallows, graphic novelist Zeina Abirached uses black-and-white contrast to convey not only emotion but physical sensation. Her graphic novel looks at one day and night from her childhood during the Lebanese civil war, showing how danger entered domestic life—and how neighbours helped children endure it.
What black and white can express
“When you draw in black and white, you can express feelings, but also sensations,” Abirached told Scroll.in in a March 15, 2025 interview. She associates white with possibilities such as “the void, something erased, or light – something open,” and black with “something obscure, closed, or heavy.” These are her own artistic associations, not fixed meanings that every reader will share.
For Abirached, the contrast works partly through its effect on the reader: she wanted the page to create contradictory sensations without announcing them, leaving readers to notice their response and wonder what produced it. In this approach, the visual choices do more than illustrate the events; they help shape how those events feel.
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Abirached says she did not want to depict violence directly. In one scene, a character’s father is missing. Rather than show what happened, the page uses imagined dialogue, black space and an onomatopoeic sound effect. The reader is left to infer the event instead of seeing it rendered explicitly.
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She connects that restraint to the protection her parents offered her as a child, and says she wanted to tell the story in a way that was “aesthetic and tender.” That describes her intention; readers may respond to the technique differently.
Why the book focuses on one day and night
A Game for Swallows is based on Abirached’s childhood in Beirut during the 1980s. Its frame is deliberately narrow: one day and night when her parents, who were with her grandmother, could not return because roads were cut off amid bombing. Neighbours gathered to look after Abirached and her brother.
That bounded episode lets the book attend to the children’s immediate experience and the people around them. It is not a comprehensive account of the Lebanese civil war. Abirached says she wanted to write from a child’s perspective and focus on ordinary life amid danger.
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The details of life indoors
Abirached recalls daily routines shaped by risk and uncertainty. Water was stored in bottles and large containers. The radio supplied news and information about where people could go safely. The children stayed inside because going outdoors could expose them to sniper fire.
Neighbours were part of that everyday world, bringing food and telling stories. In Abirached’s account, those acts show the social ties that helped sustain the children during a frightening wait. The domestic setting shifts attention away from familiar images of destruction and toward people trying to live and care for one another inside their homes.
Memory, silence and the making of the book
Abirached recounts that after the war ended, people around her often did not talk about it. She also says that, in her experience, school history lessons stopped in the 1970s or only touched on the war’s first year. Those are her recollections in the 2025 interview, not an independently verified account of curricula across Lebanon.
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In her twenties, while researching online, she says she came across a French television documentary about Beirut in 1984. She recognized her grandmother in footage of a house entryway. Abirached describes that discovery as one of the experiences that prompted A Game for Swallows.
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She presents the act of telling the story as a response to silence: “The idea was simply to express, to tell what happened.” She also sees writing and art as part of rebuilding personal and collective understanding. As she put it, “We have to rebuild by knowing what happened – rebuild our lives, but also our country and our political life, without amnesia.”
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What the book asks readers to notice
Rather than offer a broad history of the conflict, Abirached’s account brings readers close to a child’s experience of one dangerous night: the weight of waiting, practical routines such as storing water, and the care neighbours provided. Black-and-white contrast and indirect depictions of violence leave room for readers to imagine what is not shown. The result, in the author’s stated aim, is a way to remember wartime life without making explicit violence the only thing visible.
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