It’s been awhile since I devoured a novel so thoroughly as this one. Hashimi writes in a simple, straightforward way. (And be warned, a couple of times the point of view shifts because the copy editor didn’t catch it.)
The book follows two women, Rahima the young daughter of a drug addict, and her great-aunt Shekiba (maybe a few greats in there) a century earlier. Rahima has only sisters, so by Afghani law she can be turned into a son until she is “too old.” That time comes all too quickly for Rahima, who like two of her sisters is married off to sons of the warlord her father serves (and owes for his opium).
Rahima tries to draw strength from Shekiba’s story, told by her unmarried aunt, who grows increasingly impation with Rahima’s mother when she follows her husband into opium despair. But that’s after several more tragedies pretty much rip out her heart.
Told with not as much sentiment as one might expect, and showing the unique ways in which women can find power in the strangest places, the story parallels Rahima’s brief life as a schoolboy and Shekiba’s man-guarding of the palace harem. (The king couldn’t trust men there, so he got ugly women to do it. Shekiba had been harmed by a fire, before the plague carried off her family. She managed to live independently for a bit, too, before her father’s brothers figured out the land was available. Nothing goes too well after that.)
Although the book is intense in its depictions of violence and toxic masculinity, it also shows the ways in which women work together or gang up against each other to work their will. And it is a gripping read, moving quickly through the action with just the right amount of characterization. Dressed in period clothing and speaking Afghani to one another, you still feel like you know these people. Nothing new here, just the usual family jealousy and economic troubles revealing what’s in people’s hearts.
Hashimi combines words in an interesting way, unique almost. Prosaic yet lyrical, as in this quote: “The human spirit, you know what they say about the human spirit? Is is harder than a rock and more delicate than a flower petal.” And for all the cultural awareness of the work, there are some lovely character moments that transcend setting, as in when someone tells Rashima she must accept her destiny, or naseeb: “The hell with naseeb. Naseeb is what people blame for every thing they can’t fix.”