High towering ire beneath the mountains of tidal waves whirling, Darkness howling, ascending to light moaning, descending, Blackest somber fear turning into whitest hot hubris roaring, The spirit in the fetters bursts upon the furious waters, revolting.
The souls of the dead rising from the abyss and walking, Midnight, moonlight, and starlight upon the waters shining, Heaven gaping then cracking, earth laying and embracing, The spirit with the wings clipped begins to flutter and leap, rejoicing.
Writing is the most solipsistic and democratic means to make people discover your secret histories or inner world so that they can understand why you are what you are. That is what Khaled Hosseini does enchantingly in The Kite Runner. It is a bildungsroman story reminiscent of the Au revoir, Les Enfantes-Esque ambiance surrounding the narrative of a grown-up boy who wants to reconcile with the stupendousness of mistaken guilt becoming a malady of the heart. But that doesn’t mean it is all too surreal or stark grim to make an accidental reader think it is a wrong choice. On the contrary, Hosseini vividly conjures up the faces and scenes, resurrecting the spirits of the places and times, by putting together the tesserae of his memories in this rivetingly heartrending read.
The book incorporates the sociological theory of symbolic interactionist perspective focused on the relationships among individuals within a society and how political changes affect the lives of individuals and the sense of who we are and our relationships to others. The story’s narrator, a young Afghan boy of the upper-class named Amir Agha, gives the reader a ride to his childhood in Kabul to show the halcyon days of pre-soviet and Taliban reigned Afghanistan. First, you will see him and his best friend Hassan, a Hazara servant boy in his house, wallowing in reading stories and lost in kite flying. Then and thereafter, Hassan becomes a victim of the most horrific act committed by the half-German blue-eyed Afghan boy threatening him to win kite. Amir’s retrospective narrative becomes his public confession and ablation, all of which is a combined act of purging out the painful memories of the past and exorcising his demons tormenting him with the guilt of jealousy, ignorance, and cowardice. The whole narrative then becomes a plethora of pathos and empathy, resulting in a cornucopia of forgiveness and sympathy, drifting it all in a high-flying kite once and for all.
It is a fitting story in this particular time of Afghanistan history and Abdulrazak Gurnah’s winning of 2021 Nobel Prize in Literature for his achievement of universalizing human travails transcendent of racial, cultural, and geographical differences. Vivacious at times but dolorous at most, the Kite Runner is synthetic literature that wears habiliments of memoir and novel. There truth and fiction dissolve into one another anchored in real life with factual geographical and historical facts smoothly amalgamated in the individual narrative account, which reminds me of Herodotus’s “Histories.” Or it is an alluringly pioneering memoir-making that resembles Realistic Fiction. For whatever it is, the Kite Runner bestrides the aisles of contemporary literature sections, alluring the public with simple language that magically juxtaposed in beautiful prose style with lyrical quality, all soul and mind in the marks upon pages evocative of the spirits of the memories materializing.
I have seen the insidious sea Lull the children of the shore With the sweet aeolian lullaby And the pretty nymphs appear From the bottom of the ocean To bring them into the palace Where their father, Poseidon Keeps the souls of the sea As is his mighty brother Zeus For the world above and beyond; Woe betides those who forego The fates of the young souls, For their grandfather, whose eyes See the insidious machination Fascinate the innocent hearts In the whirlpool of rapid waves! The old man’s fury is greater Than the furious god of the sea; He dives into the angry waters, Fighting against the god in spades With his bare arms cutting the waves Like swords that could kill ghosts And wins of his two grandchildren; From the god whose wrath sees No end until it grows the waves Into the myrmidons of madness And carries the old man into the abyss.
