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The two parachutists Isma sees in the skylight window of her studio apartment represent her and Aneeka. Looking at them, Isma contemplates that “in almost all human history, figures descending from the sky would have been angels or gods or demons—or Icarus hurtling down, his father, Daedalus, following too slowly to catch the vainglorious boy” (14). Because Isma raised Aneeka, she sees herself as a mother figure for her, and she associates herself with Daedalus who tries but fails to save his child from death.
Isma believes that she is the one who taught Aneeka how to fly: She worked very hard and abandoned her own ambitions to provide for the family, and as a result, Aneeka grew up in a supportive environment and eventually enrolled in a prestigious program at the London School of Economics. As much as Isma wanted to build a safe and stable life for Aneeka, she could see that her sister has a rebellious streak in her, which eventually would spur her to fly too close to the sun. By using the symbol of Daedalus and Icarus, Shamsie draws from Greek mythology, but by presenting the main characters as parachutists, she adapts the story for a contemporary setting.
For both Isma and Aneeka, the hijab is a symbol of their deep connection with Islam and their cultural background. However, the siblings have different and sometimes contrasting attitudes toward their headwear. Isma doesn’t question her obligation to wear a turban and does it with pride. For her, the turban is a shield that separates her from the rest of the world and gives her a sense of security and belonging. When Isma’s mentor, Dr. Shah, “turned her attention to a piece of fabric and said, ‘There, that and an untold story are the only obstacles between [Isma] and [Eamonn]’” (52), suggesting that taking off the turban would make her relationship with Eamonn more trusting, Isma at first views the recommendation as a transgression. After some considerations, she agrees to meet Eamonn in her apartment and uncover her head, hoping that he would interpret the gesture as an invitation to a closer relationship. However, by taking off the turban, Isma feels as if she put aside the strength her religion gives her, and instead feels all the more vulnerable and unprotected.
Aneeka, on the other hand, takes off her hijab willingly and within the first minutes of spending time with Eamonn alone in his apartment. For her, this act of uncovering her head in the presence of a stranger symbolizes her willingness to put aside all norms and conventions for the sake of doing what she thinks is right. Aneeka’s swift decision to take off her hijab becomes a turning point in her relationship with Eamonn and marks the beginning of their affair. In her case, the hijab symbolizes the strict religious rules and norms of behavior, with which she grew up, and by shedding aside her hijab, Aneeka also sheds aside her willingness to follow the conventions of Islam obediently.
During one of her walks after a snowstorm in Massachusetts, Isma finds a lost glove in the snow and wonders how it would now match to its former pair. Isma notices “the weight of snow pressing familiarity out of the objects, so that the glove placed beside its former pair looked no more than a distant relative. And what then do you do? Throw away both gloves, or wear them mismatched to acknowledge the miracle of their reunion?” (14). This pair of gloves symbolizes Isma’s fractured relationship with Parvaiz: Although she condemns his choices and practically denounces him for the sake of protecting herself and Aneeka, she doesn’t reject the idea that one day they will reconnect and find a way to recultivate their sister-brother bond. Just like a single glove is incomplete without its pair and can’t function sufficiently, so is one sibling without another. Thus, the pair of gloves, where one glove has been missing for a long time but is now found, symbolizes Isma’s hope that one day Parvaiz will come back, and her trepidation about how to restore their relationship should Parvaiz find a way back home.
Because Parvaiz is a sound connoisseur, sounds are a recurring motif throughout the novel. Parvaiz may appear as the only one of the three siblings gifted with an acute sense of hearing; however, in his absence, both Aneeka and Isma begin to pay attention to the sounds around them—the invisible yet tangible strings that can connect them with Parvaiz.
In the opening chapters of the novel, when readers still don’t know Parvaiz’s story, Isma experiences a moment of deep connection with Parvaiz during a hailstorm in Massachusetts. She listens to how “pellets rained down and made music” (17) and calls the phenomenon “the acoustics of ice on ice, a thing unimaginable until experienced” (17). Such attentiveness to the sounds of the natural world seems striking because Isma is portrayed foremost as a pragmatic person, and not like someone prone to hearing the melody of a hailstorm. For her, these sounds are not simply of weather but of Parvaiz: By developing an acute sense of hearing to the world around her, Isma strives to preserve her bond with her brother.
Aneeka, similarly trying to evoke memories of Parvaiz, asks Eamonn to record everything he hears on a daily basis, creating a recording of “snippets of the time he spent without her, playing them back and asking her to identify the sounds he linked together to form a narrative of life without her” (108). In this way, Aneeka is nurturing her memory of Parvaiz and his obsession with sounds through Eamonn. After some time, “in Aneeka’s company [Eamonn] had learned to listen to the sounds of the world” (107), a quality characteristic of Parvaiz.
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By Kamila Shamsie