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The migration themes in the 19th century short story 'Kabuliwala' resonate today

Lauren Frayer

Generations of Indian schoolkids have read Kabuliwala — the tale of an Afghan migrant in India. The story remains timely today with mistreatment of migrants, especially Muslims, on the rise.

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Exploring the Depths of Kabuliwala: A Literary Analysis by Rabindranath Tagore

• Rabindranath Tagore

“Exploring the Depths of Kabuliwala: A Literary Analysis by Rabindranath Tagore” is an article that delves into the themes, symbols, and characters of the famous short story by Tagore. This analysis aims to provide a deeper understanding of the story’s message and significance in Indian literature. Through exploring the complexities of the relationship between the protagonist, Mini, and the Kabuliwala, the article sheds light on the themes of empathy, friendship, and cultural differences.

Background of Kabuliwala

Kabuliwala is a short story written by Rabindranath Tagore, a renowned Bengali writer, in 1892. The story is set in Kolkata, India, during the late 19th century, when the city was a bustling hub of trade and commerce. The protagonist of the story is a Pashtun merchant from Afghanistan, known as Kabuliwala, who travels to Kolkata to sell dry fruits and other goods. The story revolves around the relationship between Kabuliwala and a young girl named Mini, whom he befriends and develops a close bond with. The story explores themes of friendship, love, loss, and the complexities of human relationships. Kabuliwala is considered one of Tagore’s most popular and enduring works, and has been adapted into several films and stage productions over the years.

Characters in Kabuliwala

The characters in Rabindranath Tagore’s “Kabuliwala” are complex and multi-dimensional. The protagonist, Abdur Rahman, is a Pashtun merchant who travels from Afghanistan to Calcutta to sell dry fruits and spices. He befriends a young girl named Mini, who reminds him of his own daughter back home. Mini’s father, however, is suspicious of Abdur Rahman’s intentions and forbids him from seeing his daughter. This leads to a tragic misunderstanding that ultimately results in Abdur Rahman’s imprisonment. The story is a poignant exploration of the complexities of human relationships and the power of empathy to bridge cultural divides.

Themes in Kabuliwala

One of the prominent themes in Kabuliwala is the idea of friendship and human connection. The story revolves around the relationship between a young girl named Mini and a Kabuliwala, a fruit-seller from Afghanistan. Despite their differences in age, culture, and social status, the two form a bond that transcends these barriers. Through their interactions, Tagore highlights the importance of empathy and understanding in fostering meaningful relationships. Another theme that emerges in the story is the concept of nostalgia and longing for one’s homeland. The Kabuliwala’s yearning for his family and country is a poignant reminder of the human desire for a sense of belonging and identity. Overall, Kabuliwala is a powerful exploration of the complexities of human relationships and the universal themes of love, loss, and longing.

Symbolism in Kabuliwala

Symbolism plays a significant role in Rabindranath Tagore’s “Kabuliwala.” The story is filled with various symbols that add depth and meaning to the narrative. One of the most prominent symbols in the story is the Kabuliwala’s appearance. He is described as having a long beard and wearing a turban, which represents his Afghan identity. This symbolizes the cultural differences between the Kabuliwala and the Bengali people, highlighting the theme of cultural diversity and the challenges of understanding and accepting different cultures.

Another symbol in the story is the Kabuliwala’s gift of dried fruits to Mini. The dried fruits represent the Kabuliwala’s love and affection for Mini, as well as his desire to maintain a connection with his own daughter, who is far away in Afghanistan. The gift also symbolizes the bond that develops between the Kabuliwala and Mini, despite their age and cultural differences.

The prison is another significant symbol in the story. The Kabuliwala is imprisoned for a crime he committed in Afghanistan, and his time in prison represents the loss of his freedom and the separation from his family. The prison symbolizes the consequences of one’s actions and the impact they can have on one’s life and relationships.

Overall, the use of symbolism in “Kabuliwala” adds depth and complexity to the story, highlighting the themes of cultural diversity, love, and the consequences of one’s actions.

