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56 pages 1 hour read

Monica Ali

Brick Lane

Fiction | Novel | Adult | Published in 2003

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Chapters 19-21Chapter Summaries & Analyses

Chapter 19 Summary

This chapter is just four pages, a letter from Hasina in which she reveals her secret. She writes of the day of their mother’s death. She was wearing her shiny leather shoes and trying to keep them reflective in the dirt when she saw their mother wearing her best sari. She wanted to run to her but couldn’t, for fear of ruining her good shoes. Instead, she followed her into the storeroom and stood outside. “I am a bandit stand there to rob her secret”. She watches as her mother tests the three spears with her finger. The third one is the right one. She moves to the rice sacks and Hasina hears a grunt and runs away. “May Allah forgive her. It’s she who leave.” 

Chapter 20 Summary

The effect of the letter is powerful. Nazneen looks upon it as a talisman. Nazneen packs the girls’ things, realizing “there was no escape” and she would not be on the plane when it leaves the following day. She goes through the apartment and finds Chanu’s address book with the address of Mrs. Islam

She prepares to confront Mrs. Islam, who magically shows up at her door with her two henchmen sons, Son Number One and Son Number Two, who present a gift for the girls from his mother’s ominous black bag: two sets of ankle bells. Nazneen begins to present her case, firmly declaring the debt has been paid with excess and Mrs. Islam distorts her numbers with evil manipulations. Nazneen stands her ground. Then comes the violence, the cricket bat shattering the showcases with the clay figures. Nazneen stands up to Mrs. Islam by producing her numerical figures and declaring the debt has been repaid with interest. Taken aback by this display of rational power from her submissive friend, Mrs. Islam responds with manipulation, revealing that she knows about her love affair and threatens to tell Nazneen’s husband. Nazneen counters her threat by insisting her husband knows everything and inviting her to confront him. This shifts the energy because “the impossible happened.” Mrs. Islam is surprised. Nazneen takes power and insists that she swear on the Koran and then incredibly, Son Number Two suggest they leave, adding: “They paid too much anyway.” Mrs. Islam crumbles in the face of the truth uttered by her flesh and blood. She attacks her son like a cornered animal. She is breaking down by the time they get her through the door. Nazneen starts to clean up and then suddenly, feels profoundly at peace. She realizes that God provided a way, “and I found it.”

Nazneen navigates the city to meet Karim on October 26. She then tells him the flight is tomorrow and that she is not going. He is happy and brings up their wedding. She says she doesn’t want to marry him and they need to stop. She realizes he is relieved to hear this. In parting, she says they “made each other up”.

In the heated tension of time ticking away, Nazneen has one last confrontation. This is Dr. Azad, whom she runs into on her way to give support to Razia. She asks him why he lent money to her husband for his departure and he simply replies it is because he is a very good friend.

On the tense morning of October 27, the day of the march colliding with the scheduled departure, there is a gathering in the courtyard the estate. The immigrants are joined by a group of white people from the Workers United Front wanting to bring the immigrants into a global worker’s movement. When the courtyard clears, Chanu goes out to buy soap samples. Nazneen has a dream of her husband baby-sized. She is interrupted by her daughter Bibi, who says her sister ran away.

Chapter 21 Summary

Bibi tells her mother that Shahana plans to elope with her boyfriend. Nazneen encounters the Questioner on her search to find her daughter and runs straight into a riot. She is pulled out of danger into a doorway by the Questioner, who demands to know what she is doing. She says she is looking for Shahana. He helps her get to the café. It is closed and he tells her to go home and she persists and finds two small figures holding hands and calls to her daughter.

At home, Chanu is watching the riot on television. The passions of the day bring husband and wife into physical intimacy. He tells her that he has achieved what matters, a family that makes him “as strong as any man alive” and asks if she is coming to Bangladesh. He is shattered when she says no. He says he can’t stay; she replies that she can’t leave with him. They cling to another, finally mourning all that was denied between them by the hopes, dreams, and preparations of the past. From this space of uncertainty they tell the girls their compromise. He will return home to start a business and the family will join him later.

March 2002. Razia and Nazneen are working in their garment business, not just sewing but embarking on a new challenge of creating designs. Nazneen says they can pay extra for designs and Razia replies that if Nazneen makes designs, she will sell them. She has news of Mrs. Islam dying from a mysterious illness.

In the aftermath of the riot, a Tower Hamlet’s Task Force is created to look into Youth Deprivation and Social Cohesion. Nazneen hears from a young organizer that Karim went to Bangladesh and she is invited to join his new political group. Her husband writes regularly about his business selling soap back home and offers to send money, which Nazneen refuses. He reports that he has seen Hasina, who is working with a respectable family and appears unbroken.

