Prevailing themes in Susan Hill's 'Strange Meeting' and C.R Sherriff's 'Journey's End'

Warfare is the issue of conflict between not only the opposite forces but also between comrades. It is apparent that this is a central theme in both texts ‘Strange Meeting’ by Susan Hill and in the drama ‘Journey’s End’ by C.R. Sherriff. The subject-matter of war-fare is a broad topic, in which both texts cover a wide range of issues that were prevalent during the war.

One of the key themes both writers try to get across is the strong sense of detachment of soldiers from their homes. This is clearly demonstrated through the language and can be seen particularly in the initial pages of Strange Meeting through protagonist, John Hilliard, who due to his determination to stay awake in his bedroom because ‘He was afraid to go to sleep. For three weeks, he had been/ afraid of going to sleep.’ An opening declaration, which sets the mood of the novel, as one of restlessness and distress, to illustrate his detachment of his home, which is illustrated in his inability to sleep, an idea which is reinforced through the repetition of ‘afraid’. This is also presented by Hill through the characters stream of consciousness, which reveals his feelings towards his home are that: ‘He had been unhappy at home’. This is further illustrated through the presentation of the characters relationships with his family as detached, as it is related that Hillard had 'argued twice, bitterly, with his father.’ The war-fare between, him and his father exemplify their conflicting view points and their warring relationship. On the other hand Hill’s presentation of Hilliard’s relationship with his sister, Beth, is much closer, as it is declared that ‘Beth. Beth. He had always gone to Beth.’ particularly when he was in distress, a statement, of their close relationship and of her providing comfort. Images we also get through Hill’s images, of him sleeping under her bed and of her providing him the courage to swim further, which overcame his fear of water. However Hill shatters this impression of closeness and familiarity by contrasting the youthful images of her swimming to the present Beth as reserved and her tone being ‘cool, formal as the letters’. A contrast, which Hill uses to present the differences in her character, to underline the transformation the war causes in not only soldiers, who have been to the war but also people at the home-front. It is this transformation in not only Beth’s character but more importantly Hilliard who has experienced the reality of war, which has changed his perspectives, perspectives which conflict with others, such as his father and Beth, subsequently leading to a disconnection of their relationships and leading him to become detached from his home. 

This idea of disconnection can similarly be seen, in Journey’s End through Hardy’s enquiry of: ‘He didn’t go home on his leave, did he?’ A query, about the central character, Stanhope, who drinks excessively to cope with the war and avoids going home on his leave because of the profound changes; the drinking has caused in him, as Sherriff portrays his behaviour as somehow erratic and peculiar, through Trotter’s claim, that he greeted Stanhope, after he had been drinking and ‘he didn’t seem to know who I was.’ Behaviour due to his excessive drinking, which leads him to keep away from his home, as he is adamant that his family and friends don’t find out he has changed. However Stanhope’s secret, remaining private is threatened when Sherriff introduces the character, Raleigh, Stanhope’s childhood friend, who is ignorant of his drinking and the change he has undergone. Therefore the possibility he will find out and tell others at the home-front causes Stanhope into a tense confrontation with Raleigh, whereby [STAHOPE clutches RALEIGH’S wrist and tears the letter form his/ hand], in a desperation to find out whether Raleigh has exposed his drinking to Raleigh’s sister and those at the home-front, action which dramatizes the scene to show Stanhope’s desperation at maintaining his, unaffected and impervious facade to those at the home-front.

The idea of the soldier’s detachment of their homes is closely connected to the idea of the trenches becoming their home and their fellow soldiers becoming their new families. This is presented by Sherriff through the character of Osborne, who is addressed by the other soldiers as ‘Uncle’ and also through other character’s comments, such as Hardy’s reply of ‘Well, naturally you’re biased. You have to put him to bed/ when he gets home.’ A direct comment which refers to the trenches as ‘home’, which transmits Sherriff’s view that during the period of the war, the trenches were considered to be treated like a ‘home’ to the soldiers, however this statement also creates an image of other officers being put to bed as if they were children images which are generally associated with a family. This idea of the trenches as becoming their homes is parallel to the one found in Strange Meeting as Hilliard feeling ‘at home and in comparative peace’ in his trench; a direct contrast to the restlessness he felt at his home.