Setting of Kabuliwala

The setting of Kabuliwala is a crucial aspect of the story, as it provides the backdrop for the interactions between the protagonist, Mini, and the titular character, a fruit-seller from Afghanistan. The story is set in Calcutta, India, during the late 19th century, a time when the city was undergoing significant changes due to British colonialism and the influx of immigrants from various parts of the world. The streets of Calcutta are described vividly by Tagore, with their bustling crowds, narrow alleys, and colorful bazaars. The Kabuliwala’s presence in this setting is particularly striking, as he stands out with his long beard, turban, and traditional attire. The contrast between his appearance and that of the other characters in the story highlights the cultural differences between the Afghan and Indian communities. The setting also plays a role in shaping the themes of the story, such as the importance of human connection and the impact of time and change on relationships. Overall, the setting of Kabuliwala is an integral part of the story, providing a rich and complex backdrop for the characters and their interactions.

Narrative Style in Kabuliwala

The narrative style in Kabuliwala is a unique blend of realism and imagination. Tagore’s use of vivid descriptions and sensory details transports the reader to the bustling streets of Calcutta, where the story takes place. The use of dialogue also adds to the realism of the story, as it captures the nuances of everyday conversations between the characters. However, Tagore also employs elements of magical realism, such as the Kabuliwala’s ability to communicate with Mini through his dry fruits, which adds a touch of whimsy to the story. Overall, the narrative style in Kabuliwala is a testament to Tagore’s skill as a writer, as he seamlessly weaves together different literary techniques to create a captivating and thought-provoking story.

Comparison with Other Works by Tagore

In comparison to other works by Tagore, Kabuliwala stands out as a unique piece of literature. While many of Tagore’s works focus on the themes of love, loss, and the complexities of human relationships, Kabuliwala delves into the themes of cultural differences and the bonds that can form between individuals from vastly different backgrounds. Additionally, Kabuliwala is one of Tagore’s few works that features a non-Indian protagonist, which adds an extra layer of complexity to the story. Overall, Kabuliwala showcases Tagore’s ability to explore a wide range of themes and create complex, nuanced characters that resonate with readers.

Impact of Kabuliwala on Indian Literature

Kabuliwala, a short story written by Rabindranath Tagore, has had a significant impact on Indian literature. The story, first published in 1892, explores the relationship between a young girl named Mini and a Kabuliwala, a fruit seller from Afghanistan. The story is a poignant portrayal of the human condition and the bonds that can form between people from vastly different backgrounds.

Kabuliwala has been widely regarded as a masterpiece of Indian literature and has been translated into numerous languages. The story has been adapted into films, plays, and even an opera. The themes of the story, such as the importance of human connection and the impact of societal norms on individual lives, continue to resonate with readers today.

Tagore’s use of language and imagery in Kabuliwala has also been praised by literary critics. The story is written in Tagore’s signature style, which is characterized by its simplicity and lyricism. The descriptions of the bustling streets of Kolkata and the rugged landscape of Afghanistan transport readers to these places and evoke a sense of nostalgia and longing.

Overall, Kabuliwala has left an indelible mark on Indian literature. Its themes and imagery continue to inspire writers and readers alike, and its message of compassion and understanding remains as relevant today as it was over a century ago.

Analysis of the Conflict in Kabuliwala

The conflict in Rabindranath Tagore’s “Kabuliwala” is multi-layered and complex. At its core, it is a clash between two vastly different cultures – that of the Afghan Kabuliwala and the Bengali narrator. The Kabuliwala, a fruit-seller from Afghanistan, is a stranger in a strange land, struggling to make a living in a city that is not his own. The narrator, on the other hand, is a Bengali man who has grown up in Kolkata and is familiar with its customs and traditions.

The conflict between the two arises from their differing perspectives on life and society. The Kabuliwala is a devout Muslim who believes in the importance of family and community. He is deeply attached to his daughter, who is back in Afghanistan, and longs to see her again. The narrator, on the other hand, is a secular man who values individualism and personal freedom. He is initially suspicious of the Kabuliwala, seeing him as a potential threat to his family’s safety.

As the story progresses, however, the two men begin to develop a bond. The Kabuliwala becomes a regular visitor to the narrator’s home, and the two share stories and experiences. The narrator begins to see the Kabuliwala as a human being, rather than a foreigner to be feared.