A song comes on the radio, with a woman’s voice singing a song of liberation: “You make me want to shout.” Nazneen turns it up and dances to the song, her entire body surging with life as she takes deep breaths and flicks her legs over her head. The phone rings; it is Chanu reporting that her sister ran off with the cook and wants to know why she does these things. “She doesn’t want to give up,” Nazneen replies. He suggests they visit on a holiday.

Nazneen takes her girls on a new adventure to the ice skating rink.

Chapters 19-21 Analysis

Hasina’s letter from Dhaka reveals a secret embedded with symbolism. The description of the storehouse “like two big arm hug it tight” is an indication of a return to the Great Mother, the eternal womb. The red and purple sky hanging down, waiting for rain, is a like a canvas of doom. The new shiny leather shoes “bright as a buckle” so that “I walk around and look down all the times” are an indication of the reflective ground that this portentous event will carry through Hasina’s life. There is a pattern in the continual need to clean the dirt from the shoes so they can keep reflecting; this has her looking down at her feet rather than at where she is going.

The effect of this revelation on Nazneen is lasting. After fingering the letter and holding it in her fascination, “like a butterfly” she tucks it into the drawstrings of her skirt, the place where she pleats her sari. When she takes the letter at her hip and places it on the table and slips it under the flat metal of the sewing machine, it is a sign that she has reconciled herself to her fate and through this wisdom is making her destiny. The magical act connecting her machine of liberation with the spear driven through her mother’s heart has an immediate effect when Mrs. Islam appears at the door with her henchmen sons.

Son Number One and Son Number Two bring numbers directly into the narrative. These two numbers are associated with the opposites. Even though the figures are indistinguishable, the numbering in their names refers to a duality. The power dynamic begins to shift when Nazneen tells Mrs. Islam she is coming to see her, thereby confronting her fear rather than running away. She is armed with male logic, the numerical figures that she has worked out. Son Number Two shattering the showcase with her husband’s clay figures symbolize the removal of artificial representations of life cut-off from natural forces. The act of bringing the masculine quantity of number and feminine quantity together is revealed in the body. Nazneen experiences a spiritual release, “like a hot bath” in her triumph over Mrs. Islam. She has found the path of God, the third way.

Navigating the city to find Karim, Nazneen has entered the space of uncertainty and is proactively creating change. In her rush against time, counting the minutes and the stations, she thinks about how she remembers Karim, as a man who knew about the world and his place in the world. When she sees Karim standing in their arranged spot, she encounters a man who appears to have been dipped in white paint standing as still as a rock. This marks the void, the empty space where the opposites converge and change occurs. Nazneen’s “sacred marriage” integrating her feminine and masculine qualities is externalized in what she sees in the street: a gaggle of girls cackling and men exiting a pub. Karim is standing against a strip of wall between two shop windows, symbolizing the center. She now sees him as an individual, not just a projection of her desire. He is full of possibility as before, but now, through her holistic vision, she sees him as a real person.

When they walk together, they pass a juggler collecting his batons from the ground. This is the magical element. She asks if they could watch, but he looks at the time and says he has to go. Time is an important motif in the novel’s final section.

On the day of departure, Nazneen’s mad pursuit to find her daughter is the climax of the novel. Nazneen has to utilize her right and left brain to make her way past the police shields, which represent the boundaries of time and fate. She comes full circle from her first challenge in facing the big city and being acknowledged for saying a word in English. Now, she helps the man designated as “the multicultural liaison officer” to his feet and tells him to run with the warning: “Allah…does not want your prayer now. He wants you to save yourself.”

“Right now the world is watching.” These words of the Questioner reveal the full circle of wholeness Nazneen has been made aware of in her own body through her adventure. Her awareness of a step-by-step journey into independence has resulted in an equal partnership, giving birth to a third option that offers her an authentic measure of personal freedom. This freedom is enacted in a spontaneous dance at home as she embarks on a new life of autonomy in partnering with Razia.

She reacts to Chanu’s news of her “unbroken” sister’s latest sexual adventure with the phrase”, she doesn’t want to give up.” This reflects the wisdom Nazneen has gained from the difficult passage from constriction to freedom. She speaks of her sister, but actually is talking about herself; she too “hasn’t given up” on her own journey. Chanu’s reaction is to invite the family to visit on a holiday. This was the third option they had never previously considered within the “Going Home Syndrome”.

The closing section of the book reveals the pleasure Nazneen has found in her autonomy. She can navigate the city to give her daughters the experience of the sport that inspired her interior journey: ice skating.

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