How Does Khaled Hosseini Use Imagery In A Thousand Splendid Suns

Khaled Hosseini uses imagery to weave together the stories of Mariam and Laila, two Afghan women, in A Thousand Splendid Suns. Mariam and Laila, who come from two different generations, end up being married to the same cruel man, Rasheed, and eventually form an everlasting bond of love and dependence. The author's descriptions of space reflect the atmosphere in the setting and application of seasonal and weather imagery foreshadows the ensuing events. The distinction between the space in Nana's kolba and Rasheed's home correspond with Mariam's feelings toward those characters and her level of comfort. Nana's kolba was simple with just "two sleeping cots, a wooden table, two straight-backed chairs, a window and shelves nailed to the walls" (Hosseini 10). The kolba is small and far from any other people, shielding Mariam from the harsh world. This

In an attempt to flee their wretched life with Rasheed, Laila is optimistic, feeling "the warmth of the morning sun" (Hosseini 235). The sun usually represents hope and awakening, the dawning of a new day. This cue intimates to the audience that Laila, Mariam, and Aziza will successfully escape and succeed in starting over. However, the feature of the sun proves to be a red herring, purposefully misleading, as the three women are caught and returned to Rasheed. Later in the novel, Laila finds content with Tariq and her children, finally gaining fulfillment with personal and professional prosperity. In April 2003, Laila "sees no clumps of clouds in the horizon" (Hosseini 362). This last section is set during the spring, delineating an age of optimism, coupled with the clear, cloudless sky. Hosseini demonstrates that this new life that Laila acquires is imbued with lasting positivity. By the word, "horizon," the audience can infer that this happiness will not fade, but rather extend into the