THE CONCEPT OF MASCULINITY BASED ON
PASHTUNWALI REVEALED IN THE CHARACTER OF
BABA AND THE SETTING IN
KHALED HOSSEINI’S THE KITE RUNNER
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters.
By
GRACE MELIA KRISTANTO
Student Number: 074214058
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
THE CONCEPT OF MASCULINITY BASED ON
PASHTUNWALI REVEALED IN THE CHARACTER OF
BABA AND THE SETTING IN
KHALED HOSSEINI’S THE KITE RUNNER
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters.
By
GRACE MELIA KRISTANTO
Student Number: 074214058
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
Time flies so fast, make sure we are still the
pilot.
There’s a line between slutty and classy.
And, I walk right on that line
-Katy Perry-
Give thanks for what you are now, and keep
fighting for what you want to be tomorrow
-Fernanda Miramontes-Landeros-
If you don’t like how
things are, change them!
Truly
dedicated
for
my
super
daddy,
the
one
who
sees
me
better
than
anyone
else
does,
and
my
mommy,
the
one
who
has
taught
me
to
struggle.
Trust
me;
I
do
love
you,
with
my
own
ways.
LEMBAR PERNYATAAN PERSETUJUAN
PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma
Nama : Grace Melia Kristanto
NomorMahasiswa : 07 4214 058
Demi pengembangan ilmu pengetahuan, saya memberikan kepada perpustakaan
Universitas Sanata Dharma karya ilmiah saya yang berjudul
The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner.
Beserta perangkat yang diperlukan (bilaada). Dengan demikian saya memberikan
kepada perpustakaan Universitas Sanata Dharma hak untuk menyimpan,
mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan
data mendistribusikan secara terbatas dan mempublikasikannya di internet atau
media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya
maupun memberikan royalty kepada saya selama tetap mencantumkan nama saya
sebagai penulis.
Demikian pernyataan ini yang saya buat dengan sebenarnya
Dibuat di Yogyakarta
Padatanggal : 12 Agustus 2011
ACKNOWLEDGEMENTS
I am indebted to my dearest God, Jesus Christ, who keeps calling me even
when I try to walk at the wrong ways. I am grateful for His omnipresence which
means a lot for me.
I must thank my advisor, Drs. Hirmawan Wijanarka, M.Hum. and my
co-advisor Adventina Putranti, S.S., M.Hum. I truly appreciate their time, guidance,
advice, and support in the process of making this thesis. I thank them for doing
their best in helping me making this thesis. I would also like to thank all the
lecturers and staffs of English Letters Program during my study in Sanata Dharma
University.
I sincerely express my gratitude for Mr. Mustafa Haidari for his time
chatting with me. I must thank his kindness for answering my questions and
suggesting some of his friends to help me knowing more about Pashtunwali.
I am grateful to my parents, Bambang Kristanto and Melia Aditya, and my
little brother, Kevin Aditya Kristanto, for their being around me every time I need,
their supporting me, and for their calling me as a part of family. I can never
describe how much I am grateful to have Bambang Kristanto, for his implied
support, anger, and advice. No one understands and accepts me the way I am
better than he does.
I am grateful to my dear friend Nandha Rizki Rahmalia for her ears when I
need someone to talk to and words that sting me into action. Thanks go out to
thank Mustika Sari who has taught how to be thankful even in the worst situation
to me. My gratitude also goes out to Maria, Tina, Yeni, Tata, Cicil, and Karin for
the supports, jokes, giggles, and stories. I must thank Noviyanti Riendrasiwi,
S.Pd. for her question “What do you seek in your life?” which has helped me to
set my goals in life. I want to thank the AllPlus crews, Yuliyanti Rahayu, S.Pd.,
Yosefina Heriyanti, S.Pd., Erny Ludvyani, Indriyani Kusumastuti, and
Ardinawati, S.Pd. for being supportive, helpful, and incredible workmates.
Lastly, I don’t know how to thank life for every breathtaking moment. For
the gifts and tricks in my ups and downs, I will always love life.
TABLE OF CONTENTS
LEMBAR PERNYATAAN PENGESAHAN ... vi
ACKNOWLEDGEMENTS ... vii
CHAPTER II: THEORETICAL REVIEW ... 7
A. Review of Related Studies ... 7
B. Review of Related Theories ... 10
C. Review on the History of Pashtuns in Afghanistan ... 15
D. Review on Pashtunwali ... 17
B. The Setting in Khaled Hosseini’s The Kite Runner ... 37
1. Traditions Seen in the Setting of Circumstance ... 38
2. Religion Seen in the Setting of Circumstance ... 41
3. Customs and Habits Seen in the Setting of Circumstance ... 42
4. Moral Conditions Seen in the Setting of Circumstance ... 45
1. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba ... 48
a. Baba’s being Determined as a Revelation of Ghayrat ... 49 b. Baba’s being Success-Oriented as a Revelation of Ghayrat.…..50 c. Baba’s being Courageous as a Revelation of Turah &
Namus ... 52 d. Baba’s being Hospitable as a Revelation of Melmastya …. ... 53 e. Baba’s being Generous as a Revelation of Melmastya ………..54 f. Baba’s being Determined, Success-Oriented, Courageous, Hospitable, and Generous as a Revelaation of Nang … ... 55 2. The Concept of Masculinity Based on Pashtunwali Revealed in the Setting ... 56
a. Traditions Seen in the Setting of Circumstance as a Revelation of Ghayrat,
Turah, and Namus ... 56 b. Religion Seen in the Setting of Circumstance as a Revelation of
Melmastya and
Ghayrat ... 58 c. Customs and Habits Seen in the Setting of Circumstance as a
Revelation of
Ghayrat and Melmastya ... 59 d. Moral Conditions Seen in the Setting of Circumstance as a
Revelation of
Namus and Melmastya ... 61 e. Traditions, Religion, Customs, Habits, and Moral Condition Seen in the Setting of Circumstance as a Revelation of Nang 63
ABSTRACT
Grace Melia Kristanto. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2011.
This thesis studies one of Khaled Hosseini’s novels entitled The Kite Runner. The story tells about Amir who desperately tries to win the approval of his father, Baba, by winning a kite-fighting tournament to prove that he has the makings of man. This study discusses the concept of masculinity based on Pashtunwali which Baba believes and which is represented in the setting.
There are three objectives in this study. The first is to describe Baba’s characteristics. The second is to describe how the setting is depicted in the novel. The third is to discuss the concept of masculinity based Pashtunwali revealed in the character of Baba and the setting.
To answer the questions the writer uses the novel as the primary source, while the secondary sources are books on literature, books of masculinity, and online sources. The writer applies library research method. The writer employs socio-cultural historical approach as the approach to the thesis because the study focuses in the concept of masculinity based on a code of behavior believed socially, culturally, and historically.
ABSTRAK
Grace Melia Kristanto. The Concept of Masculinity Based on Pashtunwali Revealed in the Character of Baba and the Setting in Khaled Hosseini’s The Kite Runner. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2011.