There is also a strong portrayal of war-fare being futile, in both texts. Although as Journey’s End, is a drama, Sherriff demonstrates this futility through language as well as action. This can be particularly seen in the raid, which results in many deaths including the death of Osborne, for the capture of a ‘German Boy’, who they receive no useful information from. This idea of the stupidity and futility is demonstrated by Sherriff, through the language, in Act 3 scene 1, where the capture of the German Boy, who is searched, by the Sergeant Major recounts that he’s found: ‘… a few oddments, sir-/bit o’ string, sir; little box o’ fruit drops; pocket knife, sir, bit o’/ cedar pencil- and a stick o’ chocolate, sir’. These trivial pieces of belongings move the audience as they are like child-like possessions, which serve to inform the audience of the young age, which boy went to war but it also gives us a glimpse of who are on the other side of the front- line, which highlights the idiocy of killing your fellow man. The scene of the interrogation is also comical in highlighting his incompetence and the little information they gather not only underlines the ineptitude of the high command but also the view that the war cannot validate the loss of so many innocent lives. An idea which is equally shared in Strange Meeting, which is presented, through the character Barton, who in being sent on a mission to draw a map; witnesses the death of a soldier, leading him to exclaim ‘To make a map!’, using the exclamation to highlight the ridiculousness of drawing a map, while men are dying around him. An event which dramatically changes him, leading him in a pursuit to try to finding a justification of war and the sense of war itself, in the passages of Sir Thomas Browne, however it is something he is unable to find, underlining the fact that there is no justification for the loss of so many deaths, even in the context of war.

 

The idea of futility is closely linked, with the problem, of the ineptitude of the higher command, as the questioning of the Colonel, in German, is amusing as he is aware that the German boy speaks English, yet he continues to question him in ‘poor German’. However when they reverse back to English, the Colonel refuses to push for answers to his questions but merely replies: ‘Oh, well, that’s all right.’ A reply which intends to show his incompetence, as many men have died for the capture of the German and yet he behaves as if he is not the captor, making the audience question, which one of them is in control. His incompetence and is further emphasised in Act 3 scene 1, as he overlooks the men, that went on the raid and instead ‘excitedly’ comments on how pleased the brigadier’s will be. Behaviour, which Sherriff emphasises, as it astounds Stanhope, who gives ‘[…one look of astonishment at the COLONEL and/ strolled past him. He turns at the table and speaks in a dead voice]’ replying ‘How awfully nice- if the brigadier’s pleased’. A sarcastic and discourteous reply, which Sherriff uses to show increasing signs of Stanhope losing his respect for his superior officers but also creates tension as it shocks the Colonel, into changing his bearing and asking about the men. Although Stanhope’s anger can be felt, through his challenging of the Colonel, in asking ‘Did you expect them safely back, sir?’, a question, which shocks the Colonel as he then goes on to stutter euphemism: ‘I’m very sorry. Poor Osborne’, as he, ‘fidgets uneasily as STANHOPE looks at him/ with a pale, expressionless face.’ Actions and dialogue, which shows his gaucheness in dealing with other officers but also makes him, seem insincere.

We also get strong portrayal of men’s feelings in war-fare, in particular the emotion, of the fear soldier’s felt during the war, although our reactions to these feelings differ slightly in both texts. As in Strange Meeting this fear is exhibited through the character of Harris, who Barton tries to give comfort as ‘He put out his hand and found Harris’s wrist and held it.’ The basic human contact, which comforts him as ‘he began to cry’, displays the reality of war and the fear of young Harris, who was ‘huddled inside like a foetus, his hands up near/ his face’ a simile, which portrays an image of him as defenceless, to emphasises the vulnerability of his character, by contrasting his position as if he was in a womb an image which makes the reader sympathise with his character and question the soldiers having to fight at such as young age, a view which is further reinforced, by Hill, through Barton’s guilt at his premature death.

