Mother Figure looks to a moment bookended by the launch of the Palestinian Revolution in 1965 and the 1982 demolition of its epicenter in Beirut, charting the emergence of the dream and the maternal body as nested modes of relating to Palestine in the visual and literary arts of the era. Focusing primarily on the work of Mustafa Hallaj, Samira Badran, Ismail Shammout, and Juliana Seraphim, the study establishes the “dream-state” as a historically situated framework for conceptualizing Palestine, arguing that the language of dreaming negotiates the reckless hope of the revolutionary moment with the profoundly disorienting experiences of exile and erasure. Across a diverse corpus of cultural production, this framework marks Palestinians’ difference as a people for whom “imagining” the nation is not a subconscious means of belonging to a social group but a complex act of mourning, speculation, resistance, and survival. Furthermore, its articulation through different iterations of the maternal body––faithful surrogate, loving mother, barren monster, virgin territory––indexes both the tenacious futurity of the dream-state and the patriarchal parameters of its emancipatory imaginary.