Analysis of the Persian Carpet Essay

Amir’s mother, Sofia, dies in childbirth; Amir inherits her love of literature and probably her looks to some extent, but, her being dead, never receives any motherly love or guidance, which could have helped him out of the cowardly hole he later digs himself into. Amir’s father’s best friend and business partner, Rahim Khan, tries to give Amir the motherly love he clearly needs, fostering Amir’s love of writing and steadfastly standing up for him when Amir’s father, Baba, criticizes him, but Rahim Khan does not do enough to instill honesty, courage, and strength of conviction in young Amir. Amir’s best friend, Hassan, a servant a year younger than Amir, is everything Amir is not: athletic, brave, loyal, honest, and kind, inciting jealousy in Amir. Assef, a local bully, poses a real threat to Amir, hating Amir for the crime of befriending a Hazara (oppressed ethnic minority), but Amir is protected by Hassan, allowing young Amir to freeze and not stand up for himself in Assef’s presence. Last, but most importantly, is Amir’s father, Baba, and his views on Amir: he blames Amir for Sofia’s death,

An internal conflict with power develops when one’s emotions begin to control their actions. After having a nightmare, Amir describes the actions of a monster in his dream: “It had grabbed Hassan by the ankles, dragged him to the murky bottom. I was that monster” (Hosseini 86).Hassan acts as the ghost of Amir’s past, the cause of his guilt. Amir’s dream alludes to how he allowed the rape of Hassan, his childhood friend, to take place. However, in this case Amir himself is the aggressor. Hosseini uses the first person saying “I was” in order to highlight how Amir not only takes on responsibility but he takes on the guilt from Hassan’s rape. The author’s use of connotation through the words “grabbed” and “dragged” is not only dark, but violent. This reveals that Amir as one who likes to be a victim, he over exaggerates his role in hurting Hassan, revealing how he feels he is a victim to his guilt. As Amir is consumed by his guilt, he begins to develop animosity for Hassan. Considering that it is what he allowed to be done to Hassan that causes him guilt, Hassan and his guilt are directly related, Hassan is the cause of his guilt and is antagonized by Amir as a

Amir’s inability to act on Hassan’s behalf continues to torture him throughout life. Amir’s perception is distorted from the time he was a young boy. In his early days, Amir was constantly jealous of Hassan and Baba’s relationship because he believed that “Hassan hadn’t done anything to earn Baba’s affections; he’d just been born with that stupid harelip” (Hosseini 46). The detachment from his father’s love and the rape of Hassan greatly affects Amir for the rest of his

As Amir grew, Baba tried to introduce activities that most young boys would enjoy, such as soccer. However, Amir did not follow in Baba’s footsteps, but in his mother’s. Instead of playing soccer like the other boys, Amir enjoyed reading poetry, something his mother loved to do. By giving Amir and Baba two different hobbies, Hosseini was able to create a feeling of disappointment for the reader. As the reader read through the first 34 pages, they were able to see that Baba was not very understanding toward his son and his interests, he failed to see the resemblance of his late wife within their son.

Whether this is due to their youth, or perhaps their awareness of the sexual power they hold over the Wife, the dynamic is very different than that of her previous marriages. The Wife finds it difficult to achieve the kind of relationship in which both sexual gratification and power over her husband are possible. While the fourth husband seems to have been quite a lively character—she describes him as a “revelour,” quite aware of his lover on the side—it is the Wife’s fifth and final husband, Janekin, who has left the most lasting impact (459). She claims to have truly loved him—he is the only husband whom she marries for love rather than money—although his treatment of her leaves something to be desired. His prowess in the bedroom always overcomes any ill treatment, and indeed his primary appeal is that he is “of his love daungerous”; essentially, he is hard to get, and the Wife relishes the challenge. Contrary to prior husbands, Janekin actively educates the Wife by reading to her from various texts with decidedly anti-feminist themes. This infuriates the Wife to no end, as does Janekin’s intense interest in these tales preaching female subordination, and she gets her revenge by ripping pages from the loathed book and hitting her husband. Janekin reacts by striking her back. The incident marks a distinct shift in the dynamic of their relationship; Janekin, perhaps rattled by the violent