This fear is also evident in the character of Hibbert, in Journey’s End; however the fear expressed by Hibbert’s character, is shown, by Sherriff through the actions as well as language of Hibbert, as he pretends to be suffering form neuralgia declaring that ‘I shall die of this pain if I don’t go!’, so that he can be sent to the Medical Officer, instead of doing his duty. However in Hibbert’s case Stanhope is not sympathetic, but refuses Hibbert’s claims, leading to an unruly action of Hibbert in Act 2 scene 2, as Hibbert, ‘With a lightning movement (he) raise/ his stick and strikes blindly at Stanhope’ action of his willingness of striking a superior officer is dramatic and not only serves to create a tense atmosphere but is also used demonstrate the lengths he’d go to, in his desperation to leave because of his overwhelming fear. This scene is further dramatised through the pause where ‘[There is a silence a few seconds go by. Suddenly HIBBERT bursts into a high-pitched laugh.]’, Hibbert’s response to the possibility of his death is an eerie and frantic reaction, which makes the audience feels his fear and desperation, in his desire to leave, which overwhelms his desire for living. This is emphasised through Hibbert’s urgent pleas, to Stanhope, to shoot him, a scene which is heightened in suspense by Sherriff as Stanhope counts down to shooting Hibbert, as Hibbert waits in anticipation of his death and does not yield, an action which earns Stanhope’s respect and leads to Hibbert as he ‘…Suddenly breaks down and cries’ . An reaction, which is similar to the breakdown read in Strange Meeting, however as Hibbert admits that he is afraid and elucidates: ‘I can’t bear to go up into those awful trenches again’, his character, unlike Harris’, who is portrayed as vulnerable, Sheriff exposes Hibbert’s character flaw, of lying about his illness and his willingness to neglect his duties, causing him to appear more unfavourable and spinelessness, an pronouncement which makes the audience less sympathetic to Hibbert’s character. 

Furthermore death is also an inevitable occurrence in war-fare, an issue which Sherriff demonstrates in Journey’s End; through the actions of Osborne in the final moments to the oncoming raid, which leads to his death. The specific action, of the removal, of his ring is a profound moment in Journey’s End and used by Sherriff to symbolise the inevitability of death, as Osborne is aware that he is going to die, if not in that particular raid, then in the course of the war. Therefore the ring is a symbol of the acceptance of the occurrence of death in war-fare. His absence, due to his death, is also signified in Act 3 Scene 2 though the empty bed as Stanhope impassively asks ‘Must you sit on Osborne’s bed?’ a question which signifies the idea that death, particularly of a close comrade is memorable and also makes the audience feel the loss, of the presence of Osborne’s character. Sherriff also shows the effects of death; in Journey’s End, through the actions of Stanhope as, as a result of Osborne’s death he drinks excessively in order to cope with his fear and to forget the loss of his closest friend. A similar coping mechanism we see adopted by Colonel Garrett, in Strange Meeting, whose ‘skin was/ a bad colour, yellowish grey, so Hilliard wondered if he/ might not, in fact be psychically ill. But the bottle of whiskey/ was on the desk beside him’, dulling his complexion, as the physical changes in him could be seen from the drink, which he consumes to cope with the significant loss in his battalion. 

The structure of Hill’s ‘Strange Meeting’ is very different, to that of Sherriff’s ‘Journey’s End’ because they differ in genre. While ‘Strange Meeting’ is a novel, it is therefore able to use, more varied devices such as time shifts, as well as sensual imagery, which brings the characters surroundings alive, this can be seen in particular through Hill’s use of time shifts, from Hilliard’s bedroom to the hospital, surroundings, which Hill brings alive through the use of sensual imagery of ‘the sounds of hoarse breathing and death, and the crying of the Field- Gunner in the next bed, he only wanted to sleep.’ Sensual images, which plays on the reader’s smell, auditory and visual senses, which actively gives the reader their first insight to war and signifies the brutality of war-fare. Hill’s novel also uses the third person narrative, which is appropriate for the main protagonist, Hilliard, as his character is reflected as cool and detached from his surroundings and the narrative is used to further distance the reader and emphasise his detached nature from both his home and relationships. His detachment is also emphasised through the contrast of Barton’s character, which is more sociable and open, therefore the narration changes to being told, in the first person narrative, through Barton’s letters to his family, which reflects not only his ‘friendly’ disposition but his close relationship with his family.

