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91 pages 3 hours read

Khaled Hosseini

The Kite Runner

Fiction | Novel | Adult | Published in 2003

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Chapters 20-23Chapter Summaries & Analyses

Chapter 20 Summary

As they arrive in Kabul, Farid warns Amir that Kabul is not as he remembers it. Amir notes that the drive between Jalalabad and Kabul used to take two hours but now is lined by craters and smoldering ruins of villages beset by stray dogs. He tells Farid there were neon and restaurants here as well as Saifo’s kite shop. Farid responds, “[...] you won’t find kites or kite shops on Jadeh Maywand or anywhere else in Kabul. Those days are over” (215). Now, much of Kabul has been leveled into rubble, the population of destitute beggars has increased dramatically, and the city’s unreliable generators often fail due to rolling blackouts.

 

Farid and Amir promptly meet a Taliban patrol, a group of bearded men armed with Kalashnikovs in a red pickup. Stunned, Amir locks eyes with the driver, but they pass without incident. Farid tells Amir never to stare at the Taliban. Lending credence to Farid’s warning, a beggar describes the Taliban as bored and violence-hungry maniacs who roam the city looking for anyone who might provoke them, or anyone at all: “And on those days when no one offends, well, there is always random violence, isn’t there” (217).

By chance, the beggar recites a line of poetry that Amir is familiar with, and as they speak, the beggar reveals that he once taught poetry at the same university as Amir’s mother. The beggar says that he knew Amir’s mother and recounts their last meeting together, when she was pregnant and expressing how afraid she was for being so happy. Amir desperately presses the old man for more details, but he cannot remember anything else, instead promising to try and remember should Amir come back and find him. Amir never sees the beggar again.

Farid and Amir find the orphanage where Sohrab was last known to be kept. The orphanage is ramshackle, boarded up and located in the northern part of Karteh-Seh, an area heavily ravaged by war. At the door, Amir shows the orphanage director, Zaman, the polaroid of Sohrab and his father, but Zaman insists he has never seen the boy. When Amir tells him that he is Sohrab's half-uncle, Zaman allows them into the warehouse turned makeshift orphanage. Zaman tells them that Sohrab was sold to a Taliban official a month ago. Farid attacks Zaman, nearly strangling him, before Amir stops Farid, reminding him that the children are watching. Zaman tells them to go to the soccer match at Ghazi Stadium the following day.

Chapter 21 Summary

Amir’s childhood home in Kabul has fallen into disrepair. Farid tells Amir it is best to forget the past. Amir tells him, “I don’t want to forget anymore” (230). Amir is overcome by nostalgia and ignores Farid’s hurried honks. A Taliban truck leaks oil in the driveway and still Amir feels compelled to explore. Amir climbs the hill to the wilted pomegranate tree, still marked with the epitaph they carved there as children: “Amir and Hassan. The Sultans of Kabul” (231). Looking out over the city, he notes the missing trees, the missing verdant green of his childhood Kabul now wasted.

Amir and Farid travel to Ghazi stadium, and Farid elbows them toward the front. At halftime, a man and a woman are driven out to two large holes dug at the end of the pitch and buried up to their chests. A cleric recites a prayer from the Koran and then announces that the two will be stoned for adultery, carrying out God’s justice. Amir and Farid spot the Taliban official who Zaman described; he is wearing round John Lennon glasses. The official picks up a rock and stones the man until he is mangled and declared dead by a man with a stethoscope. Then the soccer match resumes. Farid approaches one of the Taliban roaming the stands with a whip, stating that he and Amir “[…] had personal business to discuss with the man in white” (237). The message is relayed back, and Farid and Amir are told they have a meeting at three o’clock the next day.

Chapter 22 Summary

Farid drives Amir to meet the official at a big house beset by willows. Farid hesitates, and Amir excuses him from coming into the compound with him. Even as Amir tells him that he will be back, Amir is unsure that he will be. Inside the compound, two Taliban frisk Amir and lead him upstairs to a room where he sits alone waiting. In the silence that follows, something in Amir warns him that he is a coward and acting dangerously out of character. After a short time, the guards return with the official wearing the John Lennon glasses. At the official’s command, a guard pulls off Amir’s fake beard.

