46 pages 1-hour read

Hostage

Nonfiction | Autobiography / Memoir | Adult | Published in 2025

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Chapters 10-12Chapter Summaries & Analyses

Content Warning: This section of the guide includes descriptions of kidnapping, captivity, physical deprivation, psychological abuse, violence, death, antisemitic hatred, and war.

Chapter 10 Summary

Sharabi describes October 2024 as a month of worsening deprivation. Hunger intensifies, the cell grows filthier, and captors refuse to let the hostages clean, even as the stench makes the captors recoil and avoid contact. The captors’ moods swing between ecstatic chants of “Allahu Akbar!”—signaling to the hostages that something bad has happened for Israel—and stretches of visible depression and impatience.


Because this tunnel has a TV, Sharabi and the others pick up fragments of outside news by overhearing broadcasts and conversations. In November, they begin hearing talk of the upcoming US election, and they are surprised that their captors hope for a Trump victory. The hostages fear escalation, but they realize the captors want change and believe Trump might force a deal. As predictions tilt toward Trump, captors grow more hopeful and count down to the inauguration. In January 2025, the captors speak more openly about negotiations—Cairo, Qatar—and repeated numbers that suggest a framework: “thirty-three hostages” and “forty-two days” (119). The hostages try to stay cautious, reminding themselves they cannot trust Hamas’s signals until they are physically in Israeli hands.


Near the end of January, a high-ranking Hamas figure arrives—“Tippy.” His presence changes the atmosphere: He orders the removal of the hostages’ leg shackles, instructs the captors to let them clean, and demands they be fed. He returns with an interpreter (“the Trumpet”) and questions them about their treatment; although invited to speak freely, the hostages maintain a protective “charade” and give safe answers. Tippy asks about October 7, listens to their stories, and claims he is sorry, which the hostages find baffling and performative.


On February 1, 2025, Tippy brings a laptop and USB sticks, shows photos of hostages, and states that some are alive and some dead. He assigns release dates: Sharabi and Or on February 8, Elia on March 1, and Alon on March 8 in a second phase that is not yet signed. Alon collapses in terror at being last. On February 4, Sharabi and Or are moved early, given clothes and shoes, and transferred by car through Gaza to another cell and then into a new, primitive tunnel where they are told to sleep in filth. That night, Sharabi dreams of his siblings and wakes longing to return to the dream.

Chapter 11 Summary

Sharabi and Or spend a day in a new, primitive tunnel with a small group of captors: a commander and two guards. With no toilet, they dig a cesspit in the corner. The space is colder and damper than the previous tunnel, and the earlier tunnel’s tiled walls and basic amenities now feel luxurious by comparison. Despite the filth and lack of blankets, the guards are relatively restrained and provide more food than before—pita supplemented with halva, cheese, and beans—while the new tracksuits help them endure the chill.


The commander seems surprised that the hostages know they are supposed to be released on Saturday and insists nothing is certain, reinforcing that they remain in the dark until the last possible moment. On Wednesday night, Or hears Hebrew outside the sandbag barrier and believes someone is being questioned, including mention of “December 24.” Sharabi recognizes the date as Ohad Ben Ami’s birthday and realizes a friend from Kibbutz Be’eri is nearby. When Ohad enters, the two embrace for a long time, stunned by the physical reality of recognizing someone from home. Ohad is drastically thinner and older-looking.


Ohad shares his captivity story, including that his wife, Raz, was kidnapped and that they were initially held together with 13-year-old Gali Tarshansky, who was abducted alone and later released with Raz in the first deal. He recounts brutal beatings in his tunnel and how he confronted a commander to stop the violence, successfully shifting treatment. He also provides precious fragments of outside news—major militant leaders killed, military operations, and the murder of six hostages in September—leaving Sharabi and Or shaken.


That night, the Hamas commander privately shows Sharabi a photo of his brother Yossi and warns him to steel himself. The next day, the commander claims Yossi was kidnapped and killed when an IDF strike hit the house where he was held. Sharabi initially doubts the claim, but Ohad confirms it, saying he has seen an official IDF spokesman statement. Sharabi reflects on moving to Be’eri as a teenager, building a life there, and how Yossi later followed him to the kibbutz with his family.


Ohad also warns them about Hamas’s staged release ceremonies. The next morning, the reason for the new tunnel becomes clear: It will be used as a filming site. Hamas records repeated, directed “scenes” of the hostages, then moves them to a well-furnished house to film scripted on-camera statements. Exhausted and filthy, Sharabi accepts that this is the condition in which they will be released.

Chapter 12 Summary

On Friday night, Sharabi waits in tense uncertainty as his captors repeatedly insist the next day’s release is only a “maybe.” He tries to stay emotionally contained, reminding himself that anything can collapse until the Red Cross hands them to the IDF. He lies awake thinking about the staged parades Ohad has warned about and dreads becoming part of a propaganda spectacle rather than experiencing a quiet transfer.