The structure of ‘Journey’s End’ however is very different to that of ‘Strange Meeting’, as it is a stage show and consequently meant to be viewed, and therefore the narrative and war-fare is developed more through the action, in the stage directions and dialogue. More effectively through Sherriff’s extended silences, which increases the tension between the characters. However this tension is subsided through the similar device of the motif used throughout the play. An example is when Osborne’s character, comforts Raleigh in the final minutes, keeping his mind off the raid with distracting questions of ‘Your coffee sweet enough?’, a conversation of food which like, Strange Meeting’s motif of the poignant smell of roses, food in Journey’s End acts as a motif, as it is a constantly recurring throughout the play. This is a motif is an effective technique, which Sherriff uses to ease the tension in the scene, as food is a light topic and indicates a sign of normality in the midst of war-fare. 

Overall,  I thought that Hill’s presentation of war was much more moving and expressive, which is why I preferred reading ‘Strange Meeting’ because she was able to portray the characters feelings and set the scene, for the reader, through devices such as sensual imagery, which brought the scenes alive and shaped the text. However this preference may also be due to the difference in genre, as she is able to use more varied range of devices or it could be because due to their differences gender, as Hill is female, while Sherriff is male and therefore took a distant approach, which was effectual but typical of the male writers, who wrote during the war. However they are both similar in their presentation of war-fare, in recognising the different emotions the men felt, during war, as well as the detachment, form home, war-fare brings about.

What to Watch Recommendation: Kite Runner (2007) based on novel by Khaled Hossein. 

Exploring Parent/ Child Relationships in Khaled Hosseini's Kite Runner

Hosseini portrays and contrasts many different forms of parent/ child relationships in The Kite Runner, from the main protagonists, Amir and his tenuous relationship with his father, ‘Baba’. To Hassan’s contrasting, tender relationship with his father Ali. Through the exploration of these relationships Hosseini stresses the importance of parent/child relationships and the consequences of lack of love and neglect, the child can become insecure and in Amir’s case, his attempts of trying to win the father’s affection lead to devastating consequences.

¹Harvey Freedenberg remarked that a ‘source of tension in Amir’s life is his relationship with Baba, his hard-driving and demanding father. Desperate to win his father’s affection and respect...’ This is a very accurate representation of Amir and Baba’s relationship, as Baba is indeed the ‘demanding’ father, expecting more of Amir than possible, while young Amir is an insecure child vying for his father’s attention. An example of this can be seen through Baba’s indifferent response when Amir beats all his classmates in a poetry game, an aloof reaction which is no surprise to Amir.

The relationship between Amir and Baba is very precarious, principally arising from the disparity of the character’s attributes. While Baba is a strong, overshadowing extrovert character described as: ‘a towering/ Pashtun specimen with a thick beard, a wayward crop of curly brown/ hair as unruly as the man himself, hands that looked capable of up-rooting a willow tree…’. That coupled with Baba’s nickname ‘’Mr. Hurricane’’ Hosseini gives the reader the image of an overpowering man that commands attention with his presence. In contrast Amir, is described as an introvert and unsociable character, more likely to be reading books or ‘‘shuffling around the house like he’s lost in some dream.’’, behaviour that Baba does not understand. Baba feels Amir lacks the active masculine qualities, which he as a child displayed, as Baba was athletic as a boy and as a result is very disappointed that Amir prefers reading poetry than playing Baba’s favourite sports, such as football. These completely opposing character traits make it difficult for Baba to bond with Amir; which is why Baba, would rather work and spend time with Rahim Khan, than spend time with Amir, resulting in the young Amir, to sometimes wonder ‘why it was always grown-ups’ time with him.’ The italicism of ‘always’ puts emphasis on the word to illustrate the minimal time Baba spends with Amir but also puts a whining tone in the sentence to capture his child-like voice. Nevertheless it is apparent that Amir is desperate for his father’s love from the beginning, as Amir’s desire for love is also rooted in Amir’s first word: ‘Baba’.

Baba’s neglect of Amir leads to him being an insecure child this can be seen through the imagery that Amir would sometimes sit outside his father’s office with his ‘knees drawn to [his] chest ‘for an hour, sometimes two, listening to their laughter, their chatter’. The image of Amir in the fetal position; is an image of an insecure child and shows Amir’s desperation for love and attention. His desperation is also shown in Amir’s attempts to captivate his father’s attention through any means possible, it prompts Amir to pronounce: ‘I think I have saratan.’ A declaration, that he thinks he has cancer, is a desperate cry for attention, to get some kind of caring response or reaction from a father who has been ignoring him nearly all his childhood. Baba’s response to Amir’s declaration is far removed from the caring response Amir hoped to gain, as he continues to ignore Amir. It is due to this indifferent treatment, which leaves Amir craving for his father’s attention and resolves him to winning the kite flying tournament, leading him to commit the first of his ‘unatoned sins’.

