62 pages • 2 hours read
Elif ShafakA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
To Zaleekhah’s embarrassment, Uncle Malek interrogates Nen over dinner. They learn that Nen used to live on the houseboat with her ex-girlfriend, moving out after their breakup; Nen is also eight years sober. A harried Helen arrives late. Responding to Zaleekhah’s questions, she reveals that the doctors are still running tests on Lily.
As Uncle Malek drinks, he directs his conversation largely at Nen, constantly interrupting her when she tries to respond. They talk about The Epic of Gilgamesh, and Uncle Malek disagrees with Nen’s interpretation of the poem. Nen believes it to be about “both the fragility and resilience of being human” (332), while Uncle Malek thinks it is about the fear of death and the importance of prioritizing family. Uncle Malek points out that Nen, who does not intend to have children, will never know the depths of familial devotion, and Aunt Malek immediately admonishes him. However, he uncharacteristically lashes out at her, claiming that she makes him do her dirty work for her.
As they leave after dinner, Zaleekhah attempts to explain and apologize for her uncle’s behavior, but Nen stops her. She advises Zaleekhah that if one lets gratitude get too big, it can overwhelm love. Before Nen leaves, she gives Zaleekhah a birthday gift: a necklace made of a piece of lapis lazuli that Nen found buried in the river mud.
As Arthur oversees the excavation at Nineveh, he realizes that many precious antiques and artifacts have been accidentally lost or destroyed in the past. Spending time in Nineveh brings Arthur humility, as he thinks about how even the greatest of empires and civilizations have been met with ruin.
After work, Arthur returns every day to the Yazidi village. He enjoys spending time with the villagers and wishes to defend them against all the slander they face. He especially enjoys spending time with Leila and listening to her tell stories of the olden times to all the villagers in the evenings; most of her stories feature water. Arthur gifts Leila the qanun that he brought with him from Constantinople.
Over the next few days, the water sources in Yazidi settlements are systematically poisoned, and entire groves of trees are set alight. Khaled, on his way to Zêrav from Baghdad, is worried that they are unsafe and should return to Hasankeyf. However, he trusts that the Kurdish forces entrusted with protecting the village will keep Narin and Besma safe.
Two days later, the Kurdish forces withdraw overnight from all the Yazidi settlements in Nineveh. Militants arrive at the village where Khaled is staying and round up all the Yazidis. Khaled recognizes the man helping the militants—Hajji Amer, a man whom Khaled previously considered a trusted friend. The militants separate the men and boys from the women and children and give everyone an ultimatum: convert to Islam or die. When the Yazidis refuse the former, the men are all marched away and shot.
Khaled survives the shooting and manages to warn Besma about the militants using the cellphone he has hidden in his sock. He tells them to flee to the mountain, promising that he will try to make his way there. Besma wakes up Narin in the middle of the night, and along with a few other Yazidis she has managed to convince, they all drive off to Mount Sinjar. The caravan of cars is ambushed by ISIS militants lying in wait along the way; a handful manage to escape, Besma and Narin among them, and they join the 50,000 Yazidis fleeing for their lives.
Arthur witnesses the celebrations for Çarşema Sor, the Yazidi new year, in April. Leila sings a traditional song, and Arthur notices that the words are reminiscent of Akkadian, an ancient Semitic language spoken in Mesopotamia. Arthur wonders whether the Yazidis could be descendants of this ancient civilization.
That night, Leila has a vision of a coming massacre. She relates how when the firman strikes, sacred sites will be destroyed, men will be massacred, and women and girls will be abducted. She warns everyone to run to the mountain then and not to go near any source of water. Leila’s premonition weighs heavy on Arthur, and he feels a deep sadness for the Yazidis and their uncertain future.
Zaleekhah finally meets Helen, who tearfully reveals that Lily is in need of a kidney transplant; Uncle Malek is desperately helping them hunt for a donor.
Zaleekhah visits Nen’s tattoo parlor, and Nen’s brother redirects Zaleekhah to the British Museum, where Nen is visiting the Nineveh exhibits. Zaleekhah finds Nen sketching a lamassu, an activity that Nen finds therapeutic. They look at the various exhibits on display, discussing how Ashurbanipal was an extremely learned and well-read king but also one of the most brutal of Assyrian rulers. Nen and Zaleekhah examine the scorched hoof of one of the lamassus, with Nen expressing her belief that it witnessed something terrible.
