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“They may want to publish books in a’amiya, but they also want to sell into as large a market as possible. This means being able to sell across borders, particularly into wealthier Gulf countries, but it also means selling to schools and libraries. Generally, it's only the books entirely in Fusha that are seen as ‘properly’ educational.”

"I had to read the story in Fusha in my head, each page, and then translate it into colloquial Arabic so that she understood the spoken Arabic words. It really bothered me. It didn't feel natural. It cut the flow for me and for her.” 

The couple set up a publishing house they named Ossass Stories (Ossass means "stories" in Levantine dialect), learning the trade from scratch and financing it themselves. Makhoul would work by day as a journalist and then research the publishing industry by night, drawing up cost analyses and searching for illustrators and distribution outlets. 

The problem with reading material for very young children learning Arabic is universal. But the lack of age-appropriate learning resources is felt more keenly by parents raising their children outside the region.

“If it's nursery rhymes and cartoons, and things like that, they’re all dubbed into Standard Arabic, it's very frustrating.”

“The problem is Standard Arabic isn't spoken anywhere.” Khalil says. “It's an ideological or theoretical standard. And so that's where linguistically the problems occur and pedagogically, as well. You're kind of creating artificial material and scenarios.”

I'm not saying we should do a'amiya [spoken Arabic] forever for everyone. I'm just saying for the little ones