One can tell kites are central to the novel just by reading its title, "The Kite Runner." On a plot level, the grand kite tournament of 1975 sets a circle of betrayal and redemption into motion, around which the story revolves. After Hassan gets raped while running his kite, Amir cannot separate kite fighting and running from his own betrayal and cowardice. Therefore, even after all of his injuries and trials on Sohrab's behalf, it is the act of kite running that finally makes him feel redeemed. Beyond their significance to the plot, kites have multiple layers of symbolism in the story. One of these layers involves the class difference between Amir and Hassan, which largely dictates and limits their relationship. In kite fighting, one boy controls the kite while the other assists by feeding the string. Just as Hassan makes Amir's breakfast, folds his clothes, and cleans his room, so does he cater to Amir in kite tournaments. Even though Hassan shares in the excitement of kite fighting, he does not actually have control over the kite. Hassan may help the kite "lift-and-dive," but Amir is the one who claims a victory. Hassan may catch a cherished rival kite and hold it in his arms, but always to bring it back to Amir, to whom it then belongs. His joy is vicarious, just like his experience of wealth and privilege while living in Baba's household. In order to free himself of selfishness and cowardice, Amir must go from being merely a kite fighter-someone who seeks glory-to a kite runner, someone who genuinely does things for others.
The activity of kite fighting is violent by nature. The kites battle and so too do the children flying them. The string, which is covered in ground glass, carves deep gashes into the fliers' hands as they try to cut each other down, and once kites fall out of the sky, the kite runners retrieve them with the same furious determination as, say, a hunting dog does a slain bird. In its violence, kite fighting represents the conflicts that rage Afghanistan nearly throughout the course of the novel. When Hosseini paints us a picture of hundreds of kites trying haphazardly and with great determination to cut each other down, he shows us also the warring factions of Afghanistan overthrowing one another. At the same time kite fighting is violent, the mere act of kite flying is innocent and speaks of freedom. Amir and Hassan do not have control over the differences between them; in fact, they are both the victims of a lie, and their relationship would have been different had they known they were brothers. Yet despite their differences and the symbolism of their respective kite-fighting roles, flying kites is an activity that brings the boys together. For a moment, they are part of a team. For many years, Amir feels as though he and Hassan are adversaries for Baba's love. After the rape, Hassan's very existence infuriates Amir because it reminds him of his cowardice. Despite all this, when the boys fly kites together, they are on the same team. They are more like brothers then than perhaps any other time, because the activity is somewhat mutual. It allows them to momentarily escape their differences and enjoy a shared sense of exhilaration and freedom. The cover of The Kite Runner shows a kite flying very high over Kabul. This image can be seen to represent Amir and Hassan's shared sense of freedom, one that takes them away from life's realities until the kite is grounded again.
The Kite Runner tackles the issue of ethnic discrimination in Afghanistan with an example of the relationship between Pashtuns and Hazaras. Baba's father sets an example for him of being kind to Hazara people, even though they are historically demeaned and persecuted. He could have easily sent Ali to an orphanage after his parents' death, but chose to raise him in his household. Baba does the same with Hassan, although this is complicated by the fact that Hassan is actually his son. Even in Baba's house, the house of best intentions, the class barrier between the Pashtuns and Hazaras endures. Ali is as dear to Baba as a brother; he calls him "family." But Ali still lives in a hut and sleeps on a mattress on the floor. He tends the garden, cooks, and cleans up after Baba, and raises Hassan to do the same. So strong is Hassan's identity as a servant that even as an adult, when Baba is gone, he has no sense of entitlement. He insists on staying in the hut and doing housework. When Hassan dies defending Baba's house, he does so not because he feels it belongs to him, but because he is being loyal to Baba and Amir.