The conflict in “Kabuliwala” is not just between two individuals, but also between two cultures. Tagore uses the story to explore the tensions that arise when different cultures come into contact with each other. The Kabuliwala’s struggle to adapt to life in Kolkata is a metaphor for the challenges faced by immigrants in any society. The story also highlights the importance of empathy and understanding in bridging cultural divides.

Overall, the conflict in “Kabuliwala” is a nuanced and thought-provoking exploration of the complexities of human relationships and cultural differences. Tagore’s masterful storytelling and vivid characterization make this a timeless classic that continues to resonate with readers today.

Exploration of the Father-Daughter Relationship in Kabuliwala

The father-daughter relationship is a prominent theme in Rabindranath Tagore’s short story, Kabuliwala. The story revolves around the bond between a father and his daughter, Mini, and the impact of a stranger, a Kabuliwala, on their relationship. The Kabuliwala, a fruit-seller from Afghanistan, befriends Mini and becomes a father figure to her. However, their relationship is cut short when the Kabuliwala is imprisoned for a crime he did not commit. The story explores the complexities of the father-daughter relationship and the role of outsiders in shaping it. Through the characters of Mini and the Kabuliwala, Tagore highlights the importance of empathy and understanding in building meaningful relationships. The story also raises questions about the nature of fatherhood and the sacrifices that fathers make for their children. Overall, the exploration of the father-daughter relationship in Kabuliwala is a poignant reminder of the power of love and the bonds that connect us all.

Significance of the Title Kabuliwala

The title of Rabindranath Tagore’s short story, Kabuliwala, holds great significance in understanding the themes and motifs explored in the narrative. The term “Kabuliwala” refers to a person from Kabul, Afghanistan, who travels to India to sell dry fruits and other goods. However, in Tagore’s story, the title character, Rahamat, is much more than just a Kabuliwala. He represents the complexities of human relationships, the impact of time and distance on these relationships, and the universal themes of love and loss. The title, therefore, serves as a metaphor for the larger themes of the story and highlights the cultural and social differences that exist between the two countries. Through the character of Rahamat, Tagore explores the idea of identity and how it is shaped by one’s experiences and surroundings. The title, therefore, plays a crucial role in setting the tone and context of the story and provides a deeper understanding of the themes explored in the narrative.

Interpretation of the Ending of Kabuliwala

The ending of Kabuliwala by Rabindranath Tagore is a poignant and thought-provoking one. The story, which revolves around the relationship between a young girl named Mini and a Kabuliwala, or a fruit-seller from Afghanistan, comes to a close with a twist that leaves readers with much to ponder.

As the Kabuliwala is about to leave Mini’s home, he is arrested for a crime he did not commit. Mini’s father, who had previously been wary of the Kabuliwala, comes to his defense and helps him secure his release. However, when the Kabuliwala returns to Mini’s home, he finds that she has grown up and no longer recognizes him.

The ending of Kabuliwala can be interpreted in a number of ways. Some readers may see it as a commentary on the fleeting nature of human relationships and the inevitability of change. Others may view it as a reflection on the power of memory and the importance of holding onto the past.

Regardless of how one chooses to interpret the ending of Kabuliwala, it is clear that Tagore has crafted a story that is both emotionally resonant and intellectually stimulating. Through his exploration of themes such as identity, family, and cultural difference, Tagore invites readers to engage with complex issues in a way that is both accessible and deeply moving.

Exploration of the Cultural Context in Kabuliwala

Kabuliwala, a short story by Rabindranath Tagore, is a poignant tale of the bond between a young girl and an Afghan fruit-seller. The story is set in Calcutta during the early 20th century, a time when India was under British colonial rule. The cultural context of the story is crucial to understanding the themes and motifs that Tagore explores in his work.

One of the most significant cultural aspects of Kabuliwala is the relationship between the Indian and Afghan communities. The protagonist, Mini, is a young Bengali girl who befriends the Kabuliwala, a Pashtun man from Afghanistan. The story explores the cultural differences between the two communities, highlighting the prejudices and stereotypes that exist on both sides. The Kabuliwala is initially viewed with suspicion and fear by the Indian community, who see him as a foreigner and a potential threat. However, as the story progresses, Mini and the Kabuliwala develop a deep bond that transcends cultural barriers.