Skripsi ini mempelajari salah satu novel Khaled Hosseini yang berjudul The Kite Runner. Novel ini menceritakan tentang Amir yang dengan putus asa berusaha mendapatkan pengakuan dari ayahnya, Baba. Ia berusaha mendapatkan pengakuan dari Baba dengan memenangkan perlombaan layang-layang untuk membuktikan bahwa ia dapat menjadi seorang laki-laki sejati. Skripsi ini membahas konsep maskulinitas berdasarkan Pashtunwali yang diyakini oleh Baba dan yang tergambar di dalam latar belakang The Kite Runner.
Ada tiga tujuan dari skripsi ini. Yang pertama untuk menjabarkan karakteristik-karakteristik Baba. Yang kedua untuk meneliti bagaimana latar belakang digambarkan dalam novel. Yang ketiga untuk menganalisa bagaimana karakter seorang Baba dan latar belakang merepresentasikan konsep maskulinitas berdasarkan Pashtunwali.
Untuk menjawab pertanyaan-pertanyaan tersebut, penulis menggunakan novel sebagai sumber utama, sedangkan sumber penunjang adalah buku-buku sastra, buku-buku maskulinitas, dan sumber-sumber online. Penulis menggunakan metode studi pustaka. Pendekatan yang digunakan oleh penulis adalah pendekatan sosial-budaya sejarah karena penelitian ini berfokus pada konsep maskulinitas berdasarkan etika berperilaku yang diyakini dalam sosial, budaya, dan sejarah.
CHAPTER I INTRODUCTION
A. Background of the Study
People are unique. They, male or female, have their own characteristics,
thoughts, abilities, and disabilities. In some conditions, certainly men possess
characteristics, personalities, or anything else that women do not have and vice
versa. One difference between men and women as stated by Andrew Kimbrell
(2005) in “What is a Man?” for example is that women can easily express their
sadness by crying while men will try their best not to cry even if they are sad
(2005). There are still many things differentiating men from women. Nonetheless,
each culture sees the characteristics differentiating men from women differently.
As described by Kimbrell, men will attempt not to share their feelings by crying.
However, that idea is very much different from British culture in the past.
Cunningham and Moor in New Cutting Edge state that in the eighteenth century, a
true gentleman showed his feelings by crying many times in public. King George
IV even sat down and cried loudly after hearing a very bad news (2005: 43).
The characteristics men and women possess are developed through any
idea or concept of masculinity (for men) or femininity (for women) that they
believe. Men, to be particular, have various standards of the-so called masculinity
that they want to achieve.
Generally speaking, masculinity simply means the qualities considered to
than that because the qualities required to be a masculine man in a society are
various and complex. If King George IV lived in this era and cried to express his
sadness, he would never be called masculine. One certain thing about masculinity
is it is socially constructed rather than innately constructed. It means that one has
to adhere to the concept of masculinity believed in his society to prove that he is
masculine. The fact that someone was born as a male does not directly mean that
he will certainly be called masculine because masculinity is not simply about
one’s sex. Masculinity is a gender identity one possesses through a rather complex
process. Thus, there must be some aspects and characteristics to make a man
deserve to be called masculine. Any aspects and characteristics are not only from
what he believes, but also from what society sees and believes about how a man
should be. It is strengthened by Grodan (2008) in “Masculinity Theory – An
Overview” who states that “Thus, it is not just the specific behaviors and actions
of the individual that define masculinity; rather, masculinity is a consideration of
power structures in social and cultural discourse.”
As stated above, masculinity is socially constructed and is shaped by some
aspects. Then, one of the aspects socially interlinked to a social scope is the place
where a man lives since different places with different circumstance might require
different standards of masculinity as well. This fact is also stated by Shroder in
“Afghanistan” as “Masculinity plays an important role in shaping men’s
help-seeking behavior. However, what men consider as important attributes of
masculinity and how these attributes are related vary in different Asian countries.”
considered as a masculine trait in one place does not necessarily mean that it will
be considered as the same in a different place. The act of men fulfilling their
wives’ needs in Afghanistan, for example, is considered as what typical men
should do only by those who live in Afghanistan. People who live in America
probably will not see that act as a masculine behavior since typical American
women, different from Afghan women who depend on their husbands, make their
own living so that they do not need to depend on their husband to buy their needs.
In order to comprehend such a topic, a novel entitled The Kite Runner by
Khaled Hosseini is a great choice. The Kite Runner is a story that depicts the
concept of masculinity based on Pashtunwali; how masculinity based on
Pashtunwali is perceived and expressed, moreover to Baba. Even though Baba is
not the main character in this novel, Baba’s ways of thinking, speaking, behaving,
and treating his son, Amir, will show how Afghan men see masculinity based on
Pashtunwali and respectively will be such a way that underlines how masculinity
based on Pashtunwali is revealed in the novel. The fact that this novel tells a story
about Afghans also reveals the concept of masculinity based on Pashtunwali,
particularly for Afghan men due to how Afghans see the role of a man and what
characteristics or codes of behavior required from an Afghan man to be called
masculine. Therefore, The Kite Runner is undoubtedly the excellent source to gain
B. Problem Formulation
In order to get a good grasp of the topic, three problems were formulated
as follows:
1. How is Baba characterized?
2. How is the setting of circumstance described?
3. What is the concept of masculinity based on Pashtunwali revealed in the
character of Baba and the setting of circumstance?
C. Objectives of the Study
Generally, the objective of this study is to answer the problems formulated
in the previous part. There are three objectives that the writer wants to achieve in
this study. The first objective is to see how Baba, a character in the novel, is
characterized. The second is to find out how the setting of the novel, especially
the setting of circumstance is described. The last objective is to understand what
concept of masculinity based on Pashtunwali is revealed in the character of Baba
and the setting of circumstance.
D. Definition of Terms
To avoid any further misunderstanding in this study, clarification of the
key terms is worth to do.
1. Masculinity
According to Reeser in Masculinities in Theory: An Introduction (2010: 2)
complicated than it is firstly believed and, consequently, it can be studied not as a
single definition, but as variety and complexity. Further, he states that
Yet even within a single cultural and temporal context, ideas of masculinity are far from stable and fixed. While there are maybe some agreement among some people about a given definition, such a definition is never entirely agreed upon, and it is always contested in some way (2010: 3).
As stated by Reeser, the concepts of masculinity are various, complex, and not
fixed. Therefore, it will be better seeing masculinity in some definitions and
understandings rather than in a single definition because some definitions may
complement each other so that finally the intended understanding of masculinity
will be perceived.
Stets and Burke in Femininity/Masculinity define masculinity as the
degree to which persons see themselves as masculine given what it means to be a
man in society (2006: 3). It is rooted in the social (one’s gender) rather than the
biological (one’s sex).
Another concept of masculinity is stated by Grodan (2008) in Masculinity Theory
– An Overview published in Associatedcontent.com.
