Revenge

August 16, 2010
In Nasrin’s meager novel, Jhumur finds that her world has narrowed considerably following her “love” marriage to Haroon. Despite her education and determination, she is reduced to fulfilling her domestic duties as a daughter-in-law, staying home, and keeping veiled at all times, and she soon spirals into depression. Though Haroon is described as having once been considerate, respectful, and even romantic, the interwoven reveries of their courtship feel strained when juxtaposed with the controlling and jealous man he’s become. Although the contrast is clearly intended to embody what Nasrin deems the inevitabilities of Islamic society, the effect is less critical than banal. The characters remain two-dimensional throughout, and the patterns of oppression into which they’re locked feel trite rather than nuanced or real. However, given the author’s exile from her native Bangladesh and the multiple fatwas against her, the themes of her work do resonate. Nasrin’s is an important voice and her experiences, both with her art and as a fierce human rights advocate, demand international attention.