Another important cultural context in Kabuliwala is the role of women in Indian society. Mini’s mother is a traditional Bengali woman who is confined to the domestic sphere. She is initially wary of the Kabuliwala’s presence in their home, but eventually comes to accept him as a friend of her daughter. The story also touches on the theme of child marriage, which was prevalent in Indian society at the time. Mini’s father is eager to arrange a marriage for her, despite her young age and protests.

Overall, the cultural context of Kabuliwala is essential to understanding the themes and messages that Tagore conveys in his work. The story explores the complexities of cultural identity, prejudice, and gender roles in Indian society during the colonial era. Through the relationship between Mini and the Kabuliwala, Tagore highlights the power of human connection to transcend cultural barriers and bridge divides.

Analysis of the Language and Literary Devices in Kabuliwala

In Kabuliwala, Rabindranath Tagore masterfully employs various literary devices to convey the story’s themes and emotions. The language used in the story is simple yet evocative, allowing the reader to easily connect with the characters and their experiences. The use of imagery is particularly striking, with vivid descriptions of the bustling streets of Kolkata and the rugged terrain of Afghanistan. The contrast between these two settings highlights the cultural differences between the protagonist and the Kabuliwala, and underscores the theme of human connection despite these differences. Additionally, Tagore employs symbolism to great effect, with the Kabuliwala’s shawl serving as a powerful metaphor for the bond between father and daughter. Overall, the language and literary devices used in Kabuliwala contribute to a rich and nuanced exploration of themes such as love, loss, and the human experience.

Exploration of the Themes of Love and Loss in Kabuliwala

In Kabuliwala, Rabindranath Tagore explores the themes of love and loss through the relationship between the protagonist, Mini, and the Kabuliwala, a fruit-seller from Afghanistan. The story is set in Calcutta, where the Kabuliwala comes to sell his wares and befriends Mini, a young girl who reminds him of his own daughter back home. As the two develop a bond, the Kabuliwala becomes a regular visitor to Mini’s home, bringing her gifts and sharing stories of his homeland.

However, their relationship is cut short when the Kabuliwala is arrested for a crime he did not commit and sent to prison. Mini grows up and forgets about the Kabuliwala, until she is reminded of him years later when she sees a group of prisoners being led to the jail. The story ends with Mini realizing the depth of the Kabuliwala’s love for her and the loss she feels at not being able to see him again.

Through the story of the Kabuliwala, Tagore explores the universal themes of love and loss. The Kabuliwala’s love for Mini is pure and selfless, and he is willing to sacrifice his own freedom for her. Mini, on the other hand, experiences the loss of a friend and mentor when the Kabuliwala is taken away. The story also touches on the theme of cultural differences, as the Kabuliwala’s foreignness and unfamiliarity with Indian customs is a source of both curiosity and suspicion for the other characters in the story.

Overall, Kabuliwala is a poignant and moving exploration of the human experience of love and loss, and the ways in which these emotions can transcend cultural and linguistic barriers.

Comparison with Other Works of World Literature

When it comes to world literature, Kabuliwala by Rabindranath Tagore stands out as a unique and powerful work. While there are certainly other stories that explore themes of friendship, loss, and cultural differences, few do so with the same level of nuance and emotional depth as Kabuliwala.

One work that comes to mind as a potential comparison is John Steinbeck’s Of Mice and Men. Like Kabuliwala, this novel explores the relationship between two very different men who form a bond despite their differences. However, while Of Mice and Men is certainly a moving and well-written work, it lacks the same level of cultural specificity and attention to detail that makes Kabuliwala so compelling.

Another work that could be compared to Kabuliwala is Khaled Hosseini’s The Kite Runner. Both stories take place in Afghanistan and deal with themes of family, friendship, and loss. However, while The Kite Runner is a powerful and important work in its own right, it lacks the same level of subtlety and emotional nuance that makes Kabuliwala such a standout piece of literature.