After winning the kite tournament, although Amir wins and forms a bond with his father, Amir is still unhappy because his victory is tarnished by the fact that he stood by and did nothing, while Hassan was assaulted. Amir is also aware that, although his relationship with his father has improved for the moment; if he divulges to his father, that he witnessed Hassan being assaulted and failed to act, he knows that present bond with his father could be broken like the fragile kite made of paper and bamboo. However despite Baba remaining oblivious to Amir’s cowardice, of leaving Hassan to the mercy of Assef that winter, Baba and Amir’s relationship still deteriorates after a brief period of respite, where they allude themselves that they were both happy in each other and they’d deceived themselves ‘into thinking that a toy made of tissue paper, glue, and bamboo could somehow close the chasm between [them].’ The use of the word ‘chasm’, to describe their relationship, echoes, suggesting the gulf between them is too big to repair, especially since they both keep important secrets from each other.

Amir’s frequent; fragmented dreams of Baba wrestling a bear and Amir’s inability to differentiate the bears form, from his father’s, illustrates that Amir sees Baba as a strong heroic figure. It is also evident that Amir is continually proud of his father and that he is son; this is illustrated by Hosseini through Amir’s internal monologue: ‘Everyone agreed that my father, my Baba, had built the most beautiful house in Wazir Akbar Khan district,’ the repetition of ‘my father’ demonstrates that he is publicly proud of being Baba’s son because his father is a well-respected, rich businessman. Yet behind closed doors their relationship leaves a lot to be desired, as even the beautiful house in Wazir Akbar shows their distant relationship especially through photographs displayed around the house as Amir describes: ‘Baba and his best friend and business partner, Rahim Khan, standing outside our house, neither one smiling- I am a baby in that photograph and Baba is holding me, looking tired and grim. I’m in his arms but its Rahim Khan’s pinky my fingers are curled around.’ This picture reveals an accurate state of their aloof relationship that, as even though Baba was his true father, Amir was always closer to Rahim Khan because Rahim Khan provided the attention and encouragement, which he never received from Baba. In this respect it can be said that Rahim Khan provided a better father-figure role for Amir than Baba, since just as a good parent should, Rahim Khan encourages Amir’s literary talents as a child, also standing by him and encouraging him to talk of leaving Hassan in the alley, something which seems Baba would seem unlikely to do as he possesses strong morals and would be disgusted of what Amir had done. Furthermore, Rahim Khan provides Amir with a chance to atone for his past sins.

However as ²Mary Whipple pointed out The Kite Runner is not just a story ‘of Amir and Baba. It is also the parallel story of Hassan and Ali, their servants, who represent an entirely different world’. As Hassan and Ali are Shi‘ah Hazzara’s, in contrast to Amir and Baba’s Sunni mainstream Pashtun heritage, they are seen as in the bottom rungs of the Afghan social ladder and are seen to have been persecuted throughout history, which is why Baba’s association with an Hazzara woman, even if she was not married, would still have be seen as very controversial. The controversy surrounding Hazzara and Pashtun relationships in Afghanistan can be characterized by Rahim Khan’s description of, the look of disgust and horror ‘on [his] fathers face when [he] told’; them he intended to marry a Hazara woman. Rahim Khan’s remark that: ‘in the end the world always wins’ indicates that their division in their race as well as religion cannot be overcome, as no matter what; a Hazara can never be regarded as an equal to a Pashtun in Afghan society even if they ‘fed from the same breast’. 
 

The Hazara’s low status in Afghanistan is demonstrated through Hassan and Ali’s menial positions in Baba’s household but also more harshly revealed through Assef’s fascist and xenophobic behaviour towards Hassan, who he believes, is not a “true Afghan” because Hazara’s descended from Mongolian invaders of the 13^th century and are therefore distinctive in their features. Despite Assef’s ironic animosity and the community looking down on Hassan and his father Ali, they both accept their inferior positions in society. Hossieni poignantly demonstrates this through the parallel drawn between the ‘look of acceptance in the animal’s eyes’ being slaughtered, put adjacent to the look of ‘resignation’ in Hassan’s eyes. Hassan’s quiet acceptance to being raped by Assef can symbolize the submission of the Hazzara people as a lower race in Afghanistan throughout the years, from the Russian occupation through to the tyrannical rule of the Taliban who mass slaughter the Hazzara race.