In Taliban-controlled Afghanistan, discrimination is everywhere and nowhere at the same time. On the one hand, the Taliban do not seem to care whom they are beating, torturing, or executing. Children like Sohrab and grandmothers like Sanaubar are all susceptible to the Taliban's cruelty. In this way, the Talibs discriminate against everyone but themselves. As Amir notices, Assef forces Sohrab to dance to music for his enjoyment dancing and listening to music have long been banned. Amir thinks, "I guessed music wasn't sinful as long as it played to Taliban ears." On another level, the Taliban discriminate specifically against the Hazara people. They massacre the Hazaras not only in Mazar-i-Sharif, but in the region of Hazarajat and nearly anywhere else they can find them. Assef and his fellows do not see the Hazaras' lives as worthwhile; they barely see them as human. Assef tells Amir, "Afghanistan is like a beautiful mansion littered with garbage, and someone has to take out the garbage." Like his idol, Hitler, he feels entitled to killing those he deems unworthy of living in his land. He even relishes the term "ethnic cleansing" because it goes so well with his garbage metaphor. Hosseini has mentioned in interviews that his focus on discrimination in The Kite Runner angers some Afghans, who feel it is inappropriate. Like Baba, many people do not mention the Hazaras' history of persecution. Perhaps these people are so uncomfortable with this topic because by having Assef appear in pre-Taliban times and emerge as a leading Talib, Hosseini shows that the Taliban's persecution of the Hazaras and other Shiites is not new, but a greatly intensified outgrowth of long-held discrimination.
Sin and Redemption
In The Kite Runner, redemption is so important because sin is so enduring. Amir opens the story by telling us not about how exactly he sinned, but about sin's endurance: "... It's wrong what they say about the past, I've learned, about how you can bury it. Because the past claws its way out." Hosseini uses structure to emphasize the themes of sin and redemption. Because Amir tells the story in retrospect, every memory, even the blissful ones of his childhood before the rape, are tainted with it. If the timeline of the novel was strictly chronological, we would not have the power of hindsight. Hosseini uses the first chapter almost like a thesis for the novel. As Amir retells the story of his life, he weighs each event against his sin, his betrayal of Hassan. As we learn towards the novel's end, Amir is not the only character who needs redemption, Assef notwithstanding. Until Rahim Khan reveals Baba's secret, Amir thinks he is the only sinner among his family and friends. Even before Amir betrays him, Hassan makes him feel guilty simply by being such a righteous person. Amir is constantly trying to measure up to Baba, because he does not realize that Baba is so hard on him because of his guilt over his own sin.
One Amir finds out about Baba's sin, he feels as though his entire life has been a cycle of betrayal, even before he betrayed Hassan. But having a taste of betrayal himself does little towards redeeming Amir. In Ghazi Stadium, the Taliban skews the words of Muhammad in order to justify murdering the alleged adulterers. The mullah announces that every person should have a punishment befitting his sin. Although he would not want to compare himself to the Taliban, Amir believes this in regards to his own sin. When he tries to get Hassan to pelt him with pomegranates, he is expressing his feeling that in order to be forgiven for hurting Hassan, Hassan must hurt him. When Assef almost kills Amir, he feels "healed," as though now that Assef has hurt him, he is redeemed. He even tells Farid that in the room with Assef, he "got what he deserved." In the end, Amir finds out that punishment is not what will redeem him from his sin. It is not even saving Sohrab. In order to atone for his sin and Baba's before him, Amir must erase the lines of discrimination he has lived with all his life by giving Sohrab an equal chance at success and happiness.
Soraya needs Amir to forgive her before she can marry him. In the same way, Rahim Khan needs Amir to forgive him for keeping Baba's secret before he dies. Rahim Khan, the story's unofficial wise man, is the one who truly understands how redemption occurs. He tells Amir in his letter, "I know that in the end, God will forgive. He will forgive your father, me, and you too ... Forgive your father if you can. Forgive me if you wish. But most important, forgive yourself." Rahim Khan carries the novel's ultimate message about forgiveness. God is merciful; it is people who are not. Therefore, truly atoning for one's sins means coming to terms with them by oneself, without relying on a higher power. When Amir prays, he is still bound by fear and guilt; instead of wishing unselfishly for Sohrab to recover, he begs God not to leave "Sohrab's blood on his hands." When Amir manages to forgive himself in the very last moments of the novel, he redeems himself at last.