Ultimately, while there are certainly other works of world literature that explore similar themes to Kabuliwala, few do so with the same level of emotional depth and cultural specificity. Tagore’s story is a true masterpiece, and one that deserves to be read and appreciated by readers around the world.

The Role of Religion in Kabuliwala

Religion plays a significant role in Rabindranath Tagore’s short story, Kabuliwala. The story is set in Calcutta, where the protagonist, a young girl named Mini, befriends a Kabuliwala, a fruit-seller from Afghanistan. The Kabuliwala is a devout Muslim, and his faith is an essential aspect of his character. He prays five times a day, observes Ramadan, and makes a pilgrimage to Mecca.

The Kabuliwala’s religious beliefs and practices are contrasted with those of the other characters in the story, who are mostly Hindu. Mini’s father, for instance, is a rationalist who dismisses the Kabuliwala’s stories of his homeland and his family. He is also suspicious of the Kabuliwala’s intentions towards his daughter. In contrast, Mini is fascinated by the Kabuliwala’s stories and is drawn to his kind and gentle nature.

The story also explores the theme of human connection across religious and cultural boundaries. Despite their different backgrounds and beliefs, Mini and the Kabuliwala form a bond based on their shared humanity. The Kabuliwala sees Mini as a surrogate for his own daughter, who he has left behind in Afghanistan. Mini, in turn, sees the Kabuliwala as a friend and confidant.

Overall, religion serves as a lens through which the characters in Kabuliwala view the world and each other. It highlights the differences and similarities between them and underscores the importance of empathy and understanding in bridging cultural divides.

Analysis of the Motifs in Kabuliwala

One of the most prominent motifs in Kabuliwala is the theme of fatherhood. The protagonist, Rahmat, is a father who is separated from his own daughter due to his work as a Kabuliwala, or a seller of goods from Kabul. This separation is mirrored in the relationship between Rahmat and Mini, a young girl who reminds him of his own daughter. Through their interactions, Tagore explores the complexities of fatherhood and the sacrifices that come with it. Another important motif is the theme of cultural differences and the clash between tradition and modernity. Rahmat represents the traditional ways of life in Afghanistan, while Mini and her family represent the modern, urban lifestyle of India. This clash is highlighted in the scene where Rahmat is arrested for attempting to kidnap Mini, as it shows the misunderstandings and prejudices that can arise from cultural differences. Overall, the motifs in Kabuliwala add depth and complexity to the story, allowing readers to explore themes of family, tradition, and cultural identity.

Rabindranath Tagore

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Welcome to the LitCharts study guide on Rabindranath Tagore's Kabuliwala . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Kabuliwala: Introduction

Kabuliwala: plot summary, kabuliwala: detailed summary & analysis, kabuliwala: themes, kabuliwala: quotes, kabuliwala: characters, kabuliwala: terms, kabuliwala: symbols, kabuliwala: theme wheel, brief biography of rabindranath tagore.

Historical Context of Kabuliwala

Other books related to kabuliwala.

• Full Title: Kabuliwala
• When Written: 1892
• When Published: 1892
• Literary Period: Bengal Renaissance
• Genre: Contextual Modernism, Short Story
• Setting: Calcutta (present day Kolkata), India
• Climax: Rahamat, recently released from jail, returns to the narrator’s house and asks to see Mini.
• Antagonist: Time and growing up
• Point of View: First Person

Extra Credit for Kabuliwala

Nobel Prize. When Tagore received the Nobel Prize for Literature in 1913, he became the first non-European author to receive it. He used the money from the prize to establish Visva-Bharati University in 1921.

National Anthems. Not only was Tagore the author of India’s national anthem, Jana Gana Mana , but he inspired and co-wrote the national anthems for Sri Lanka and Bangladesh, as well.

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Story Analysis

Character Analysis

Symbols & Motifs

Literary Devices

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Essay Topics

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Summary and Study Guide

Summary: “the cabuliwallah”.

"The Cabuliwallah" is a short story by Rabindranath Tagore that utilizes realism to explore the themes of The Transcendental Quality of Human Connection , A Father’s Love , and The Passage of Time . The plot centralizes the unexpected friendship that blossoms between the narrator’s young daughter, Mini , and a Cabuliwallah (meaning a man from Kabul) named Rahmun. The story was first published in 1892 and is narrated from the first-person perspective of a Bengali writer and father, who offers glimpses into the unlikely cross-cultural bond his daughter forms with the Afghani peddler.