P.S.: This poem is based on my reading of a newspaper article that a sixty-one-year-old British grandfather died while trying to save his two grandchildren, aged seven and ten, in the sea off the island of Crete, Greece. The man got into the sea, fighting with the rapid, treacherous waves like Caligula, who declared war on the sea, whipping the waves furiously to invade Britain. Finally, his grandchildren got out safely, but alas, the old man was engulfed by the wrath of furious waves and drawn to the bottom of the sea. I could not just forego my feelings upon reading the story with poetic elements that also bring me the mythological image of Laocoon, the Trojan priest punished by Poseidon who sent the great serpent engulfing him and his two young sons for his discovering the Greek ruse about the wooden Trojan horse. Hence this little poem is in memory of the brave and loving grandfather.
Light and dark, full and empty – how mysterious! Spring of Words is now elusive – how tantalizing! To the secret seeker with no pity – how heartless! And no more spirit so festive. – how agonizing!
Midnight and moonlight and shining stars – so beautiful! Angles and fairies and ghosts – so ethereal! Come to my aide before I lose sight of it! – Yes, quickly! And possess me with the best of your powers – by all means!
Is Tree of Knowledge going to become sere? – How unthinkable! Has Tree of Knowledge already become sere? – How miserable! Let nothing dishearten my spirit still pursuing, still trying With hope, while I breathe, even if it seems impossible. How beautiful!
The skies were clear blue, and the wind mild and agreeable. The day was ripe for the moment the star returned to the galactic heavens in rejuvenated buoyancy of jubilee that he would be out to the extraterrestrial world again. “Beam me up, Scotty,” the man said as he boarded on New Shepherd, treating it like his beloved ship USS Enterprise. It was art imitating life in the former captain’s bright eyes; it was life imitating art in the old star’s beady eyes. For William Shatner, aka Admiral Kirk of Star Trek, it was a one-of-a-kind experience, equivalent to an out-of-body experience in which you fly from your corporeal vessel and wander in all whither, floating weightless, groundless. It was his very Real McCoy galactic trip to outer space.
On Wednesday, October 13th, Blue X, Amazon founder Jeff Bezos-owned spacecraft enterprise, took off from its launching site about 20 miles away from Rural Texas town of Van Horn with civilian passengers who paid astronomical sums for their space trip. But not Shatner, who spent nothing at the courtesy of Amazon founder Jeff Bezos said to be a long-time Trekkie and something of a billionaire with a flair for space cowboy. The motive for a publicity stunt to outshine Blue X over entrepreneur rivals, Elon Musk’s Space-A and Richard Branson’s Virgin Galactic Holdings Inc., is impossible to ignore, yet why not when it also produces positive effects of provoking the imaginary in the real? Shatner, at age 90, seemed no longer the dashing brilliant, just young Admiral Kirk any longer. Still, his spirit beamed up as he experienced overview effect outside the orbit, profoundly mesmerized with the deep fragility of Planet Earth, the Galaxy Blue. Shatner articulated the face of the Earth as so ethereal and impossibly gorgeous vis-à-vis the blackness of outer space that he had a eureka moment of what distinguished Light (Life-Earth) from Darkness (Death-Outer Space). Methinks that such pareidolia of the overview effect has something to do with his nonagenarian age, the last age in Seven Stages of Man, one foot closer in the grave. However, when I watched him in the news, overwhelmed by the ineffable emotions, Jeff Bezos removed his shades and embraced the old actor; all looked genuine, not an act staged for a post-trip publicity event. And even if it so, then it is a likable sort of entertainment that does viewers of all kinds good.
Criticisms on the expensive space trip only the haves can afford are worldwide and understandable amid the unequal distribution of wealth makes earthlings live and die or live and suffer. Yet the veteran movie star reminds me of an old soldier who has lived through the vagaries of life. Overall, the 90-year-old Shatner’s space trip materializes the earthling voyage of the USS Enterprise, boldly searching for new life and new civilizations into the galaxies.
Captain Kirk coming home Floating under a parachute Touching down on Mother Earth in a soft haze of excellent dust, Calling it home, Roger out.
Flame, Glass and Ink are Poems, essays, and reading notes by Stefania Joori Suh 
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