In Sharon and My Mother-in-Law (2003), Suad Amiry chronicles the daily trials and tribulations of living under occupation in the West bank city of Ramallah. In addition to dealing with nerve-wracking and humiliating experiences at airports and Israeli checkpoints, dodging bullets during heavy shelling, and trying to obtain impossible permits in order to travel back and forth to Ramallah, she must deal with the added pressure of hosting her 91 years old mother-in-law, whom she evacuates from her heavily militarized neighborhood. The added pressure of entertaining her mother-in-law, especially during long curfews--amidst a shortage of food, water and electricity--drive Suad to the brink of madness. Through writing her diaries and sending emails to friends abroad, she tries to remain sane in the face of Sharon's oppressive regime and her mother-in-law's harmless but stifling presence at her home. Like most creative writing born under circumstances of war, Sharon and my Mother-in-Law transcends the private world of its writer to encompass collective stories of pain, loss and displacement among Palestinians. Amiry is adamant about telling stories of friends and neighbors who have lost loved ones to death or exile, personal property, and even palm and olive trees, emblems of Palestinian national identity and livelihood. Additionally, she documents the small acts of resistance among fellow residents. Her 'heroic' episodes include her sarcastic treatment and belittlement of Israeli administrators and soldiers who interrogate her as well as a collaborative midnight drumming session, which her neighbors improvise and execute, using household pots and pans as musical instruments. In this paper, I emphasize Suad Amiry's use of humor as means of 'medicating' and alleviating her own sense of boredom, anxiety and paranoia in a time of conflict, as she documents stories of oppression and injustice and celebrates a resilient people who have not lost their sense of humor and humanity. Drawing on theories of humor including Michale Bakhtin's and contemporary feminists such as Gina Barreca, I analyze the power and limitations of Amiry's painfully humorous diaries that reflect the absurdity of life under occupation and the ways through which Ramellah residents manage to navigate their war-torn city and establish a meaningful existence amidst the chaos and violence surrounding them.