Tagore's appreciation for the poets of medieval Bengal and Bengali folk literature reflects in his storytelling, which often features characters from rural Bengal and explores the depths of human emotions. He draws from Indian philosophies and aesthetics to explore universal themes of love, nature, and the human spirit. Moreover, Tagore’s fruitful exchange with modern European literary tradition, especially the English Romantic poets, adds a touch of Romanticism and introspection to his works. These influences are apparent in "The Cabuliwallah," which explores human connection, love, and longing for loved ones.

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This guide refers to the version of the text that is freely available on Project Gutenberg.

The story opens with an introduction to Mini, a spirited five-year-old girl. The unnamed narrator, who is Mini’s father , describes her as a talkative child who “all her life […] hasn’t wasted a minute in silence” (1). Mini's constant chatter vexes her mother, but her father appreciates her inquisitive nature and enjoys engaging in conversations with her.

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Mini sits in her father’s study as he works on his novel. She spots a Cabuliwallah from their window and calls out to him. The Cabuliwallah, named Rahmun, is a tall and bearded man. He wears traditional Afghan clothing, including a turban, and carries a bag and boxes of grapes. Rahmun is a peddler who sells various goods, including dry fruits and shawls, and often visits Calcutta to sell his merchandise.

Mini is initially reluctant to meet Rahmun. She is frightened by Rahmun’s strangeness; she imagines that he has stuffed children in his bag. Rahmun tries to approach her, but she fearfully hides behind her father. After the first encounter, however, Mini lets her guard down and her fear subsides. She soon strikes up a friendship with Rahmun, who offers her small treats of raisins and nuts. As he continues his visits to Mini’s home, she grows fond of him and the two bond over shared jokes.

Meanwhile, the narrator is captivated by Rahmun's tales of the distant land of Afghanistan. Rahmun’s vagrant life contrasts with the narrator’s own rooted existence in Calcutta. While the narrator dreams of traveling the world, he is hesitant to leave his familiar surroundings. On the other hand, Mini's mother is concerned about Rahmun's presence, primarily due to his foreignness. The narrator tries reassuring his wife, but she persists in harboring doubts against Rahmun.

Despite Mini's mother's unease, Rahmun’s visits continue until one day, the narrator witnesses him being led away in handcuffs. Rahmun explains that he got into a scuffle with a customer who refused to pay for a shawl that he had taken. During the quarrel, it is implied that he stabbed the customer. Mini, oblivious to the gravity of the situation, asks if the Cabuliwallah is being taken to his “father-in-law,” a euphemism Rahmun uses for “jail.” Rahmun is imprisoned for a few years.

Mini gradually forgets about Rahmun, makes new friends, and also grows less attached to her own father. The narrator laments that he has lost the close connection he once shared with Mini.

The plot jumps forward several years, and it is revealed that Mini is about to get married. The morning of her wedding is described as “bright and festive, with wedding-pipes playing since early dawn” (12). The narrator reflects on the radiant sunlight and the pain that he feels at the approaching separation from his daughter.

Immersed in his study, the narrator is startled when Rahmun unexpectedly arrives at his house, having just been released from jail. Rahmun's appearance has changed—he no longer carries a bag, has long hair, or the same vigor that he used to possess. However, Mini's father recognizes him by his smile.

The narrator initially tries to dismiss Rahmun by telling him that they are busy with wedding preparations. However, Rahmun expresses a desire to see Mini, believing that she is still the same little girl who would run to him, calling out "O Cabuliwallah! Cabuliwallah!" (7). When the narrator relents, Rahmun offers grapes, nuts, and raisins as a gift for Mini.

Rahmun then shows the narrator a crumpled piece of paper containing the handprint of his own daughter, Parbati, that he carries with him at all times. This show of a father's enduring love and longing for his child touches the narrator deeply, prompting a change of heart. The narrator calls Mini, who arrives dressed as a bride. The carefree little girl has transformed into an inhibited young woman.

