This paper is a close reading of Zeina B. Ghandour’s The Honey. I argue that the novella employs the fantastic in order to create a shift to woman-centered spirituality as a mode of sumud that offers a double critique of Israeli Occupation and patriarchal Palestinian nationalist discourse—all the while centering the Palestinian people’s steadfastness, through staying put on the land, and the Palestinian refugees’ right to return to the land they were expelled from during the Nakba (1948), the Naksa (1967), and throughout decades of Israeli occupation. The novella depicts how this woman-centered spirituality was part of the Palestinian national culture that strongly existed in Palestine before 1948 but disappeared shortly after the 1967 occupation and how this culture unified Palestinian society and strengthened its love of and connection to its ancestral land. I argue that the novella’s recreation of this Palestinian culture from within the context of the second Intifada (2000-2005) foregrounds its importance for reclaiming sumud as the quintessentially Palestinian mode of resistance to a military Occupation bent on emptying Palestine of its indigenous people through killing and expulsion. The novel depicts this culture as enabling the Palestinian people to persist on their land in defiance of the occupation’s agenda of ethnic cleansing. The novella’s depiction of this culture also gnaws at the patriarchal nationalist discourse and its failure to achieve social and national liberation. Ghandour’s depiction of national culture is reminiscent of postcolonial theories of nationalism and feminist theories of home and belonging that make a distinction between “official” nationalist discourse and the emancipatory nature of national culture.