Literacy and the Written Word
In the novel, writing is both a dividing force and a uniting one. Amir's wish to be a writer separates him from Baba, who wants him to be athletic and equates his bookishness with weakness. In Amir's young life, his ability to read and write separates him from Hassan. Because Hassan is a Hazara and expected to remain a servant like Ali before him, no one makes sure he is literate. While Amir goes to school every day, Hassan stays behind and does his chores. On the one hand, Hassan's illiteracy brings him closer to Amir. The boys spend countless hours together under the pomegranate tree, Amir reading stories to Hassan. When Amir begins to write stories, Hassan is his rapt audience. Yet Amir realizes that being literate gives him power over Hassan. He lords his advantage over the unsuspecting Hassan by making up stories while pretending to read and teasing Hassan for not knowing certain words. Only later does Hassan realize the power of literacy and its connection to social power. He makes sure that Sohrab can read and write and expresses his wish for Sohrab to be "someone important."
Despite the connection between literacy and discrimination, the written word is largely a unifying force in the novel. One thing that makes Amir admire Soraya even more is her story of how she taught an illiterate woman to read and write. That act of teaching unified Soraya and the woman; the telling of it brings her and Amir closer together. Traditionally, the power of the written word is located in its endurance beyond death. This rings true in the novel when Amir reads Hassan's letter, although as he reads it he does not yet know Hassan is dead. Additionally remarkable about Hassan's letter is that it puts him on an equal level with Hassan; now that he is literate, written words are no longer a barrier between them. Rahim Khan's letter is the final one in the novel, and it is also the one containing the ultimate message about forgiveness. Hosseini gives extra emphasis to writing's importance by putting this central message in written form.
Family is extremely important in the story, especially because it takes place in Afghanistan. It is a nation where culture and tradition are of monumental importance, especially to the older generation. We see this when Baba and Amir are in America. Even though they are in a different country, Amir is expected to observe cultural tradition in courting Soraya. Not only must they go through khastegari, in order to get engaged, but they cannot be seen together in public before the wedding. One the one hand, everyone in Afghanistan is part of one family; as Baba says, "Take two Afghans who've never met, put them in a room for ten minutes, and they'll figure out how they're related." On the other hand, lineage is of the utmost importance. When Amir and Soraya are condisering adopting a child, General Taheri explains that Afghans are not meant to disturb their family line with such a decision. He tells them that Baba's reputation was a big consideration in regards to their marriage and says, "Blood is a powerful thing ... And when you adopt, you don't know whose blood you're bringing into your house."
What General Taheri does not know is that for the very reason that family is so important to Afghans, Baba kept Hassan's identity secret to his grave. To him, denying Hassan his identity was preferable to confusing the relationship between Ali and himself and that between Amir and Hassan. Baba treats Ali and Hassan as equally as he felt he could without destroying his and Ali's honor, but Baba knows that they are his family. Amir does not have this privilege and his ignorance makes him more irreverent towards Hassan, who is loyal as a brother to him anyway. Family is more important to Amir than he knows; his guilt over hurting Hassan is terrible when he thinks Hassan is just another person. Once he knows they are related, he is overcome with guilt, enough to put himself in danger and stand up for Sohrab. For much of his life, Amir feels as though his family is the cause of his problems. He thinks Baba blames him for his mother's death and spends much of his childhood tormented by trying to win a place in Baba's heart. Family is the reason why Amir fights to bring Sohrab home and, ultimately, the channel through which he redeems himself.
Even though Hosseini has stated that he wanted to remind people of a peaceful Afghanistan, he also does the service of revealing the suffering the nation has experienced in a quarter century of conflict. Violence pervades the novel, even in the seemingly innocuous activity of kite fighting. Not only is kite fighting violent because it is a kind of battle, but boys injure their hands when they participate. This fact suggests that Afghanistan has become a place where joy cannot exist separately from pain; Afghans' memories of their homeland are tainted with suffering. The entire novel centers around a single act of violence, Hassan's rape, and the sin Amir commits by pretending that violence did not occur. Symbolically, Hassan's rape is echoed by Sohrab's rape decades later and by Afghanistan's continual rape by war and terrorism.