Unlike the biological state of maleness, masculinity is a gender identity constructed socially and historically. It is the cultural interpretation of maleness, learnt through participation in society and its institutions. Thus, masculinity is an ever evolving process that requires the individual to be intimately linked to social and cultural discourse. The male is expected to identify with the social institutions.
Those definitions are chosen because this study intends to convey masculinity as a
socially and culturally constructed concept that includes one’s physical
2. Pashtunwali
Background Brief in Afganistan: Cultural Appreciation Booklet states
The most important code is Pashtunwali, which means ‘the way of the Pashtuns’. Although associated with the country’s largest ethnic group (Pashtun), it represents a general ideological framework underpinning social behavior among all Afghans. At the heart of Pashtunwali is a recognition of the importance of honor (nang), and it is from this that most other Afghan cultural values flow (2007: 5).
There are some codes described in Pashtunwali. UK Defense Forum
(2006: 1) in their “RS 48 Pushtunwali – Afghanistan’s Cultural Background”
states
CHAPTER II
THEORETICAL REVIEW
This chapter discusses three main parts. The first part is review of the
related studies. This part aims at reviewing other related studies done previously
by other writers. The next part is review of related theories. At this point, the
writer puts theories of character and characterization, theories of setting, theories
of masculinity, review of history of Pashtuns in Afghanistan, and review of
Pashtunwali.
A. Review of Related Studies
In this part, the writer deals with studies that have been done previously
related to the object and the topic of this study. The studies are taken from the
theses of the students of Sanata Dharma University.
The first study taken is Elizabeth Nita Kurniasari’s undergraduate thesis
entitled The Influence of Amir’s Guilty Feeling upon His Self Concept in
Hosseini’s The Kite Runner. In this undergraduate thesis, Elizabeth Nita
Kurniasari uses psychological approach in which she tries to analyze how the
main character’s guilty feeling influences his self concept. Elizabeth Nita
Kurniasari concludes that one’s self-concept is not always stable and can be
influenced by many emotional factors such as guilty feeling (2004: ix). In her
undergraduate thesis, Elizabeth Nita Kurniasari concludes that Amir’s first
self-concept so that Amir eventually becomes more confident with his ability and
self-concept (2009: ix).
The second study is taken from Yeni Oviana Mamanua’s A Study of
Friendship as Reflected in the Character of Hassan as Seen in Khaled Hosseini’s
The Kite Runner. Yeni Oviana Mamanua also uses psychological approach to
analyze the character of Hassan and the meaning of friendship believed by
Hassan. In this undergraduate thesis, Yeni Oviana Mamanua concludes that there
are three reasons why Hassan loyally keeps his friendship with Amir. The first
reason is because Amir is his master. The next reason is because Hassan wants to
keep his status as a loyal friend. The last reason is because Amir is the only friend
to Hassan (2009: xii).
Another study taken is Paskalina Widiastuti Ratnaningsih’s undergraduate
thesis entitled The Influence of Jalil, Rasheed, and Laila on Mariam’s Personality
Changes in Khaled Hosseini’s A Thousand of Splendid Suns. In her study, she
uses psychological approach to analyze the personality changes experienced by
the main character in the novel. Finally, Paskalina Widiastuti Ratnaningsih
concludes that Jalil and Rasheed make Mariam lose her self-respect, become an
unfriendly person, and turn out to be a bad-tempered person, whereas Laila makes
Mariam become a friendly, brave, and affectionate person (2009: xiii).
The last study is taken from Maximillian Samuel Puji’s undergraduate
thesis entitled Masculinity of Josephine March in Louisa May Alcott’s Little
Women. In this thesis, Maximillian Samuel Puji uses psychological approach to
conclusion of his study, he discovers that Josephine March’s masculinity is
revealed through physical determinant, functional determinant, emotional
determinant, intellectual determinant, and interpersonal determinant. All those
determinants are developed because of poverty and her disappointment on
discrimination (2007: xi).
This study uses the same object as the first and second undergraduate
thesis by Elizabeth Nita Kurniasari and Yeni Oviana Mamanua, but the writer is
more interested in analyzing how masculinity is revealed in the character and the
setting so that this study will have a different focus from the first and second
undergraduate thesis taken.
This study, as the third undergraduate thesis by Paskalina Widiastuti
Ratnaningsih, examines a novel by Khaled Hosseini. Nevertheless, the novel
analyzed in this study is different from the novel used in the third undergraduate
thesis taken. Therefore, this study will have different topic, focus, and approach
with Paskalina Widiastuti Ratnaningsih’s undergraduate thesis. As the last
undergraduate thesis, this study also deals with masculinity. Nonetheless, this
study relates masculinity not only to the characters, but also to the setting so that
this study uses a socio-cultural historical approach instead of psychological
approach. Therefore, this study will discover something new that is the concept of
B. Review of Related Theories
To be able to answer the problems formulated previously, some theories
are needed to the base of the analysis. Since this study deals with how the
character of Baba and the setting can reveal the concept of masculinity, theories of
character and setting are undoubtedly important. Then, theories of masculinity and
Pashtunwali are the next theories needed to do the analysis.
1. Theory of Character and Characterization
Character, according to Abrams in A Glossary of Literary Terms is the
person represented in a dramatic or narrative work, who are interpreted by the
readers as being endowed with moral, dispositional, and emotional qualities that
are expressed in what they say-the dialogue-and by what they do-the action (1993:
23). In order to comprehend a character, one should observe nine things an author
puts into his character. Those nine things, as stated by Murphy in Understanding
Unseens: An Introduction to English Poetry and English Novel for Overseas
Students (1972: 161-173), are:
a. Personal Description
The author can describe a person’s appearance and clothes. It is a kind of
physical description that helps us to imagine the character.
b. Character as Seen by Another
The author describes the character through the eyes and opinions of
another character and they are reflected image of the character.
The readers can get clues to the character through what the person says in
a conversation or when he puts forward an opinion.
d. Past Life
What happened in the past life can give the clue to understand what shaped
a person’s character. This can be done by the direct comment by the author, the
character’s thought, through the conversation of other characters.
e. Conversation of Other Characters
A clue to a person’s character can be derived through the conversation of
the other characters and the things they say about him.
f. Reactions
The author can also give us a clue to a person’s character by letting us
know how that person reacts to various situations and events.
g. Direct Comment
The author can describe or comment on a person’s character directly.
h. Thoughts
The author can give us direct knowledge of what a person is thinking
about. In this respect he is able to do what he cannot do in real life. He can tell us
what different people are thinking. In the novel we accept this. The reader then is
in a privileged position he has, as it were, a secret listening device plugged in to
the inmost thoughts on a person in a novel.
i. Mannerism
The author can describe a person’s mannerism, habits or idiosyncrasies
Murphy makes clear that those nine ways can help the readers know better
about a character. Dealing with personal description, the readers can assume that a
character is a rich person by looking what he wears for example jewelries and a
fur coat. It is indeed true that speech can also reveal the characteristics of a
character since in most situations, a person’s speech can show what he thinks
about or what he seems to think about. Murphy’s opinion about past life is also
worth to ponder. Past life is a great aspect to know more about a character. Simply
knowing about a character’s past life or experience is useful to grasp his thought
and what makes him think and react in certain ways. Aspects such as thoughts,
mannerisms, and direct comment also say a lot about a person’s characteristic. All
in all, those nine ways do contribute a lot in supporting the readers to be more
capable of imagining a character, comprehending what he feels and thinks about,
and how his feelings and thoughts lead him to act toward a situation or a problem.
