In this 2004 Arabic-language novel, "Shlomo Al-Kurdi, Myself and Time," Israeli-Iraqi author Samir Naqqash crafts the narrative of protagonist Shlomo Kattani as a death-bed retrospective on a lifetime punctuated by multiple traumas of dislocation. One one level, Shlomo experiences physical dislocations as the great political upheavals of the 20th century push and pull him from his village of Sablakh in Western Iran, to and from Baghdad, to and from Mumbai, and eventually to his ultimate destination and resting place in Ramat Gan, Israel. The narration of these dislocations is replete with signs of traumatic experience, namely repeated flashbacks to the site of trauma, and an appeal to a witness to listen to the victim's story so that he may depart from trauma's site. Indeed, by unearthing the subtle clues of traumatic experience, it becomes apparent that the novel-as-testimony reading is a highly productive one for this text. In addition to physical dislocations, however, Shlomo also experiences cultural dislocations, as he is pushed and pulled among linguistic and cultural spheres. That Shlomo employs a rich array of both Islamicate and Jewish cultural references as he narrates his story, in Arabic, from a Hebrew-speaking city in Israel suggests mourning for the loss of the world where these two now-distinct forms of cultural memory once freely intermingled. That is, the individual traumas of Shlomo's life, each one wrenching on the personal level, add up in sum total to the complete and final uprooting from a multiethnic, Islamicate cultural sphere. In this way, Shlomo mourns his personal losses and the loss of an entire cultural world at one and the same time. Thus, this paper seeks to examine the language of loss in Samir Naqqash's "Shlomo Al-Kurdi, Myself and Time" from the lens of personal, traumatic memory on one hand, and the lens of communal, cultural memory on the other. In so doing, this paper seeks to shed light on the relationship between personal and communal loss in the case of one Arab Jewish writer. To properly set up the historical-linguistic framework for this thesis, the paper will draw on the works of scholars of the newly-developed field of Arab Jewish literary history. For a theoretical framework via which to unravel the interwoven strands of trauma and witnessing, it will draw on Cathy Caruth and other theorists of trauma in literature.