When Mini enters the room, Rahmun presents her with a few almonds, raisins, and grapes wrapped in paper, just like he used to years ago. Now, the innocence of childhood has faded. She blushes and looks away, leaving the Cabuliwallah with a heavy heart.

As Mini departs, Rahmun is hit with a realization that his own daughter must have grown up like Mini. The narrator is touched by the deep love that Rahmun feels for his daughter; he sees himself reflected in the man’s defeated figure. He offers Rahmun money to help him return home. Though this means that the narrator can no longer finance a wedding band or electricity for Mini's wedding ceremony, he believes that this act of kindness brings a more gracious light to the occasion.

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The Kabuliwala Short Story by Rabindranath Tagore

Table of Contents

“Kabuliwala” is a poignant short story written by Rabindranath Tagore , one of the most celebrated literary figures of India. First published in 1892, it tells the story of the bond between a young girl named Mini and a Kabuliwala, an Afghan fruit-seller named Abdur Rahman.

The Kabuliwala Short Story by Rabindranath Tagore- Set in Kolkata (formerly Calcutta) during the late 19th century, the story begins with the introduction of the protagonist, a writer who observes the interactions between Mini and the Kabuliwala from his window. 

The Kabuliwala, a tall, bearded man in traditional attire, arrives in Kolkata to sell dry fruits and almonds. He befriends Mini, an innocent and curious five-year-old girl, who is fascinated by his appearance and the items he sells.

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The Kabuliwala Short Story by Rabindranath Tagore- Mini’s mother, however, is skeptical of the Kabuliwala due to his unfamiliarity and appearance. She warns Mini to be cautious and not interact with strangers. Despite her mother’s admonitions, Mini develops a genuine affection for the Kabuliwala, who dotes on her like a father figure. They form an unlikely bond, as Mini reminds him of his own daughter back in Afghanistan.

The Kabuliwala Short Story by Rabindranath Tagore- The Kabuliwala visits Mini frequently, bringing her almonds and sharing Storys of his homeland. Mini is captivated by his tales and views him as an exotic and fascinating figure. She treats him with warmth and trust, and the Kabuliwala reciprocates with kindness and affection. Their interactions become a source of joy and solace for both of them.

The Kabuliwala Short Story by Rabindranath Tagore- However, as time passes, Mini’s family decides to arrange her marriage. Preoccupied with the wedding preparations, Mini becomes distant from the Kabuliwala. Her priorities shift, and she begins to prioritize the demands of her impending marriage. The Kabuliwala feels the growing distance but remains patient and hopeful.

One day, as the Kabuliwala visits Mini’s house, he finds her playing with her doll and wearing new clothes. Mistaking Mini for his own daughter, who has now grown up, he becomes overwhelmed with emotion and happiness. In his excitement, he takes out a knife to cut an apple for her, but his unfamiliar behavior alarms the family. They accuse him of attempting to harm Mini and call the police.

The Kabuliwala Short Story by Rabindranath Tagore- The police arrive and take the Kabuliwala away, leaving Mini distraught and confused. As the story progresses, the writer recounts how he encounters the Kabuliwala years later when he is released from prison. The Kabuliwala has aged significantly, and the separation from Mini has left a profound impact on him. He yearns to see his daughter again but fears she may not remember him.

The story concludes with a bittersweet ending as the writer takes the Kabuliwala to Mini, now a grown woman. Mini, initially unable to recall her childhood memories, is deeply moved by the presence of the Kabuliwala. In a poignant moment, she embraces him, evoking a flood of emotions and memories from their shared past.

The Kabuliwala Short Story by Rabindranath Tagore- “Kabuliwala” explores themes of human connection, love, and the impact of time and separation. Tagore’s evocative storytelling delves into the complexities of relationships and the enduring bonds formed between unlikely individuals. The story also addresses themes of prejudice, cultural differences, and the ability to find common ground in the face of adversity.

