Subsequent to Chapter 12, Amir's progression as a person becomes even more marked. He becomes a successful writer; something that he had been forced to keep from Baba during his youth, but which he is now able to do with confidence, even before the death of his father, with whom Amir continues to co-exist happily with. In fact, Amir makes his father proud several times towards the end of the latter's life; he marries, graduates, and writes. All of these mark a transition towards manhood; he has a job, has left school, and has a wife, traditional signposts of maturity.
Another significant change from the Amir of old is his greater willingness to face up to his guilt, and overcome his innate cowardice. This isn't to say that Amir doesn't still agonize whenever he has to make a decision that might upset or hurt him; but now he surmounts his fears. So, he visits Rahim Khan, and despite initial terror, agrees to find Sohrab- at great personal risk.
It's interesting to ponder how Amir feels about Hassan's death- clearly, he is upset by it. Is he bothered because he has lost his chance to atone, or maybe slightly relieved? I believe that it's the former, and he chooses to rescue Sohrab as a way to posthumously reconcile with Hassan.
When Amir places money under the bed in Wahid's house, we see a contrast (a little heavy-handed) between the Amir who betrayed Hassan, selfishly, and the grown, come-of-age Amir who thinks of others (finally).
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3/20/08
Hi Ben – Great posts here on your blog! I'm commenting on all of your posts to date in this one comment since blogger.com requires entry of word verification, password, etc. with every individual comment. I see from your profile that you're located in New Brunswick—interesting—that's where I grew up (my "coming of age" town—though feel as if I am still "coming of age" in many ways!). You're doing a great job reflecting on the readings in your posts.
What you say about Annie still being "subject to a kind of slavery" in Kincaid is very true and related, of course, to the colonized culture in which she lives.
Great job thinking about the ambiguous narratives in both Vargas Llosa's story nd Kincaid's "Girl." And you're right that "Columba" has very political overtones—true of so many coming of age stories in which colonization and racism are central to the character's life.
Good work on The Kite Runner posts too. You make a number of interesting points here, particularly about the moments in the text that show Amir overcoming, as you say, his "innate cowardice."
I enjoyed reading your posts to date and look forward to hearing your thoughts on the rest of our readings… But where are your posts on Persepolis? Zenzele? The Iranian short stories?
Prof Durso
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