Although the reader does not get an in-depth view of Hassan and Ali’s relationship, we get the impression that they have a much closer father/son relationship in contrast to Amir’s relationship with his father. Ali, in comparison to Baba’s rough attitude is described as ‘gentle’ and honourable, who expressed his emotions through his eyes as he ‘had a congenital paralysis of his lower facial muscles’. Although we are told by Rahim Khan that Hassan was Baba’s son, making him Amir’s brother, we get clues that Hassan is more than a just an ‘illiterate Hazara’ servant to Baba before it is revealed to us, specifically the event where Baba pays to get his lip-cleft removed, a present which seems unorthodox and leads us to question the true nature of their relationship. However despite Hassan missing out on the wealth of growing up in a mansion and instead living in a hut ‘on the south end of the garden, in the shadows of a loquat tree’ and not raised by his biological father, he receives better emotional care, in terms of love from Ali who ‘found his joy, his antidote’ in Hassan and it can be said that Hassan is a better person than Amir, as he is loyal, honest and according to Amir: ‘pure’. 

 

It can also be argued that it is Hassan’s good nature led him to forgive Amir, for not helping him, when he was assaulted, because Hassan understood the emotional neglect that Amir felt as a child. His understanding is presented by Hosseini through Amir and Hassan’s shared like for the story ‘Rostam and Sohrab’, in which the son ‘Sohrab’ unknowingly gets killed by his father ‘Rostam’, which may move Hassan ‘to tears’ so much because he can recognize Amir in the character of ‘Sohrab’. As just like ‘Sohrab’, Amir similarly is desperate for his father’s love but lacks the much sought after love; of his father, which Hassan is aware of because as Amir pointed out ‘Hassan always understood about [him]’, which could be argued is the reason why Hassan names his son Sohrab as a sign of forgiveness towards Amir.

However Amir and Baba’s relationship does improve a little when they move to America. Although it does not make Baba more supportive of Amir’s choices as Baba is very disappointed by Amir’s decision to become a writer because he does not believe its ‘real work’, however Amir sticks by his decision as he expresses that: ‘I didn’t want to sacrifice for Baba anymore’, as the last time he strove to make his father approve of him he had betrayed Hassan. In a way the relationship between Soraya and Amir’s relationship with their father’s are very similar, as both were emotionally neglected by their fathers, which is why Amir tried to strive for his fathers affection, while Soraya rebelled against Afghani custom by running away with a man. Both their fathers also seem to separate themselves from them, as Soraya explained of her fathers constant alienation, of himself from the family, while Baba also neglected Amir as a young boy. The Generals attitude towards Soraya’s chosen profession is also parallel with Baba’s attitude to Amir’s, as the General expresses his preference of her choosing a more prestigious job of being a lawyer rather than a teacher.

Through Amir’s one-sided narrative, the reader is given the sense that Baba is completely responsible for Amir’s wrongdoing as he says: ‘I didn’t want to sacrifice for Baba anymore. The last time I had done that, I had damned/ myself’. It can be seen as unjust that all Amir’s blame is placed on to Baba however the blame is not unexpected because the first- person narrative, although a very successful device for Hosseini to get across Amir’s childhood insecurities and feelings of abandonment, by his father, it tends to dominantly relate events from Amir’s biased perspective.Therefore it can be argued that Baba is not all entirely to blame for his distant attitude and behaviour towards Amir. As his attitude can be attributed to the fact that he himself never had a father-figure, as he lost his father at a very young age, which can be said, is why Baba did not know how to be a father to Amir.

Furthermore Baba’s reserved attitude can also be attributed to the ‘Afghan culture’. As culture is a dominant factor that permeates Afghanistan, since in Afghanistan; how children are brought up is largely rooted in their culture and Afghan culture is one that is based on traditional values. The women are expected to be demure, virtuous and modest while the men are expected to be masculine, athletic and proud. As Amir, contrary to Afghanistan culture and also Baba’s nature, is not athletic. Baba; therefore is unaware and unsure about how to connect with the placid Amir. He is particularly, unsure at one point, how to react to Amir crying at a game ‘Buzkashi’- a violent game that is an Afghanistan national passion. Amir’s tears, which are considered un-masculine, both made Baba feel uncomfortable and exasperate him.