Amir's life in America does involve suffering, especially regarding Baba's death. But Baba's death is peaceful. Because America is a haven from violence, the violence under the Taliban in Kabul is even more shocking and sobering. Amir gets a taste of violence when he and Baba are fleeing for Pakistan and Kamal's father commits suicide. However, nothing can prepare him for the extent of violence and suffering in Afghanistann. One of the most graphic accounts is of the stonings at Ghazi Stadium. Like the rapes of Hassan and Sohrab, the event symbolizes the devastation of Afghanistan as a whole, as Afghans once knew it. Anothr very violent event is Amir's fight with Assef. At the time, Amir's pain makes him feel happy and "healed"; it is as though by suffering, he is repaying Hassan for all the violence he suffered on Amir's behalf. Amir's split lip, though minor compared to his other injuries, is most significant because it represents this feeling of closeness to Hassan. Yet we learn that violence is not the answer to Amir's problems, nor does he understand just how deep its consequences run. When young Sohrab tries to kill himself, Amir sees that his nearly fatal injuries were nothing compared to the pain Sohrab and other Afghans have suffered. Ultimately, he finds out that the only way to heal the violence done to Hassan and Sohrab is to forgive himself.
Homeland and Nationality
Because Amir immigrates to the United States when he is still growing up, the question of his national identity is especially complex. Baba sees America as a refuge and becomes enthralled, as Amir says, with "the idea of America." He identifies with American optimism and freedom of choice, and even hangs a framed picture of Ronald Reagan on the wall of their apartment. Up until his death, Baba is a guest in America; Afghanistan is undeniably the place where he can be himself. There, he was a successful and influential figure. In America, he must work at the gas station and suffer the humiliation of being a foreigner, as with the Nguyens. For young Amir, America is not only politically free, but more importantly, free of Hassan and memories of him. He uses the image of a river to describe the exhilaration and cleansing effect that being in America has on him. He opens his arms wide to America, even though he maintains Afghan traditions regarding courtship and writes a novel about Afghanistan. Because he comes into adulthood in America, Amir does not suffer along with his fellow Afghans. As he discovers, this makes all the difference in defining his national identity.
Amir's coming to Afghanistan should by all accounts be a homecoming, but Amir can never truly revisit his homeland; it no longer exists as he knew it. In the interim between Amir's flight from Kabul and his return, the Soviets, warring factions, and the Taliban have turned it from a culturally rich and bustling place into a ghost town of beggars among the rubble and hanging corpses. Amir can no longer be an Afghan because being an Afghan has become synonymous with having survived terror, if not much worse. According to Farid, however, Amir never had an Afghan identity to lose. He tells Amir that his privileged upbringing has made him a "tourist" in Afghanistan all his life. Amir himself tells Rahim Khan that he cannot go to Afghanistan because he has a wife, a home, and a life in America. Through these conversations, Hosseini asks what constitutes a homeland, a watan. If Farid is right, then Amir has no homeland. However, once Farid finds out why Amir has returned to Afghanistan, he changes his opinion of him. He seems to accept him as a friend, if not a countryman. According to the novel, then, one's homeland depends not only on one's emotional attachment to a place but one's tangible devotion to it. To make a place one's homeland, Hosseini seems to suggest, one must be willing not merely to dwell on nostalgic feelings but to put them into action-whether like Farid, by fighting in a trench, or like Amir, by trying to save someone from the homeland itself.
The Kite Runner Questions and Answers
The Question and Answer section for The Kite Runner is a great
resource to ask questions, find answers, and discuss the novel.
Assef is a sociopathic antagonist in the story. He predicts all kinds of dire consequences from abusing Hassan's son Sohrab in the same way he abused Hassan to ethnic cleansing of Hazaras and other unwanted people. Assef is actually a pretty flat...
The primary setting for this story is newly Taliban controlled post-Soviet Union Afghanistan. The theme of cultural identity disrupted by decades of war and conflict plays heavily in this story. A great juxtaposition involves the kite fighting...
The Kite Runner is a novel by Khaled Hosseini. The Kite Runner study guide contains a biography of Khaled Hosseini, 100 quiz questions, a list of major themes, characters, and a full summary and analysis.