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By Atiq Rahimi
Farhad is a standard pupil, twenty-one years previous, drawn to wine, ladies, and poetry, and negligent of the non secular conservatism of his grandfather. yet he lives in Kabul in 1979, and the early days of the pro-Soviet coup are approximately to alter his existence eternally. One evening Farhad is going out consuming with a chum who's approximately to escape to Pakistan, and is brutally abused through a bunch squaddies. a couple of hours later he slowly regains recognition in an strange residence, crushed and burdened, and thinks before everything that he's lifeless. an odd and lovely lady has dragged him into her domestic for safekeeping, and slowly Farhad starts to believe a forbidden love for her--a love that embodies an offended compassion for the ache of Afghanistan's ladies. As his brain sifts via its stories, fears, and hallucinations, and the outlines of truth begin to harden, he realizes that, if he's to flee the warriors who desire to end the activity they all started, he needs to go away every little thing he loves at the back of and be able to get to Pakistan.
Rahimi makes use of his tight, spare prose to ship the reader deep into the fractured brain and feelings of a rustic stuck among faith and the political machinations of the world's superpowers.
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51 A pentecostal way, perhaps, straining beyond the reason-bound structures of grammar, rather as music like Beethoven's late quartets or the end of Mahler's Das Lied von der Erde strain beyond the 24 The Apocalypse in England time-bound patterns of rhythm towards the transcendence of time and of discursive reason. , and the eagle's cry of 8:13), while the refrain that 'the time is near' foreshadows the climaxes of chapters 19 and 20 that seem actually to lead to the dissolution of time in the defined space of the holy city.
In an echo of Ezekiel 3:12 the seer says, 'I was in the spirit on the Lord's day, and I heard behind me a loud voice like a trumpet, saying, "Write in a book what you see ... ) First is the hearing, then the command to write, and only then, after an act of turning round, the seeing. This priority of hearing over seeing is in the tradition of the Hebrew prophets. It may also suggest that the book is seeking, like the prophets, a more interior kind of address to its readers. 45 If such an address is possible, then, after the process of contextualising in scripture and in the world around them, the readers might reach a point of integration or conversion or 'second naivete', which the 'dispersed' text would then reassemble to support.
By its authoritative claims, by its place in the canon, above all by the power of its imagery and narrative, the book attracts and often dominates readers. By its obscurity and riddles it demands interpretation and generates impatience in its interpreters. And by that impatience and by its own opacity it confounds their interpretations. Hence the history of disconfirmations of its 'meaning', and hence also what Frank Kermode calls the 'extraordinary resilience' of the book. 64 It may be true that there is no such thing as the meaning of any text; that, as Harold Bloom maintains, all interpretations are 'mis-readings'.
A Thousand Rooms of Dream and Fear by Atiq Rahimi