The official asks if Amir enjoyed the show, going on to brag about the “public justice” he carried out in 1998, and he mimes the recoil of a sweeping machine gun, depicting the Hazara massacre in Mazar-i-Sharif. Amir tells Talib that he is looking for Sohrab. When Talib suggests that Amir has committed treason by being away for so long, Amir calms himself by thinking of Soraya at their wedding ceremony. When he shifts his attention back to the room, Talib asks if Amir would like to see Sohrab. Sohrab enters with bells on his ankles and makeup, made to dance on command. Then Assef reveals himself behind the John Lennon glasses, asking Amir, “Whatever happened to old Babalu, anyway?” (345).

Assef recounts his experience in prison when a raid by the communist party in 1980 stormed the homes of many of Kabul’s prominent families and imprisoned them. Assef was tortured while also suffering the excruciating pain of a kidney stone. At the hands of a sadistic comandante, Assef was kicked with steel-toe boots until the stone finally passed. Believing himself in God’s protection, Assef laughed hysterically and was removed from the comandante. Assef describes his holy purpose to cleanse Afghanistan, telling Amir that he is a traitor without “[…] pride in your people, your customs, your language. Afghanistan is like a beautiful mansion littered with garbage, and someone has to take out the garbage” (249).

When Amir offers to pay for Sohrab, Assef pushes Sohrab forward. Assef tells his guards to leave, saying he will fight Amir to the death, and should Amir win, he should be allowed to walk away. Once the guards leave, Assef wields his brass knuckles and brutally beats Amir in vicious hand-to-hand combat. During the ensuing brawl, Amir can feel his bones snapping, but he begins to laugh, enraging Assef. Amir knows that this confrontation is the punishment he has been hoping for since Hassan’s attack in Kabul. 

Finally freed from his guilt, Amir braces for Assef’s final blow when Sohrab appears with his slingshot in hand. Sohrab, who has witnessed the fight, asks Assef to stop. When Assef tries to grab Sohrab, he shoots a brass coffee-table adornment into Assef’s eye. Amir grabs Sohrab as the Taliban guards rush to Assef’s side. Farid puts Amir and Sohrab in his Land Cruiser, and Amir loses consciousness as they drive away.

Chapter 23 Summary

This chapter provides glimpses of Amir’s vision as he slips in and out of consciousness: the faces of surgeons looking down at him, intense pain, a bubbling sound. Amir dreams he is in the Sulaiman Mountains of Baluchistan. He sees a youthful Baba wrestling the black bear. Then Amir sees that he is wrestling the bear. When he wakes up, he recognizes a man he glimpsed while under anesthesia. The man’s name is Dr. Faruqi. Faruqi reveals to Amir that he is in a hospital in Peshawar. His jaw was wired shut after the trauma sustained from his fight with Assef. His spleen was also ruptured, and his broken ribs resulted in a punctured lung, which forced surgeons to intubate Amir with a chest tube to prevent the lung from collapsing. Amir’s upper lip was split, and Dr. Faruqi tells him that there will be a scar. 

Farid comes to visit, bringing Sohrab. When Amir introduces himself, Sohrab says that he recognizes him from stories his father told him. Farid gives Amir a folded piece of paper and a small key, all that was left behind when Farid went looking for Rahim Khan. Amir asks that Farid leave Sohrab with him for a while. Sohrab is despondent, refusing to eat or speak. When Amir falls asleep, he wakes up and sees Sohrab has not moved from the stool at his bedside. 

After Farid picks up Sohrab, Amir reads Rahim Khan’s folded letter. In it, Rahim Khan expresses regret for helping Baba keep the secret of Hassan’s parentage, acknowledging that both Amir and Hassan had a right to know but also that the Kabul of those days “was a strange world, one in which some things mattered more than the truth” (263). Rahim Khan also alludes to Baba’s dual sides, one socially legitimate and respected and the other guilty for the secrets that he was forced to keep to maintain his privilege: “When your father was hard on you, he was also being hard on himself” (263.) Rahim Khan finishes the letter by telling Amir that he has left him money at a bank in Peshawar. He asks Amir not to look for him. 

The following day, Amir’s chest tube is removed, and Farid returns with Sohrab, warning Amir that Peshawar is not safe from Taliban retribution. Farid says he will take Amir to Islamabad when he can walk. Amir writes down the names of the couple Rahim Khan told him would take care of Sohrab, and Farid goes looking for them, leaving Sohrab with Amir again. 