2. Theory of Setting
One of intrinsic elements that is impossible to ignore is setting. In fact,
setting provides clues or information to gain insight into the characters’ emotions,
motives, and conflicts. According to Abrams in A Glossary of Literary Terms
(1993: 192), “the overall setting of a narrative work is the general locale,
historical time, and social circumstances in which its action occurs; the setting of
a single episode or scene within a work is the particular physical location in which
Based on Abrams’ definition about setting, the writer concludes that there
are three types of setting namely setting of place, setting of time, and setting of
circumstance. The setting of place and setting of time might be stated clearly such
as England in the eighteenth century, at night in a hotel room, etc. The setting of
circumstance might be slightly different with the other two in the way that it needs
closer observation since it is not always stated explicitly. It can be understood by
observing the social condition in a story that gives sight to the background of the
characters and the society in which the characters live. Harvey in Character and
the Novel (1965: 56) makes that point clear by stating that “the social environment
basically refers to the society that is taken mostly in the novel. The environment
shows a social condition of people who live there.”
Hudson in An Introduction to the Study of Literature states that setting is
the whole environment in the story. It includes the customs, traditions, habits, and
characters’ view of life (1960: 158).
According to Holman in A Handbook of Literature (1986: 465), there are
some elements that make a setting. Those elements are described as follows:
1. The actual geographic location, including topography, scenery and even the
detail of a room’s interior;
2. The occupations and daily activities of the characters;
3. The time or period in which the action takes place, for example, historical
period or season of the year;
4. The general environment of the characters, for example, religion, mental,
3. Theory of Masculinity
In this part, the writer will define masculinity from two points of view.
The first is masculinity in general and the second is masculinity believed in
Afghanistan.
Grodan (2008) in “Masculinity Theory – An Overview” states that
Unlike the biological state of maleness, masculinity is a gender identity constructed socially and historically. It is the cultural interpretation of maleness, learnt through participation in society and its institutions. Thus, masculinity is an ever evolving process that requires the individual to be intimately linked to social and cultural discourse. The male is expected to identify with the social institutions that construct masculinity and react in manner that is commensurate with what these institutions view as acceptable behavior.
In other words, as stated in 50 Key Concepts in Gender Studies, “masculinity is
the set of social practices and cultural representations associated with being a
man” (Pilcher and Whelehan, 2004: 82). Those two definitions highlight that
masculinity is far beyond one’s biological or physical state. Social, cultural, and
historical aspects are the prominent factors which construct masculinity.
Therefore, to be called masculine, one should fully understand and follow what
his society requires about how he should behave in society.
Since the object of this study is a novel taking place in Afghanistan, the
idea of masculinity believed in Afghanistan is very worth to ponder. Nyrop and
Seekins in Afghanistan: A Country Study (1986: 126) states that “Afghan society
is consistent in its attitudes toward the underlying principles of gender. It is the
application of these principles that varies from group to group.” The Afghans’
Cultural Appreciation Booklet (2007: 19), “Gender roles are strictly defines, with
men representing the ‘public face’ of the household in its dealings with the outside
world.” The previous quotation shows that men are considered important in
Afghanistan. They have to build respectable image to cope with the society which
surrounds them.
Masculinity in Afghanistan is marked by men’s power and full control.
TRADOC Culture Center in Afghanistan Smart Book declares “Afghanistan is
very much a masculine society where competition, assertiveness and power play a
crucial role in everyday life” (2009: 43). Besides that, as stated by Nyrop &
Seekins, ed in Afghanistan: A Country Study (1986: 127), “Men are expected to
be leaders, protectors, and disciplinarians . . . Men must also be brave”. Further,
masculinity in Afghanistan is also based on the so-called Pashtunwali.
Citizendium.com in their article entitled ‘Pashtun People’ states that “Manliness is
a complex ideal in Pashtunwali.” Therefore, one must follow Pashtunwali to be
called masculine. Pashtunwali and the codes within it will be discussed in the next
part.
C. Review on the History of Pashtuns in Afghanistan
Since this study aims at seeing how masculinity is revealed in the
character and setting, the writer believes that a short and brief review on Pashtun
should be put in this chapter. Afghanistan is a home for many tribes and cultures.
One of many tribes living in Afghanistan is the Pashtun. Winkler in A Study
Afghanistan main ethnic composition includes the Pashtun, Tajik, Hazara, Uzbek, Baluchi, and Turkoman people. The Afghan nation is a very heteregeneous population, comprising at least 22 languages… Practically everyone in Afghanistan is Muslim representing both Shia and Sunni Muslims… All Afghan ethnic groups have been able to preserve their kinship, village, and regional ties (2007: 4).
It will nearly be impossible looking at Afghanistan without paying attention to the
Pashtuns since they are the biggest tribe in Afghanistan. The Pashtuns themselves
cannot be separated from their code of life namely Pashtunwali. Therefore,
Pashtunwali will also be put in this chapter. To make it more understandable, the
writer will divide this into two parts. This part will discuss about Pashtun and the
next part will discuss about Pashtunwali.
As stated above, Afghan people consist of many kinds of ethnic group.
One of the ethnic groups in Afghanistan, as well as the biggest one, is the Pashtun.
Nyrop and Seekins in Afghanistan: A Country Study state that
The largest and most powerful ethnic group is the Pashtun. The Pashtuns are primarily Pashtu speaking, although those residing in Kabul are often Dari speaking… In 1980 Dupree estimated that there were about 6.5 miliions Pashtuns in Afghanistan (1986: 105).
Pashtuns, as the biggest tribe in Afghanistan, certainly have their own
characteristics. Merrill, Paxson, and Tobey in An Introduction to Afghanistan
Culture (2006: 6) state that they are loyal to their tribal and sub-tribal groups and
they mostly work as merchants, traders, farmers, and animal breeders.
The Pashtuns have their own standard of masculinity. Pashtun men have to
learn and show masculinity since they are boys. Thus, they have already been
taught about what is and is not allowed for a man to do. Kurtz (2001) in “Out of
A Pashtun boy is raised in a state of nature – forced to learn toughness, and self-reliance in a world self-consciously understood as violent, deceitful, and cruel. A Pashtun boy is actively encouraged to the harshness of his world by himself becoming violent, deceitful, and cruel (2001).
Parents try so hard to make their children tough and strong. They unhesitatingly
beat their children just for minor mistakes and encourage them to beat their
friends in a fight. If a Pashtun boy comes home crying because he has been
beaten by his friends, he will undoubtedly be beaten again by his father for
showing his weakness. It’s clear that the Pashtuns hate any signs of weakness.
