Immigration
Immigration is one of the central themes of the novel. The four main characters have different reasons for leaving their homes, families, and friends, but they all essentially have the same conviction that Morocco is not a place where they can live comfortably, safely, and authentically. They do not leave everything behind because they have always dreamed of it, Lalami argues, and their decision is a last resort. They will risk a dangerous crossing, spend a great deal of money, and take a risk without a guaranteed payoff because the situation in Morocco is so dire for them.
Separation
Immigration is also separation from people and things a person used to love. Murad has to say goodbye to his family and his home because there is nothing he can do in Morocco despite being educated; Aziz has to leave his wife, parents, and friend Lahcen; Halima is running away from her husband and her broken dreams about a happy family life; Faten leaves family, friends, and her religious community. All of them leave not only their country, but also parts of themselves and their identities.
Resilience
One feature that unites all the characters is their resilience and their ability to move on even in the face of disappointment and failure. They keep trying to improve their situation no matter how hard it gets; they understand that there is no other way out—first when they decide to leave Morocco, and then, for those who do not make it, when they are forced to stay.
Gender
Though a poor economic outlook unites all four of the characters, the two main female characters of the novel, Halima and Faten, also experience deleterious conditions as a result of their gender. Halima is the victim of domestic violence but is supposed to remain quiet and docile, while Faten has to support herself with prostitution in Spain. Yet these two women are not simply victims; they craft a life and an identity for themselves, they fight back both physically and mentally, and they form a community that supports them.
Religion
While the characters evince varying degrees of religiosity, they are all Muslim and express their faith in a myriad of ways. Halima and Faten in particular demonstrate how they view religion in an almost fungible way. They are willing to adapt or completely alter certain practices and beliefs—not because they are wishy-washy but because they understand that Islam, secularism, magic, etc. are all valid forms of faith and practice.
Family
Family can be a double-edged sword for the characters, for sometimes it is cruel (Halima), almost nonexistent (Faten), a reminder of one's shortcomings (Murad and Aziz), or something that will be difficult to leave behind (Aziz). But family as defined by these characters does not have to look traditional: it could be with neighbors and difficult relatives (Fatiha), or with roommates (Faten), or formed through an engagement of the past (Murad), or remain in flux for a time, with the potential for a new family some day (Aziz). Human connection is abundantly important in whatever form it takes, and negotiating what and who family is is part of the characters' growth.
Immigration vs. Tourism
Murad marvels at how different the experiences of tourists are from his own—how they can travel and move about freely, how blithe and confident they are. Critic Lisa Marchi writes, "the tourist moves in broad daylight, is clearly visible, and conducts a carefree life; the illegal migrant, on the contrary, withdraws to the margins of the society, becomes gradually invisible, and is rejected by the social body of the nation." Lalami seeks to de-center (and satirize) the former and humanize the latter.