The main character and protagonist Amir illustrates that it is not possible to make wrongs completely right again because its too late to change the past. In this novel Hosseini demonstrates that redemption is never fully obtainable for an event that has happened in the past, but by allowing us to see Amir’s thought process throughout the novel, Hosseini shows us that it guilt is the primary motivation for someone who

Amir had many hardships throughout his life as he developed as a boy living in a war-weary Afghanistan, to a successful author living in America. Amir encounters numerous occasions that made him convey an incredible measure of guilt throughout his life. He needed to figure out how to offer some kind

The images and memory associated with their early life prior to the war are mixed heavily between happiness and hardship. At a young age, she lived in possibly the worst district in Budapest in a tiny, one-bedroom apartment with no bathroom or electricity. Her mother is described as a lovely, kind women who never beat her, despite the fact this was considered socially acceptable at the time. Her mother, who married an abusive drunkard after he threatened to kill himself if she did not before later marrying the author's father, was a poor lady who was forced into a rough financial spot as a result of having two children. The author herself expresses many positive values in regards to her family despite the fact that her parents would argue as

Adele confesses with her daughter that she is exhausted for the complication of every members of the family. Tommy doesn't resist her sister Joanne, since he hates his husband. However, Tommy tells his parent, he married another guy, but Adele wonders why you didn't invite me. Every year all of the family gathers together to celebrate the holidays. Claudia was emotional gathering with all the people she loved. I can relate the experience of Claudia and I am celebrating Thanksgiving every year with the family since it’s an important year for me and my family. All of my family obtain a conversation and have an extraordinary time by getting together that moment and have a joyful time. The downside of Claudia’s family is never deep compare with the reality of another family. Also, Claudia has an intensely time dealing with her relatives, but at the same time with other family goes through the similarity

A key moment in Amir and Hassan’s development as a character is Amir’s own onion story. The onion story seems very simple with its message, but it is the way that Hassan analyzes it that is important. The onion story reveals the major difference between Hassan and Amir in its first appearance, and becomes a recurring element that illustrates the theme of decisions and which ones are better. The onion story manifests itself in their decisions by having the ‘onion’ become a second choice in any situation the characters face, but the onion being different for Amir and Hassan due to which option they are inclined to always choose.

Lilia is upset that Mr.Pirzada could not come and most importantly does not get why he cannot come because he is just like her parents. This reveals that a child can be more open-minded than adults. Lilia’s father also is very upset when he finds out that they don’t learn about the Partition in school. But Lilia’s mother defends the school system by explaining, “We live here now, she was born here.” and that she “has plenty to learn” (26).

The houses are large and dominant of the former wives as they are moving into their house, with both resulting in destruction. The first wives presence is found throughout the novels, revealing quite intimidating and oppressed to the heroines. Both novels contribute to the learning skills of students, using

a 1915 American silent adventure film directed by Colin Campbell and based on Harold MacGrath's 1911 novel of the same name. In the story, Horace Wadsworth (played by Guy Oliver), one of a gang of criminals planning a bank robbery in New York, steals a prayer rug from a Baghdad mosque. He sells the carpet to antique dealer George Jones (Wheeler Oakman) to fund the robbery scheme. The carpet's guardian kidnaps both men and Fortune Chedsoye (Kathlyn Williams), the innocent daughter of another conspirator, but they escape. Marketing for the film included a media tour of part of the set and an invitation-only screening sponsored by the publisher of MacGrath's book. The Carpet from Bagdad was released on 3 May 1915 to mostly positive reviews. Many

Family dynamics differ throughout many pieces of literature. In the book Jerusalem: A Family Portrait, the family dynamics appear alien to the family dynamic in Orga’s book Portrait of a Turkish Family. Although both families are both in a state of war, the family dynamics between the two books differ in many different due numerous differences in class, connection to the war, and shifts in family hierarchy.

Babur, founder of the Mughal empire, invaded India in the sixteenth century. By this time, native Hindu craftsmen were already highly skilled at weaving a variety of sheer and lightweight textiles. These fabrics were appropriate and practical for India’s hot and humid climate. However, the Mughal emperors were accustomed to heavy wool carpets woven in Persia and Turkestan. At first, they brought carpets with them or imported them. Later, under Akbar, schools were established to teach Hindu weavers the techniques of rug weaving. The native weavers modified the traditional Persian designs, adding elements from their own artistic heritage. The Mughal carpets show the varied results of this synthesis.