Kurtz states further that “what is odious to a Pashtun is not theft, or lying, or
fighting, but weakness, carelessness, and clumsiness – anything which diminishes
an individual’s power and self-command.”
Although Pashtuns are best-known for their toughness and masculinity,
they are also known for their hospitality – which is embedded in Pashtunwali, the
code of conduct they believe. More about hospitality and the other codes in
Pashtunwali will be explained in the next part of the review.
D. Review on Pashtunwali
Pashtunwali or Pushtunwali literally means the way of the Pashtuns. It is
the code of conduct or the code of behavior to which the Pashtuns must adhere.
Pashtunwali itself has been believed since a long time ago. Wapedia in their
online article entitled “Pashtunwali” states “Pashtunwali dates back to ancient
pre-Islamic times but it is still widely in use.” Furthermore, Kakar in Tribal Law of
Embedded in the legal history of Afghanistan are the tribal codes of the Pashtun or Afghan tribes that eventually shaped the modern-day state of Afghanistan. These tribal law codes are called Pashtunwali, and they are widely practiced as a component of customary law, especially in rural Pashtun majority areas (Kakar, 2008: 1).
Pashtunwali is found in all kinds of society without exception. Whether a Pashtun
man is rich or poor and whether he lives in a rural area or in an urban area, he
certainly has to follow Pashtunwali. Amato in Tribes, Pashtunwali and How They
Impact Reconciliation and Reintegration Efforts in Afghanistan (2010: 23) states
that
Pashtunwali is seen as an ideal to be aspired to by all Pashtuns, even those who are not as strict in its application as others. Pashtunwali plays an important role both in the highlands, or areas of low production and in irrigated regions at lower altitudes.
Pashtunwali is something that certainly has to be obeyed because it defines
what it means to be a really Pashtun man. Masculinity is a complex ideal in
Pashtunwali. Pashtun men have to adhere to all codes in Pashtunwali to maintain
their honor and respectively be called masculine. That is why Pashtunwali plays a
significant role in the life of Pashtuns. Kakar (2008: 1) states “once a man
disobeys the codes in Pashtunwali, he is no longer considered a Pashtun, and is
not given the rights, protection, and support of the Pashtun community.” The
significance of Pashtunwali is infused in the very blood of a Pashtun. A man has
to follow Pashtunwali if he wants to be honored and called as a Pashtun.
Salimswati (2005) in “Pashtun and Pashtunwali” states “many say that even if
someone is born an ethnic Afghan, that person is not a Pashtun unless he lives
believed by the other tribes. The fact that Pashtun is the biggest tribe in
Afghanistan makes Pashtunwali become such an ideal among all Afghans.
Therefore, not only Pashtun men, but also Afghan men follow Pashtunwali to
achieve masculinity. Background Brief states that
The most important code is called Pashtunwali, which means the way of the Pashtuns. Although associated with the country’s largest ethcnic group, it represents a general ideological framework underpinning social behavior among all Afghans (2007: 5).
There are 10 main codes in Pashtunwali as described by the UK Defense
Forum (2006: 1) in their “RS 48 Pushtunwali – Afghanistan’s Cultural
Background.”
The Pushtunwali is based on 10 main principles: Melmastia (hospitality and protection to every guest); Nanawati (the right of a fugitive to seek refuge, and acceptance of his offer of peace when earnestly meant); Badal (the right of blood feuds or revenge); Turah (bravery); Sabat (steadfastness); Imandari (righteousness); ‘Isteqamat (persistence); Nang (honor); Ghayrat (dignity); and Namus (defence of women).
Those codes encourage Pashtun men to behave as required by Pashtunwali
towards everything and to everybody. Pashtun men rely on the codes in
Pashtunwali to maintain their honor as Afghan men because they really believe
that without honor, their lives are not worth living. Therefore, it can be concluded
that Pashtunwali is the Pashtuns’ code of conduct, honor, and manliness. The
writer will try to reveal the concept of masculinity depicted in the character and
the setting by relating those elements to Pashtunwali. In this study, the writer will
not use all the ten codes in Pashtunwali. Instead, the writer will only talk about
nang, melmastya, turah, namus, and ghayrat because those five codes are ones
1. Nang (honor)
Nang, as described by Globalsecurity.com in “Pashtunwali/Pashtunwaali”,
is “the foremost in this code. Without honor, life for a Pashtun is not worth
living.” Further, as stated by Worldingo.com in “Pashtunwali”, “nang has great
importance in Pushtun society and most other edicts and codes of life are aimed
towards the preservation of one’s honor.” Nang is significant in Pashtunwali since
it is used to determine if a man is masculine or not. Pashtun.org in ‘About
Pashtuns’ states “Manliness is defined by one’s ability to protect his honor.” The
quotation implies that Pashtun men are required to prove their ability to maintain
their honor. Once they succeed, they will be called masculine. Maintaining honor
can be done by carrying out the other codes that follow.
2. Melmastya (hospitality)
Another code in Pashtunwali is melmastya which literally means
hospitality. Global Security states “The commensalism of melmastya is a means
of showing respect, friendship, and alliance to every guest. It is a complex
etiquette surrounds the serving of the guests.”
Further, Background Brief (2007: 5) states that
Afghans place great emphasis on the provision of hospitality and generosity. A refusal to provide or accept hospitality is likely to cause serious offence, and in any social situation it is important not to refuse food, tea, or gifts offered by Afghan hosts.
Pashtuns strongly believe that making their guests happy means making God
happy. There is a Pashtun proverb decribing what they believe as described by
3. Turah (bravery)
Turah in Pashtunwali means bravery. There are some different names such
as tura and tureh. Nevertheless, the meanings are the same. Globalsecurity.com
states “Tura requires Pashtuns to answer a plea for help even if it involves risking
their own life.” Pashtuns have the obligation to stand for what is right and against
their enemies. Socyberty.com (2010) states “A Pashtun should bravely stand
against tyranny. And he should always defend the honour of his name.”
4. Namus (defence of women)
Socyberty.com (2010) states “A Pashtun will defend the honor of Pashtun
women with all his might, from any harm…vocal or physical.” Maintaining
namus is an obligation for all Pashtuns as Background Brief (2007: 6) states that
“The need to protect the virtue of females is a duty of all, since the deleterious
implications of any transgression impact on all members of a family.” The notion
namus is closely related to honor. Therefore, by protecting females from any
harm, Pashtun men at the same time maintain their honor.
5. Ghayrat (dignity)
The last code described in this part is ghayrat. Ghayrat literally means
dignity. Socyberty.com (2010) states that Pashtuns painstakingly maintain their
dignity. Dignity is to be preserved. Furthermore, Wapedia.com in their article
entitled ‘Pashtunwali’ states “Pashtuns must maintain their human dignity.
Respect begins at home, among family members and relatives.” Ghayrat (dignity)
will be proud of, while ghayrat is the condition which is required to succeed in
maintaining nang.