Nen reveals that she dealt with mental health conditions growing up and that Ancient Mesopotamia was her imagined sanctuary. She has also struggled with alcohol addiction. Zaleekhah, in turn, confesses that she has been depressed for a long time. That evening, Zaleekhah gets a tattoo on her wrist at Nen’s parlor: “Three marks in blue ink, the colour of lapis lazuli. The sign of water” (368).
One morning, Leila accompanies Arthur to the excavation site. She tells him about her “soul sister” who lives in Castrum Kefa, claiming that that’s where she would go if she ever needed help.
The pasha invites Arthur home again and interrogates him about his work and his friendship with the Yazidis. While Arthur is at the pasha’s place, the qadi visits, and Arthur witnesses the two men make a thinly veiled plan to harm the Yazidis. Arthur excuses himself, and back in the village, he grapples with whether he should tell his hosts what he saw.
Later that evening, Arthur looks through the objects he has brought back from the excavation site and discovers that he has found the missing portion of the tablet. He spots Leila sleepwalking again and whispers out to her, without any hope of being heard, that although he has found what he was looking for, he does not want to return yet because he loves her. However, he has no expectations of reciprocation, as he knows that the Yazidis cannot intermarry outside their sect. Leila, appearing to have heard him, approaches him and kisses him on the cheek before she disappears.
The Yazidis sheltering on the slopes of Sinjar quickly run out of water. A small group breaks away to collect water from a fountain at the base of the mountain for everyone else, and they are ambushed and killed by ISIS militants lying in wait. Besma gives Narin the last drop from a plastic bottle that she has carried; it is the same droplet that fell onto Ashurbanipal’s hair thousands of years ago in Nineveh.
Besma decides to find water for her people using her water-dowsing gift, and she asks Narin to stay behind. Just as she believes that she has found an underground reservoir, however, she is found by five ISIS militants. They also capture Narin, who secretly followed Besma.
In Part 4, entitled “Memories of Water,” the narrative structure is interwoven with the theme of The Interconnected and Cyclical Nature of Life. Momentum builds up in this part of the story, setting the stage for the climax to follow in the final part. However, this momentum is created by repeated returns to the past, highlighting how cycles in nature involving water, and life itself, repeat themselves. Leila foretells a coming massacre, and generations later, a similar tragedy is set to unfold in Narin’s lifetime; the cycle repeats itself. In both cases, the Yazidis are denied water: Leila warns her people to avoid the river and flee to the mountains, while in Narin’s time, the Yazidis flee to Mount Singer after finding all their water sources poisoned. The pollution or denial of water to bring death reiterates both the literal and metaphorical connection between water and life. The cycles of violence surrounding water underscore how history repeats itself time and again. Narratively, Shafak uses the past to build momentum across storylines by paralleling Leila’s prediction with what takes place more than three generations later. The narrative itself thus highlights the cyclical and interconnected nature of time, life, and water.
Despite his good intentions, Arthur’s ongoing work inevitably involves him in the colonialist practice of Archaeology as Plunder. Arthur learns about how many antiques and artifacts were lost or destroyed in the course of excavation. He is saddened by the thought of the accidental destruction of material culture in the pursuit of a foreigner’s curiosity and is becoming more aware of the potential harms that come with his own presence in the land. The pursuit of knowledge and learning does not automatically presuppose morality, ethicality, or humanity; Zaleekhah’s conversation with Nen about Ashurbanipal is yet another argument for this. The women discuss how the well-read and cultured Assyrian king, famed for his libraries, was also one of the most bloodthirsty and cruel in Mesopotamian history. Shafak thus uses the context of cultural plunder through archaeological excavation to touch upon larger questions surrounding civilization and humanity.
An important symbol that appears in these chapters is the tattoo that Zaleekhah gets on her wrist. The tattoo combines different important elements within the story, as Zaleekhah gets the symbol of water in cuneiform tattooed on her wrist. To Zaleekhah, water is a source of both fear and reverence. Her parents died in a flash flood, alerting Zaleekhah to the deadliness of the element. However, Zaleekhah is a hydrologist dedicated to the conservation and preservation of the world’s rivers, showcasing her understanding that water is also a life source meant to be respected and protected. Zaleekhah’s complex relationship with water underscores the interconnected and cyclical nature of life: Through her, water operates as a motif equated with life, but it can just as easily spell death. Having the tattoo done in cuneiform is also symbolic. Besides speaking to The Impact of Ancient Texts on Modern Lives, it also establishes a link across stories: Cuneiform is the script that Arthur deciphers, and the symbol of water in cuneiform is what Besma has tattooed on her forehead.
By Elif Shafak