However Baba, who was overtly masculine, shows that he cared for Amir in the only way he knew how, which was materialistically, as he provides Amir with the best education and tries to give him the best of everything, such as organizing Amir’s birthday and all Amir gives Baba is an unappreciative ‘half-hearted’ acknowledgement. What's more following the Russian invasion Baba was forced to evacuate from his beloved Afghanistan where he was greeted by people ‘who knew him and his father’ and was well-respected, to America where he was unknown, primarily to ensure that Amir was safe.

Moreover Baba also showed what a good father he was by working in a menial labourer job, once they move to America so that he can support Amir through his studies. It is obvious that Baba worked hard in his job, as Baba’s ‘grubby and calloused’ hands are a contrast to Amir’s ‘clean and soft’ student hands. Therefore after all his sacrifices, it is understandable that Baba questions and is somewhat skeptical of Amir’s uncertain career choice as a writer.

It can also be held that Amir himself is flawed, in that he is essentially a selfish and self-centered character, as all his thoughts revolve around himself, even when his father is about to get shot Amir’s internal dialogue is concerned with himself as he protests ‘what about me?’, displaying that he is, in nature, selfish character. Although it can be argued that Amir’s selfish attitude is a product of his up-bringing it can be said Amir’s egotism is innately great, as even after the event where Hassan is raped Amir’s thoughts are solely about the kite and he honestly admits that: ‘I can’t lie now and say my eyes didn’t scan for any rips’. Despite Hassan’s ordeal and his loyalty, Amir disregards him, as he is only concerned about himself; however he is not without a conscience and Hassan’s unwavering words: ‘For you a thousand times over’ haunt him throughout his life.

Bad judgments are also made by Amir, concerning his care for Hassan’s son, Sohrab; especially when Amir naively promises Sohrab that he will never go to another orphanage, resulting in Sohrab attempt to commit suicide, when Amir goes back on his promise. Sohrab spilled blood is not only congruent to Hassan’s blood, in the earlier chapter, after he was raped but is also symbolically representative of the loss of innocent childhood in Afghanistan and the hardships they face. As Hosseini aims to shed light on the uncertainty and instability of the lives of the children of Afghanistan, something which; is seldom conveyed in literature regarding Afghanistan. Hosseini also serves to further highlight the instability of Afghanistan; this is particularly reflected in the ominous end to chapter, reinforced by the caesura, where Amir claims: ‘suddenly Afghanistan changed forever’. The first gunshots fired in the streets Afghanistan serves to highlight that, where once a sound so foreign, is now, at present a regular occurrence, which the people of Afghanistan face and a sound that now the children: ‘would know nothing but the sound of bombs and gunfire’.

In conclusion it is clear that Baba and Amir’s relationship was one that even if Amir was the son Baba had ‘imagined’ Baba would still be reluctant to have a relationship with him, as Baba’s secret fathering of Hassan haunts him and distances him from Amir. Hosseini effectively creates two characters, through the relationship of Baba and Amir, where mistakes echo to the next generation demonstrating how adults’ present mistakes affect the younger generation. It is unclear whether Amir’s mistakes will also subsequently affect Sohrab as Hosseini’s leaves the reader with an open ending, where the reader can speculate the ending. However the resonance of Amir’s words of: ‘For you a thousand times over’ echoes as an spoken promise that he will stand by Sohrab and return the loyalty he was shown by Hassan and Sohrab’s counter smile indicates that there is hope for Amir and Sohrab relationship, will not reiterate that of Amir’s and Baba’s. The ending not only inspires hope for Sohrab and Amir but also for Afghanistan, the land that they love. 

Some of the pictures are from the 2007 adaptation of the novel. I sincerely recommend watching it; usually I prefer books to reading so it is very rare when I actually like a film so much more than a book like I did with Marc Forster adaptation of Kite Runner; I think he did an amazing job so go and watch the film after you read the book. 