Based on the theories, the writer concludes that nang (honor) is the most
important code in Pashtunwali since Pashtuns clearly believe that their lives will
be worthless without it. It is concluded that nang stands as both the base and the
goal for Pashtuns. It stands as the base for they perform the other codes in
Pashtunwali because they have such an honor in themselves. It stands as the goal
for they act the other codes out in order to succeed maintaining their honor.
E. Theoretical Framework
In analyzing this study, firstly, the character of Baba is studied by using
the theory of character. As soon as it is done, the first problem formulated is
answered. Secondly, by using the theory of setting, the writer will see how the
setting, particularly the setting of circumstances, in The Kite Runner is described.
Finally, the theories of masculinity and Pashtunwali are combined to analyze how
the concept of masculinity is revealed in the character of Baba and the setting of
circumstance. It is started by the understanding of the concept of masculinity in
general. Then, it is continued by paying a closer attention to the concept of
masculinity described in the codes of Pashtunwali since Baba is a Pashtun man
CHAPTER III METHODOLOGY
A. Object of the Study
The object of this study is a novel entitled The Kite Runner by Khaled
Hosseini. Khaled Hosseini was born in Kabul, Afghanistan and moved to the
United States in 1980. The Kite Runner is his first novel and it is the first Afghan
novel written in English as well. It was first published in 2003. It consists of 340
pages and 25 chapters. The version used in this study was published by
Bloomsbury Publishing, London. The Kite Runner is an international bestseller
and published in thirty-four countries. It has made into a box-office movie
directed by Marc Foster in 2008.
The novel tells the story of Amir, a Pashtun boy who lives with his father,
Baba who has a high standard of the so called masculinity. Amir always idolizes
Baba for his manliness and respectively Baba always teaches Amir to be manly,
brave, courageous, and tough. By reading The Kite Runner, people can see that the
concept of masculinity in Afghanistan is more complex than the general concept
of masculinity since it involves Pashtunwali, the code of conduct and behavior for
Pashtun men.
B. Approach of the Study
In this study, the writer chooses to use socio cultural-historical approach as
cultural-historical approach sees a literary work as a representation of the matters that it
represents. It includes the historical aspect and/or the times when the characters
live. Guerin in A Handbook of Critical Approaches to Literature (2005: 22) states
that this approach sees a literary work chiefly, if not exclusively, as a reflection of
its author’s life and times or the life and times of the characters in the work.
Since this study aims at explaining the concept of masculinity seen in the
character and the setting, socio cultural-historical approach is the proper approach.
By looking at the concept of Pashtunwali in Afghanistan, the concept of
masculinity revealed in the character and the setting can be traced.
C. Method of the Study
This undergraduate thesis used library research as the method of the study.
There are two kinds of sources that were used in this study. They were primary
and secondary sources. The primary source was a novel entitled The Kite Runner
by Khaled Hosseini. The secondary sources were some studies on the novel from
undergraduate theses, books, online articles, and dissertations about theories to
support the analysis.
The writer applied some research procedures which were divided into
some steps to conduct the analysis. The first step was reading the novel in detail
and some studies on the novel to discover a new and original topic to be discussed
in this study.
The second step was analyzing the problem formulations stated in the first
theory of character and characterization was used. By using the theory of
character by Murphy, the writer tried to find Baba’s characteristics through his
personal description, speech, past life, reaction, character as seen by other
characters, conversation with others, thought, and mannerism. The second
problem formulation is about the setting of circumsyance in The Kite Runner. The
writer tried to reveal the setting, particularly the setting of circumstance and its
significance in the novel based on the theories of setting. The last problem
formulation was answered by analyzing the concept of masculinity based on
Pashtunwali. Firstly, the writer tried to define the concept of masculinity believed
in Afghanistan. In doing so, the writer explained that Pashtun men’s concept of
masculinity is so much influenced by Pashtunwali by combining theories of
masculinity and Pashtunwali. Then, the concept of masculinity influenced by
Pashtunwali was combined with the events happened in the novel to reveal how
the character of Baba and the setting can reveal the concept of masculinity based
on Pashtunwali.
The final step of this study is drawing a conclusion. It was done by
summarizing the answers of each problem formulation and highlighting the
important points of the result.
CHAPTER IV ANALYSIS
This study concerns on the character and the setting in the novel that
reveal the concept of masculinity based on Pashtunwali. The discussion will be
divided into three parts based on the problems formulated in chapter I. Firstly, this
study will analyze the minor character’s characteristics. Secondly, this study will
identify the setting of circumstance in the novel. Lastly, it will discuss the concept
of masculinity based on Pashtunwali revealed in the character of Baba and the
setting of circumstance. In the first part of the analysis, the writer will apply the
theory of character and characterization by Murphy to grasp how the minor
character is depicted. In the second problem formulation, the writer will combine
some theories of setting to comprehend how the setting of circumstance is
described.
In the last part of the analysis, the writer will combine some theories of
masculinity, Pashtuns, and Pashtunwali to see how masculinity according to
Pashtunwali believed by the Pashtuns is revealed in the character of Baba and the
setting of circumstance in The Kite Runner. Firstly, the writer will define
masculinity in general compiling Grodan’s theory and Pilcher and Whelehan’s
theory and masculinity according to Pashtunwali in Afghanistan. The writer will
underline the concept of masculinity required and believed by the Pashtuns
according Pashtunwali. Next, the writer will relate Baba’s characteristics to the
Pashtunwali is revealed in the character of Baba. Lastly, the writer will relate the
setting of circumstance in The Kite Runner to the codes in Pashtunwali to prove
that the concept of masculinity based on Pashtunwali is revealed in the setting of
circumstance.
A. The Characteristics of Baba
In Hosseini’s The Kite Runner, Baba is not a major character. The major
character is Amir, Baba’s son. Nonetheless, there is a significant reason on why
the writer chooses the character of Baba to be analyzed. The reason is that Baba is
the only character who acts upon the concept of masculinity based on
Pashtunwali. Baba’s acting upon the concept masculinity based on Pashtunwali is
shown in what he says, what he thinks about, how he treats Amir, and what others
say about him.
Murphy (1972: 161-173) states that there are nine ways to observe a
character. Those nine ways are personal description, character as seen by another,
speech, past life, conversation of other characters, reactions, direct comment,
thoughts, and mannerism. Some methods are applied to understand Baba’s
characteristics. The methods used in this undergraduate thesis are character as
seen by another, speech, conversation of other characters, reactions, thoughts, and
mannerism. Since the narrator of the novel is Amir, Baba’s characteristics will be
observed from Amir’s point of view. His characteristics will respectively reveal
1. Determined
Baba always does his best when he desires something. He never let
himself discouraged just because people look down upon his ability to succeed.
When he has already set his goals, Baba will do whatever it takes to achieve the
goals. Baba will always make the impossible possible. It can be seen when Baba
intends to build an orphanage. Baba, who has no skill in architecture, insists on
making the blueprints himself. He does not take people’s comments on how
foolish he is into account. He keeps on managing the blueprints by himself.