Amir and Sohrab play with a deck of cards Amir has found in the dresser beside his hospital bed. As they play, Amir tells Sohrab about his friendship with Hassan and how they used to play a game called panjpar on days when it was snowing. Amir suggests that he could have been a better friend to Hassan and that he would like to be Sohrab’s friend now. He tries to touch Sohrab’s hand, but the boy flinches and retreats to the window, where he had been watching pigeons on the windowsill. When Amir sleeps, he dreams that he can see Assef in the doorway, telling him that they are the same. 

The next day Farid arrives and tells them the Caldwells, the Christian couple that Rahim Khan suggested would take Sohrab, were never in Peshawar, and according to the consulate, never existed. Together with Sohrab, Farid and Amir retrieve the money from Rahim Khan’s safety deposit box and place it in a paper bag. On the drive to Islamabad, Amir has more feverish dreams.

Chapters 20-23 Analysis

Amir is repeatedly faced with characters from his past twisted into shadowy reflections of old trauma: “What was the old saying about the bad penny? My past was like that, always turning up” (246). When Amir speaks with the beggar, once a professor at the university where Amir’s mother taught, we gain rare insight into Amir’s deepest wound. As he becomes desperate for more details about his mother, we understand that the past Amir tried to forget in America is still the source of unresolved pain. Amir’s journey into Afghanistan and his interactions with its various peoples mirror this encounter for the way they force Amir into the role of passive observer. Amir knows that there is nothing he can do on a grand scale to undo the devastation of his homeland. However, by encountering the ruin of the city he so strongly associates with an idyllic childhood, Amir is facing his worst fears come to pass, a sign of his growing maturity.

As he explores the grounds of his childhood home in Kabul, Farid honks and tries to convince Amir to forget. That Amir is now unwilling to forget exemplifies his growth. In fact, Amir is compelled to enter the home despite the obvious danger of the Taliban, who have taken the house following Hassan’s execution. Framing himself again beneath the pomegranates on the hill, a symbol of prosperity in many Eastern religions, he finds the tree now wilted and barren. Amir allows himself to feel the loss he has been trying to outrun: “Like so much else in Kabul, my father’s house was the picture of fallen splendor” (229).

A hero’s journey often includes a battle with a character who represents a dualistic opposite of the primary protagonist, symbolizing an inner turmoil or weakness that is meant to be overcome. Following the tropes of heroic literature, Assef is the shadow reflection of the self Amir must face. Although the shadow and the hero are opposites in many ways, Amir and Assef are subtly linked, as implied by the dream after their battle. Throughout the narrative, Amir has likened himself to an unseen other—a monster lurking within Hassan’s dreams. In early chapters and again at their reunion in Peshawar, Amir defies Rahim Khan’s defense of his natural goodness, alluding to a mean streak in him that not even Rahim Khan, arguably the character with the best vantage in the narrative, is aware of. However, Assef sees that weakness in Amir, immediately spurring Amir’s deep insecurities about his relationship with Hassan, a Hazara, when they meet as children: “How can you talk to him, play with him, let him touch you” (36). This obvious show of Assef’s bigotry is echoed in the way Amir nearly agrees.

When Assef returns as the mysterious Taliban official, he is adorned in John Lennon sunglasses, creating the effect of hollowed eyes or a death’s head. This visage marks Assef as Amir’s primary antagonist, a corrupting force that Amir must reject once and for all to attain his redemption. Assef’s ideas of racial prejudice have been fully realized; he demeans Sohrab by placing bells on his ankles and forcing him to dance on command, a zoomorphic joke likening Sohrab to the monkey dancers of Amir and Hassan’s youth. Fittingly, Amir’s secret other is never louder or more realized in the novel than in the pages just before his final confrontation with Assef, when he begins to speak to himself: 

This isn’t you, Amir, part of me said. You’re gutless. It’s how you were made. And that’s not such a bad thing because your saving grace is that you’ve never lied to yourself about it. Not about that. Nothing wrong with cowardice as long as it comes with prudence. But when a coward stops remembering who he is…God help him (240-41).

 

By meeting Assef’s physical threat, Amir is finally released from his fear, emerging from the surgery with a lasting scar on his upper lip, a sure sign of a newfound humility: “And the cleft lip, just left of midline, where the Chinese doll maker’s instrument may have slipped, or perhaps he had simply grown tired and careless” (3). That “careless design” is elevated here as a mark of spiritual awakening for Amir.

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