Before dawn on Saturday, the captors wake Sharabi, Ohad, and Or and lead them up through an extremely deep tunnel. In low-ceilinged sections they must crawl, getting smeared with mud and cold earth. At the exit they receive clean but ugly brown outfits and wait at the tunnel mouth while an IDF drone buzzes overhead. The captors delay, frightened of an airstrike, and taunt the hostages that Netanyahu wants them dead. After the drone moves away, they emerge into a ruined area and travel through junk-strewn routes in a vehicle with blacked-out windows; their heads are forced down and their eyes blindfolded. Midway, the commander buys them new black slip-on shoes and makes them change.


They stop in a sand-and-rubble landscape where Hamas operatives rehearse the hostages for the ceremony, choreographing every step, gesture, and line. A Hebrew-speaking Hamas media handler coaches them on stage questions, including scripted statements about Netanyahu and about Yossi. The operatives threaten that any deviation will cancel the release and return them to the tunnels.


The car arrives at the actual stage, surrounded by a massive crowd. Hamas forms a protective human square, shielding the hostages from the mob. Onstage, Sharabi follows the script exactly—answering questions, smiling, waving—while the interviewer leads a call-and-response chant with the crowd. Afterward, they are placed in a Red Cross vehicle as people bang on the windows. A Red Cross worker named Felicity tells them the convoy is armored and they are safe; Sharabi breaks down crying. Ohad confronts Felicity, demanding to know why the Red Cross never reached them, and she quietly says they were prevented.


As the convoy nears the handover point, Sharabi confirms their identities to an IDF officer by phone. He reaches Israeli forces and sees the flag. A female officer tells him his mother and sister, Osnat, are waiting at Camp Reim and avoids mentioning his wife and daughters. In that silence, Sharabi understands Lianne, Noiya, and Yahel are gone. He keeps moving, focusing on reuniting with his mother and sister as he steps into freedom.

Chapters 10-12 Analysis

Across Chapters 10-12, Sharabi’s account shifts from depicting captivity as a sealed world of deprivation to showing it as a carefully managed propaganda performance aimed at the outside world. Control no longer operates only through hunger, restraint, or confinement, but through schedules, rehearsals, and staging. The hostages remain imprisoned, yet their images, words, and movements are increasingly organized for outside consumption. These chapters reveal how propaganda operates as the regulation of perception—what the hostages are allowed to believe is happening and what the world is meant to see.


Uncertainty remains one of the captors’ most effective tools, and Sharabi shows how the men respond by limiting what they allow themselves to trust. His repeated insistence that “until the Red Cross hands us to the IDF, this isn’t really happening” (139) shows skepticism as a survival skill rather than despair. By refusing to emotionally commit to rumors of release, he protects himself and others from the whiplash of hope repeatedly offered and withdrawn. This posture reflects The Politics of Control in Captivity, where power depends less on constant violence than on the ability to destabilize expectations through selective information and sudden reversals.


These chapters show that propaganda is also directed at the prisoners. When a superior intervenes, months of routine cruelty are undone in an instant: “He orders [their shackles] to be removed at once” (120). The sentence is stripped to its essentials, mirroring the blunt authority of the command itself. What makes the moment unsettling is not relief alone, but the realization it brings: The suffering was never necessary or accidental. It was engineered, a lead-up to the moments prior to their release. The prisoners need to look at least somewhat healthy when they are released, as their captors know it will be a global media event. Rehearsed “interviews,” repeated instructions, and coached movements show the careful choreography of this propaganda, such as Sharabi’s instructions—“now walk… now sit… now stand” (137). They are given clothes, shoes, and even release dates ahead of time to prepare them for reentering the world.


Sharabi’s observation that Hamas briefly shields the hostages from the crowd sharpens the chapter’s central contradiction: The captors act as protectors against danger they themselves have helped create. His verdict—“They’re two-faced, and both faces are savage” (142)—cuts through the spectacle. 


Against this choreography, ordinary human interaction carries unexpected weight. When the Red Cross worker introduces herself—“Hi, I’m Felicity. I’m from New Zealand” (143)—the simplicity of the exchange breaks through months of managed fear. The calm cadence, so normal it almost feels unreal, triggers Sharabi’s physical collapse because it signals a return to the world outside his captors’ control. Ohad’s anger at Felicity—asking why the Red Cross didn’t reach them earlier—complicates the relief, reminding the reader that even humanitarian intervention is subject to the violent conditions of the conflict.


The section closes by foreshadowing the fate of Sharabi’s family. When he is told his mother and sister will meet him at the camp, he understands that this means his wife and daughters are dead. This moment prepares the transition into the final chapters, where systems designed to manage survival give way to the far less governable work of grief. The release has secured Sharabi his freedom, but he must grapple with what freedom now means—and what it has already cost.

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