In the late 1960s, when I was five or six, Baba decided to build an orphanage…Baba had drawn the blueprints himself despite the fact that he’d had no architectural experience at all. Skeptics had urged him to stop his foolishness and hire an architect. Of course, Baba refused, and everyone shook their heads in dismay at his obstinate ways. Then Baba succeeded and everyone shook their heads in awe at his triumphant ways (Hosseini, 2004: 13).
Before building the orphanage, Baba spends most of his time by running
his business just as typical businessmen. By successfully running the business,
Baba has proven that people’s underestimation of his not being a businessman is
amiss. People suggest Baba to study law since he is a son to a famous judge.
Baba, with his own way, ignores them and does his best to prove that he has made
a right decision. The evidence of Baba’s being determined can be seen in Baba’s
reaction toward the skeptics.
Baba’s determination leads him being a wealthy and successful man. As
already stated in the previous quotation, Baba becomes a rich person because of
his running his business successfully. Therefore, he can live a very decent life and
build a beautiful house. The evidence of Baba’s wealth can be found in the way
Amir describes it.
Everyone agreed that my father, my Baba, had built the most beautiful house in the Wazir Akbar Khan district, a new and affluent neighborhood in the northern part of Kabul. Some thought it was the prettiest house in all Kabul. A broad entryway flanked by rosebushes led to the sprawling house of marble floors and wide windows. Intricate mosaic tiles, handpicked by Baba in Ishafan, covered the floors of the four bathrooms. Gold-stitched tapestries, which Baba had bought in Calcutta, lined the walls; a crystal chandelier hung from the vaulted ceiling (Hosseini, 2004: 4).
2. Success-Oriented
In The Kite Runner, another character sees Baba as a success-oriented
person. Baba’s being success-oriented can be observed in the conversation
between Baba and Amir. All of a sudden, Baba switches their casual conversation
about how wolves behave in the winter into a kite-fighting tournament that Amir
is going to join in four more days. Baba implicitly asks Amir to win the
tournament. He does not really care if his expectation depresses Amir because
Baba only cares about success. For Baba, success means winning the game like he
always does. He indoctrinates his idea about success to Amir without considering
Amir’s ability.
. . . “I think maybe you’ll win the tournament this year. What do you think?”
won because winners won and everyone else just went home. Baba was used to winning, winning everything he set his mind to (Hosseini, 2004: 52).
Baba always pays a huge respect for success. That is why he becomes
kinder and nicer to Amir after Amir wins the kite-fighting tournament. Baba used
to be cold and not attentive toward Amir’s stories and requests. He often refuses
Amir when Amir wants a father-and-son time. Nonetheless, after Amir becomes
the winner of the tournament, Baba mainly agrees to everything Amir asks. Baba
even initiatively offers Amir to have some fun, which is something he never does
before Amir’s being successful. The evidence appears in Baba’s reaction toward
Amir’s requests.
That night I asked Baba if we could go to Jalalabad on Friday . . .
“Why not!” he said. Lately, Baba agreed to everything I asked. Not only that, just two nights before, he’d asked me if I wanted to see El Cid with Charlton Heston at Cinema Aryana (Hosseini, 2004: 76).
As stated before, Baba always considers success as a tremendous thing. Baba
turns to be a better father after Amir wins the kite-fighting tournament. After
Amir’s winning the tournament, Baba provides more father-and-son time that
Amir longs for. Baba even asks Amir to read some of his stories. It is something
Baba never does before Amir wins the kite-fighting tournament. The evidence
appears in Baba’s mannerism to Amir.
Baba’s high appreciation of Amir’s success also appears when they are on
the way to Jalalabad. Baba is driving his car with Amir and some relatives. During
the trip, Baba cannot stop talking about how Amir wins the kite-fighting
tournament. Baba sounds proud of Amir because Amir has brought success to
him. That Baba cannot stop talking about Amir’s success shows that Baba cares
about success that much. The evidence of Baba’s telling his relatives about Amir’s
success can be found in Baba’s speech.
“I was just telling everyone about the tournament,” Baba said from behind the wheel . . . “There must have been a hundred kites in the sky that day?” Baba said. “Is that about right, Amir?” . . . “A hundred kites, Homayoun jan, No laaf. And the only one still flying at the end of the day was Amir’s. He has the last kite at home, a beautiful blue kite . . .” (Hosseini, 2004: 78).
3. Courageous
Baba is also depicted as a man having a great courage. When he was
young, Baba fought a bear without using any weapons. No one dared to doubt that
story. It shows that people do admit Baba’s courage. The evidence of Baba’s
courage is shown in Baba’s past life.
Lore has it my father once wrestled a black bear in Baluchistan with his bare hands. If the story had been about anyone else, it would have been dismissed as laaf, that Afghan tendency to exaggerate – sadly almost national affliction . . . But no one ever doubted the veracity of any story about Baba. And if they did, well, Baba did have those three parallel scars coursing a jagged path down his back (Hosseini, 2004: 12).
The significant event showing Baba’s being courageous happens when
Baba and Amir are on the way to escape from Kabul to Jalalabad with the other
man named Karim because they pay a big amount of money. On the way, they are
stopped by an Afghan soldier and a Russian Soldier. For their bad luck, the
Russian soldier will only let the truck pass on one condition. The Russian soldier
wants a half hour with one of the female passengers in the back of the truck. Baba,
who fully realizes that the soldier has a gun, stands up to defend the poor
woman’s honor. It can be seen in Baba’s reaction as follows.
That was when Baba stood up. It was my turn to clamp a hand on his thigh, but Baba pried it loose, snatched his leg away. When he stood, he eclipsed the moonlight. “I want you to ask this man something,” Baba said. He said it to Karim, but looked directly at the Russian officer. “Ask him where his shame is.” (Hosseini, 2004: 107).
Karim tells what Baba has said to the Russian soldier and the Russian soldier still
insists on having a half hour with the Afghan lady. Nonetheless, Baba does not
lose any of his courage. The evidence appears in Baba’s speech.
They spoke. “He says this is war. There is no shame in war.”
“Tell him he’s wrong. War doesn’t negate decency. It demands it, even more than in times of peace.” (Hosseini, 2004: 107).
As it has not been enough to endanger his life yet, Baba persists defending the
Afghan lady’s honor even when the Russian soldier has threatened Baba with his
gun. That the Russian soldier will undoubtedly shoot him if he remains
constraining the Russian’s desire does not stop Baba to stand up for the Afghan
lady. Baba’s being courageous can be seen in Baba’s conversation with Karim, as
the translator for the Russian soldier.
The Russian soldier said something to Karim, a smile creasing his lips. “Agha sahib,” Karim said, “these Roussi are not like us. They know nothing about respect, honor.”
“He says he’ll enjoy putting a bullet in you almost as much as . . .” Karim trailed off, but nodded his head toward the young woman who had caught the guard’s eye . . .
