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Dreams and nightmares heighten contrasts and ironies, develop characterization, and convey themes in the novel. The motif of dreams is introduced in the novel’s epigraph, emphasizing that believing in dreams is key to individual and cultural survival. Tal responds to the bombing at the cafe in the first chapter by attempting to find relief in sleep, “even if I know that when I wake up tomorrow no one will tell me that everything’s fine and it’s all been a bad dream” (2). Tal later makes the contrast between dreams and nightmares explicit, as when she reflects on her perception of violence in Gaza: “It all seems so far away, I thought. Not far away like an inaccessible dream, but like a nightmare you’re relieved not to be going through yourself” (70). Through these opposite motifs, the novel develops a contrast between the nightmare of the present violent reality and the characters’ dreams of a peaceful future.
The motif also develops The Complexities of Identity and Belonging in a Divided Society and The Impact of Geopolitical Conflict on Individual Lives. For Naïm, his dreams both unite him with his culture and set him apart as an individual. He is among the “[o]ne and a half million Palestinians dreaming of a Palestine; one and a half million Palestinians dreaming of a normal life” (29) but also has his own dreams, which will take him away from the “despair” and “hypocrisy” he sees around him. For Tal, the fact that filmmaking and storytelling has long been her dream is a guiding force behind her identity and her ability to make sense of the larger conflict shaping her everyday life. The fact that she cannot sleep after witnessing the bus bombing emphasizes the impact of the event, because the living nightmare she experienced has temporarily destroyed her ability to dream. For both Naïm and Tal, the motif of dreams and nightmares illustrates the limits geopolitical conflict has placed on their ability to see themselves as individuals and create the identity they desire; their insistence on following their dreams offers a powerful message of hope.
The motif of numbers, math, and time is present in both Naïm’s and Tal’s descriptions. It often conveys an effort to impose order on chaos and the inevitability of history repeating itself, demonstrating The Impact of Geopolitical Conflict on Individual Lives. Both characters present events and actions as math problems in a global game of death and destruction, as when Tal describes her history lesson on the 20th century or Naïm presents the ongoing conflict as a competition in which people keep score.
The act of assigning numbers, dates, and times to events represents Tal’s wish to make sense of seemingly senseless conflict. She often considers how history might be different if only she had a time machine, or if only events proceeded in a different order. Her recounting of the aftermath of the cafe bombing is a literal count, as she rapidly and mathematically describes events: “Mom had just told me to go to bed for the third time”; “she did four things at once”; “[f]ive, six, seven ambulances” (1-2). When Tal considers how unlikely it should have been for her to be so close to two deadly bombings within a few months but adds that “probabilities and statistics are only any good for math and biology, they’re just numbers written on paper” (97), it highlights her recognition of the futility of trying to use reason to understand the unreasonable.
When Naïm refers to numbers and time, it is more often in ways that emphasize patterns of history and human behavior: “But everything repeats itself. There was a First World War, then a Second. A first intifada, then a second” (75). And while Tal uses numbers to try to understand reality, Naïm suggests that the ability to manipulate numbers is an ability to change reality itself, saying that Israelis who hold up traffic for security checks and other measures are “the masters of time” (89). As with other symbols and motifs in the novel, both characters’ references to the motif of numbers, dates, and times emphasize their worldviews, with Tal hoping math can help her envision a better future, and Naïm employing it to explain the influence of an ever-present past.
The titular bottle is a symbol of hope and personal connection throughout the novel. It is a reminder of the champagne the family used to toast their hopes for a peaceful future while watching the Oslo Accords, and the fact that Tal’s parents have saved it for 10 years demonstrates their unwavering faith in the necessity of hope for peacebuilding and reconciliation. When Tal chooses that bottle to bear her message of hope and connection into Gaza, she is demonstrating her faith in that possibility as well. When Naïm disdains Tal as “Miss Bottle-Full-of-Hope-in-a-Sea-of-Hatred” (21), it highlights his rejection of her worldview. So, when Naïm himself chooses that bottle to signify their reconnection at the end of the novel, proposing that Tal will know him because he has saved the bottle all along, it also serves to emphasize how much he has changed as a result of their interactions.
The use of language throughout the novel symbolizes the power of words to unite and to divide, develops point of view, and highlights The Power of Storytelling and Communication and The Complexities of Identity and Belonging in a Divided Society. Subtly, language in Tal’s and Naïm’s early emails present their willingness to meet in the middle and find peace together. When she says Eytan will “throw the bottle into the sea, in your country, in Gaza” (17), her phrasing is a subtle acknowledgement of respect for a two-state solution in which Palestinians have their own country. Naïm’s admission that he can speak and read Hebrew, “the language of the enemy” (22), suggests that he too, at some point, had hopes for peaceful interaction. As the two continue to acknowledge similarities between them—as when Tal closes her email with, “Peace be with you, as we say in Hebrew, and as you do in Arabic” (59), or when the two conclude that if the two sides could agree on words they could agree on everything—it conveys the ability of language, communication, and storytelling to build bridges in the broader conflict.
The meanings of names are also used to develop characterization, irony, and the theme of the Hope Versus Despair, often helping to illustrate point of view. Tal’s name means “Morning Dew,” representing her ever-present hope and resilient belief in the possibility of a fresh start; this is reinforced by her chosen email handle “bakbouk,” which connects her with the bottle as a symbol of hope. Naïm’s note that his name means “paradise” in Arabic also conveys a sense of hope, while denoting an ironic contrast with his descriptions of Gaza as a place where despair is among “the only commodities we have in plentiful supply” (29); his own chosen email handle, “Gazaman,” roots his identity as being strongly connected to the place of his birth. Through the sharing of their names and their wish to create a “bi-national dictionary” to unite their two countries, Tal and Naïm represent the power of words to change perspectives.
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