The Romantics on Nature

Rough notes I wrote many, many light years ago on Coleridge and Wordsworth, so if it is a bit immature in some places or there are a few disjointed sentences don't judge me too harshly.

The concept of nature and imagination were extremely important to Wordsworth, Coleridge and many of the Romantic poets. This is especially evident in ‘The Nightingale’, where Coleridge reflects on natures association with man- more specifically it’s disassociation and also evident in ‘lines written a few miles above Tintern Abbey’, which celebrates Wordsworth’s return to the Wye valley, which he had visited five years previously when he was on a walking tour, with his sister Dorothy. The importance of nature is presented in both poems through the use of language to convey the idea and themes of nature as soothing, spiritual presence; beautiful in vision and more importantly the importance nature has in inspiring joy.

The concept of nature is evident in Wordsworth’s ‘Lines written a few miles above Tintern Abbey’, as the whole first verse of the poem gives the reader an in-depth commentary of the rustic scenery, in which the speaker, Wordsworth recites the features of the landscape such as: ‘The sea waters, rolling from their mountain-springs’, presenting nature as peaceful and serene. As he then continues to behold the effect of ‘Which on a wild secluded scene impress’ upon him ‘thoughts of more deep seclusion’. The alliteration of the ‘secluded scene’ portrays the sparse cliffs and serves the purpose of putting stress on the word ‘impress’ to emphasize the strong, impressionable effect of nature has upon him.

Nature is also presented as providing a strong and soothing affect on Wordsworth in the ‘lonely rooms, and mid the din/ of towns and cities’, where the memories and images he conjures up in his weariness can be ‘felt in the blood, and felt along the heart,/ And passing even into my purer mind/ with tranquil restoration’. Both the images of the images of ‘blood’ and ‘heart’, invoke a strong and active images of life as the heart is mostly associated with being alive, giving the impression that the images of nature revive him, as well as calm his senses. There is also a strong image of nature ‘In which the burthen of mystery’, which weighs heavily upon at times is lightened. The use of language of ‘burthen’ also puts emphasis on the word weighing it down, only for the word ‘lighten’d’, lightening the mood giving us a sense of uplifting and freedom from troubles.

Nature is also presented as a sublime spiritual presence causing joy is apparent as his present memory of his past experiences of the surroundings float over his present view of these memories, and he feels bittersweet joy in reviving them. As nature is as important as ‘That in this moment there is life and food’, the strong reference to these images of nature being compared to having the same importance as food is fundamental in explaining Wordsworth’s feelings on how highly he values nature.

‘The Nightingale’ is also similar in the portrayal of nature as joyous and an important aspect of life as Coleridge portrays the fact that just because the ‘Nightingale’, which is a bird that is usually heard at night and is usually referred to as ‘melancholy’ by some in forms of literature, it is not always the case.  The Nightingale bird is an important symbol of a part of nature and Coleridge uses it to get his point across that, the problem of man’s disassociation with nature.

Coleridge also gets his point across through the structure of his poem, although it has been criticised for being formless, I disagree that this makes the poem inferior because the fact that it’s named a ‘conversational poem’ and unstructured makes the poem more reflective and emphasises the fact of ‘inner debate’ he has with himself, getting the reader thinking about his point.

The strong graphic visual imagery Coleridge also creates, through introducing the elements of the Gothic adds a sense of mystery and creates an unearthly atmosphere as Coleridge adds ‘which the great lord inhibits not’. Giving the castle a secluded feeling, but also the vision of the ‘most gentle maid’ who ‘Glides thro the pathways’ reinforces the mystery and gives the reader the sense that nature is being worshiped.

The use of language to describe the joyous beauty of the birds of the singing is also effective in creating an exciting feeling as they all ‘Have all burst forth in choral minstrelsy’. As there is a strain on the words ‘bust forth’, highlighting the dramatic and sudden sound. This feeling of  suddenness is personified through the ‘tipsy Joy that reels with tossing head’, giving an image of ‘Joy’ almost being drunk with happiness.

Overall these dramatic devices serve to present nature as well as its importance as can be seen through Coleridge’s portrayal of nature as essentially joyous and should inspire joy and other human feelings and serving to project these human feelings. It is this lesson Coleridge hopes to instil in his child, those poets and people who describe the Nightingale as ‘melancholy’ have yet to learn it.