“Tell him I’ll take a thousand of his bullets before I let this indecency take place,” Baba said (Hosseini, 2004: 107).
Amir, seeing that situation can be much worse, tries to prevent Baba from being
such a hero. Nevertheless, to his courageous nature, Baba ignores Amir and he
even dares to threaten the Russian soldier with such harsh voice tone and diction.
By doing so, Baba surely realizes that he might put his life in danger, but it does
not stop him. It underlines his being courageous even in the most dangerous
situation. The evidence lies in Baba’s reaction and speech.
“Baba, sit down please,” I said, tugging at his sleeve. “I think he really means to shoot you.”
Baba slapped my hand away. “Haven’t I taught you anything?” he snapped. He turned to the grinning soldier. “Tell him he’d better kill me good with that first shot. Because if I don’t go down, I’m tearing him to pieces, goddamn his father!” (Hosseini, 2004: 108).
4. Hospitable
Baba always behaves as a man who understands hospitality. When Amir is
going to celebrate his thirteenth birthday in 1976, Baba arranges such a big party
bash with the best food, entertainment, and service for the guests. He caters the
guests only with the best food and he entertains the guests only with the best
music from a famous Afghan singer named Ahmad Zahir. He also arranges his
house to make it comfortable. In Amir’s birthday celebration, Baba puts his best
effort to please the guests. The guests, feeling delightful and content, express their
being content by dancing and chatting. The evidence appears in Amir’s thought of
I guess in most ways, or at least in the ways in which parties are judged, my birthday bash was a huge success. I’d never seen the house so packed. Guests with drinks in hand were chatting in the hallways, smoking on the stairs, leaning against the doorways . . . In the backyard, they mingled under the glow of blue, red, and green lights winking in the trees, their faces illuminated by the light of kerosene torches propped everywhere. Baba had had a stage built on the balcony that overlooked the garden and planted speakers throughout the yard. Ahmad Zahir was playing an accordion and singing on the stage over masses of dancing bodies (Hosseini, 2004: 88).
Amir seems not to enjoy the crowd as much as Baba. Nevertheless, Baba
tells Amir to be polite and friendly to all the guests, even to those whom Amir has
not known before. Baba teaches Amir to be a hospitable person like him. Having
such a son who does not master hospitability is something Baba cannot cope with
since he is a hospitable man himself. Baba teaches Amir how to interact with the
guests and thank them for their presents according to their Afghan culture to show
hospitality. The evidence is seen in Amir’s thought below.
I had to greet each of guests personally – Baba made sure of that; no one was going to gossip the next day about how he’d raised a son with no manners. I kissed hundreds of cheeks, hugged total strangers, thanked them for their gifts. My face ached from the strain of my plastered smile (Hosseini, 2004: 88).
When it comes for Amir to greet Assef, his enemy, Amir cannot hide his
reluctance since he cannot forget how bad Assef’s behavior to him when Baba is
not present. Therefore, it is Baba who initiates a conversation with Assef. Amir
does not even make a move to accept Assef’s gift and thank him for the gift. Baba
has to remind him to do what he is supposed to do. That Amir does not indicate
any signal of hospitality to Assef is embarrassing for Baba. His embarrassment
hospitality principle very much. Baba’s disappointment at Amir’s not being
hospitable is seen in Baba’s reaction and speech.
“Aren’t you going to take it, Amir?” Baba was saying. “Huh?”
“Your present,” he said testily. “Assef jan is giving you a present.” “Oh,” I said. I took the box from Assef and lowered my gaze . . . “Well?” Baba said.
“What?”
Baba spoke in a low voice, the one he took on whenever I embarrassed him in public. “Aren’t you going to thank Assef jan? That was very considerate of him.” (Hosseini, 2004: 90).
5. Generous
In The Kite Runner, Baba is depicted as a wealthy man. As stated
previously, he is one of the richest merchants in Kabul and owns a
carpet-exporting business, two pharmacies, and a restaurant (Hosseini, 2004: 15). He
also has the most beautiful house in a new neighborhood in the northern part of
Kabul (Hosseini, 2004: 4). Baba does not spend his money only for arranging
extravagant parties such as birthday party for Amir. In fact, he also spends his
money for helping the unfortunates. Baba even manages to build an orphanage.
As stated in the previous part, Baba insists on drawing the blueprints himself. He
gives his best time and effort for the orphanage. His generosity has not been ended
yet at that point. He pays everything related to the orphanage construction with his
own money without asking any donators to help him. His act of building and
funding the orphanage reveals his generosity. The evidence of Baba’s being
generous can be seen through conversation of Amir and Rahim Khan, Baba’s best
Baba paid for the construction of the two-story orphanage, just off the main strip of Jadeh Maywand south of the Kabul River, with his own money. Rahim Khan told me Baba had personally funded the entire project, paying for the engineers, electricians, plumbers, and laborers, not to mention the city official whose “mustaches needed oiling.” (Hosseini, 2004: 13).
Baba also often spends his money for helping his neighbors who face
financial problems. He lends his money for Salahuddin, a butcher and
Del-Muhammad, a kabob restaurant owner when they need some money for their
business. Baba never expects anything from his being generous. He does not even
ask Salahuddin and Del-Muhammad to repay their loan. Del-Muhammad, or
known as Dello, has to insist to stay in Baba’s driveway just to make Baba take
his money to repay his loan. Salahuddin has to find his own way to repay his loan.
He finally decides to provide foods and service for Amir’s birthday party. Here,
Baba shows his role as a generous and helpful figure in his society. His being
generous can be seen in conversation of other characters, Amir and Rahim Khan,
below.
B. The Setting of Circumstance in Khaled Hosseini’s The Kite Runner
The second part of the analysis will be the analysis about the setting in
Khaled Hosseini’s The Kite Runner. Here, the writer will combine some theories
of setting to finally get the most suitable one that suits what the writer needs.
Setting is the general locale, historical time, and social circumstances (Abrams,
1993: 192). In this part of the analysis, the writer will focus on the social
circumstances.
The social circumstances can be defined as the society which is mostly
taken in the novel and shows a social condition of people who live there (Harvey,
1965: 56). Further, the whole environment itself includes the customs, traditions,
habits, and characters’ view of life (Hudson, 1960: 158). In addition, the writer
also uses one of four elements that form setting in a story by Holman which is
“The general environment of the characters, for example, religion, mental, moral,
social and emotional condition of the characters” (1986: 465). Here, the setting in
The Kite Runner will be analyzed from the customs, traditions, habits, religion,
and moral conditions of the characters. Therefore, in this part, the writer will not
focus on the setting of time and place. The fact that the story takes place both in
Afghanistan and America does not matter because the writer will observe the
circumstance which has already been described in the previous lines. Merrill,
Paxson, and Tobey in An Introduction to Afghanistan Culture state “Afghan
culture is rich in social customs. Afghans tend to be very social and ties among
families and friends are very strong” (2006: 10). The Afghan culture as described