The metaphor of ‘lines’ is creatively traced both through text and visual image. The vivid images in the poem are given context and feeling through Kripa’s striking illustrations where washing lines are blown by the wind, a file of refugees walk through the cotton fields to find safety, and closed doors and gates represent the insensitivity and indifference of officialdom.
It is very difficult to even summarize the stories here because the twist at the end of each tale would not permit me to do so. Nevertheless, some of the titles and their backdrop and characters can be briefly mentioned here just to give the readers an idea about what to expect.
What makes this collection even more special is how the stories are framed. Each one begins with an introduction to an object deeply connected to Kashmiri life—a garment like the pheran, a jewelry piece like the saraf, or a flower or musical instrument.
The varied terrain of the Himalayan region hosts its own species and life forms, and each has a story to tell. The first section of the book has stories devoted to Birds and Animals, Flowers and Trees. The stories that follow in the second section lead into the mysterious world of ghosts, goblins and cunning tricksters. Such elusive figures have always dwelled in the mountain paths and caves, and continue to do so.
Maha Khan Phillips presents through Gul’s lived experience a glimpse into the elite of Karachi and contemporary life inside a conservative Islamic nation that shows its citizens enjoying trendy styles and modern music. Gul is estranged from her family for having rejected the life they expected her to lead.
A friendship between human and other living beings, other animals, the warmth and care shared between them, and love, has many, many forms to manifest itself, many experiences and in many ways. It is intriguing that the author chose the idea of building the house for a dog, considering the context and life of the family being portrayed in the book. The observation remains noticed but unanswered.