‘We each have our space and our illusion’. So says Gharib when asked for his identification as an ‘Israeli Arab’. We expect him to claim to be a Palestinian but instead he says he is ‘Nada’, his chosen name and, as the policeman says, a ‘woman’s name’ (it is conventionally so in Arabic) to which, it is implied, he has no right.
What’s a country that’s at the top of your bucket list? View all responses ‘We each have our space and our illusion’. So says Gharib when asked for his identification as an ‘Israeli Arab’. We expect him to claim to be a Palestinian but instead he says he is ‘Nada’, his chosen name and, as … More ‘We each have our space and our illusion’. So says Gharib when asked for his identification as an ‘Israeli Arab’. We expect him to claim to be a Palestinian but instead he says he is ‘Nada’, his chosen name and, as the policeman says, a ‘woman’s name’ (it is conventionally so in Arabic) to which, it is implied, he has no right.











![How can a drama about men and their relation to work take on, and does it need to, the belief of its central character that a ‘man who is not married is living an unnatural life.’[1] Some personal, and otherwise, reflection on reading Robert Tressell before seeing the Ensemble ’84 production of ‘The Ragged Trousered Philanthropists’: Part Two, being on homosocial groups and heterosexual marriage.](https://i0.wp.com/livesteven.com/wp-content/uploads/2026/09/slide5.jpg?resize=365%2C365&ssl=1)