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Riley and L. Hunter (eds), Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies (Basingstoke: Palgrave Macmillan), pp. 62–9. Pearson, M. (2006) ‘In Comes I’: Performance, Memory and Landscape (Exeter: University of Exeter Press). Peck, J. 4: 740–70. Pile, S. (2000) ‘Sleepwalking in the Modern City: Walter Benjamin and Sigmund Freud in the World of Dreams’, in G. Bridge and S. Watson (eds), A Companion to the City (Oxford: Blackwell). Rendell, J. (2006) Art and Architecture: A Place Between (London and New York: I.

Judaism, Christianity, Islam. Chapter 11, ‘Performing Jerusalem’, represents a personal memoir, or ‘scenario’, that proceeds from the writer’s own formative experience in the city, seeking to weave a way through the ‘thick’ complex of interpenetrating ‘cultural, ethnic, religious, national and ideological histories and identities’. It leads to the highly personal scene of Rokem’s near-arrest whilst attempting to intervene in a scuffle between an Israeli policeman and a Palestinian during the infamous, often violent, weekly Sheikh Jarrah demonstrations in East Jerusalem.

His face remains invisible, just his hands and those of a silent cellmate in the afternoon light. I cup my hands to my mouth and shout back: ‘I’m walking and looking’. ‘A posto! Great! ’ The two affable drunks outside the Zisa who ask for cigarettes and serenade me with a Neapolitan song. The elderly man on his Vespa in thick traffic on Via Roma, using both hands to roll a cigarette as he glides past serenely at 30 miles an hour. The laughing woman in the deserted café in La Kalsa who took both my hands in hers and asked: ‘But how can you be lost?

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