Each pho­to in this book, a col­lec­tion culled from an exhi­bi­tion held at the Jew­ish Muse­um in New York, tells its own story. 

Some of the sto­ries pull at your heart strings. There is the pic­ture of a young per­fect cou­ple. Guy is hand­some, young and fit. Ronit is a strik­ing­ly attrac­tive woman. The pho­to cap­tures Guy and Ronit sit­ting on a wall over­look­ing the pic­turesque desert. Every­thing seems so sym­met­ri­cal, a love scene in the land­scape. And then you look fur­ther. Guy, the fit young man, has lost his legs below the knees. His sto­ry is even more pow­er­ful than the pic­ture. This is life in Israel.

In this work Susan Tumarkin Good­man cap­tures more than peo­ple with her lens. There are spec­tac­u­lar pic­tures of walls. Walls with slo­gans. Walls with murals. Even a wall with a pic­ture of the scenery that is blocked from view on the oth­er side. 

Date­line Israel por­trays Israel in all its spec­tac­u­lar rawness.