The theme of exile is not a new area in Arabic literature. Separation from one’s home-country has been explored by various writers as early as the turn of the twentieth century. Whereas Arabic Mahjar (diaspora/migratory) literature evolved at the turn of the twentieth-century when Levantine writers emigrated to North and South America escaping Ottoman rule, exile literature started mid-century as a result of English and French colonization. Edward Said states that “the post-colonial age have produced more refugees, migrants displaced persons, and exiles than ever before in history. . . .” (Said 332). Bahā’ Ṭāher’s الحب في المنفي (Love in Exile) (1995) is an exemplary work of art illustrating Said’s notion of “exilic consciousness.” Ṭāher’s (1935-) semi-autobiographical novel was written during his self-exile in Switzerland when he was dismissed from his job in the Egyptian radio. The novel takes place in the post-Nasserite era; an epoch of psychological trauma after Egypt’s defeat in the 1967 war. As a result of this belligerent trauma, the home country for most Arabs seemed no longer the safe place it used earlier to be. This paper explores the different forms of exile in Bahā’ Ṭāher’s novel: the individual, the familial and the national. Love in Exile is not just about an exiled Egyptian protagonist; there are other characters in the novel who are also exiled in different ways from their European, African and Arab countries. They reconcile with their banishment in a café which becomes a liminal imaginative space where they can feel at home. They overcome their feelings of banishment through discussing and trying to find the roots of political issues that have torn them away from their home countries such as the Palestinian genocides of Sābrah and Shatīlah and the human rights problems in South America. In a global world, the theme of exile becomes contested; these transnational characters meet in a café discussing and researching contingent world issues that bring them closer to each other. In relation to Said’s idea that “The exilic intellectual does not respond to the logic of the conventional but to the audacity of daring” (The Edward Said Reader 381), I illustrate how the novel assumes an interesting dichotomy expressed in its title: love and exile. It is through an “exilic[compassionate] consciousness” that one can find a home to trespass the borders of exile and to create new hyphenated transnational identities.