It is in the
construction of the plot that the novel encounters problems. (Review by
Margaret von Klemperer, Courtesy of The Witness)
Nadia Hashimi’s parents emigrated from Afghanistan to the
United States where she grew up and later worked as a paediatrician before
turning her hand to writing. Afghanistan, and particularly the plight of women
in that tragic country, is her subject of choice, with several novels to her
name dealing with the rollercoaster experience of the Soviet invasion, Taliban
rule, American-backed government and, following the ignominious departure of
the Americans, the Taliban again.
Back in 2016, her novel, A House Without Windows, had a launch in Pietermaritzburg and her books have always attracted a big readership.
Here the main character is Marjan and in 2021, she is desperately trying to leave the country because, as we gradually discover, she has served with the Female Tactical Platoon (FTP), a trained military unit of Afghan women who served with the American army as a group who could speak to Afghan women – something male soldiers could not do. Unlike their female American counterparts, members of the FTP spoke the local language. But, as we know, in the US forces’ undignified withdrawal, many people who were going to be at risk simply could not escape, even though the Americans claimed to be trying to help them.
Marjan has a young daughter, Hawa, and a great friend, Soraya who served in the FTP with her. And Soraya has an aunt, Mina, who is a journalist and an anchor on a TV news show – all of them obviously at risk from the advancing Taliban whose attitude to women is well documented. But to escape is never going to be easy.
Hashimi divides the novel into sections. The main thrust of the plot concerns 2021, when the women are struggling to find a way of leaving the country. The title, which Hashimi explains in the author’s note at the end of the book, is where Marjan and Hawa end up hiding while they try to work out how to escape to a different life. But there is also a lot of backstory, mainly concerning Marjan but also explaining her connection with Soraya and Mina.
It is in the construction of the plot that the novel encounters problems. The reader has to go backwards and forwards, from Marjan’s horrible experiences as a child bride, to her escape from an abusive husband, to the reasons that she and Soraya joined the FTP, and to Mina’s career as a journalist. Hashimi seems to feel the need to end each section or chapter on a cliffhanger, and then leave the reader dangling while she goes backwards or forwards to re-connect with wherever she left her characters before.
This becomes an irritant. It interrupts the flow of the story and, to a degree, causes the reader to lose interest. It is a pity, because Hashimi is highlighting the plight of the people of Afghanistan and tackling some very real problems. – Margaret von Klemperer
City of Widows is published by William Morrow: ISBN 978-0-06-349363-6
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