The Kabuliwala Short Story by Rabindranath Tagore- Through the character of the Kabuliwala, Tagore highlights the universal yearning for family and home, as well as the sacrifices and hardships faced by those who leave their homelands in search of a better life. “Kabuliwala” serves as a poignant reminder of the power of human connection and the lasting impact we can have on one another’s lives,

About Rabindranath Tagore

Rabindranath Tagore, also known as Gurudev, was a prominent figure in Indian literature, music, and art. He was a poet, philosopher, musician, and playwright who reshaped Bengali literature and greatly influenced Indian culture. Tagore was born on May 7, 1861, in Calcutta, British India, and he passed away on August 7, 1941, in Calcutta. His immense contributions and legacy continue to inspire people around the world.

Tagore belonged to a renowned Bengali family that was deeply involved in the arts and cultural activities. His father, Debendranath Tagore, was a leader of the Brahmo Samaj, a religious and social reform movement in Bengal. Tagore received a versatile education, studying a wide range of subjects including literature, history, philosophy, and science. He was also fluent in several languages, including Bengali, English, Sanskrit, and Persian.

The Kabuliwala Short Story by Rabindranath Tagore- As a young man, Tagore began writing poetry and soon gained recognition for his lyrical style and profound themes. His first collection of poems, titled “Kabi Kahini” (The Tale of a Poet), was published when he was just 16 years old. 

Over the years, he continued to write poetry, experimenting with various forms and themes. Tagore’s poetic works are known for their deep spiritual insight, romanticism, and celebration of nature.

The Kabuliwala Short Story by Rabindranath Tagore- In addition to his poetry, Tagore was a prolific writer of songs, often composing both the lyrics and the music himself. 

His compositions, known as Rabindra Sangeet, are an integral part of Indian classical music and continue to be widely performed and celebrated. Tagore’s songs reflect a range of emotions and explore themes such as love, devotion, nature, and the human condition.

The Kabuliwala Short Story by Rabindranath Tagore- Tagore’s literary genius extended beyond poetry and music. He wrote several novels, short stories, and plays, many of which depicted the social and cultural issues of his time. His most famous work of fiction is the novel “Gora,” which explores themes of nationalism, identity, and social reform. 

Another notable work is the collection of short stories titled “Gitanjali” (Song Offerings), which earned Tagore the Nobel Prize in Literature in 1913, making him the first non-European to receive the prestigious award.

The Kabuliwala Short Story by Rabindranath Tagore- Apart from his literary pursuits, Tagore was deeply involved in social and political activism. He was a strong advocate for Indian independence and spoke out against British colonial rule. Tagore established an experimental school called Santiniketan, which aimed to provide education in a natural and holistic environment. Santiniketan later became Visva-Bharati University, one of India’s premier institutions for arts and humanities.

The Kabuliwala Short Story by Rabindranath Tagore- Tagore’s philosophy emphasized the importance of unity, harmony, and interconnectedness. He believed in the universality of human values and promoted cultural exchange and dialogue. Tagore’s international travels and interactions with prominent thinkers and artists from different parts of the world influenced his worldview and his vision of a global community.

Throughout his life, Tagore was an advocate for peace and understanding among nations. He actively participated in the international arena, engaging with global leaders and intellectuals. His efforts to promote dialogue and bridge cultural gaps earned him immense respect and admiration worldwide.

The Kabuliwala Short Story by Rabindranath Tagore- Rabindranath Tagore’s impact extends far beyond his literary and artistic contributions. He played a significant role in shaping Indian literature and cultural identity during a time of great social and political change. 

His writings continue to be celebrated for their timeless wisdom, emotional depth, and artistic beauty. Tagore’s legacy serves as an inspiration for generations to come, reminding us of the power of art and the importance of embracing diversity and promoting peace.

The Kabuliwala Characters

“Kabuliwala” is a famous short story written by Rabindranath Tagore, first published in 1892. The story is set in Kolkata (formerly Calcutta) and revolves around the relationship between a young girl named Mini and a Kabuliwala, a fruit seller from Afghanistan. Through the characters in the story, Tagore explores themes of friendship, humanity, and the power of empathy. Let’s take a closer look at the main characters of “Kabuliwala.”

• Kabuliwala (Rahmat Khan): The central character of the story is a Kabuliwala named Rahmat Khan. He is a middle-aged man from Afghanistan who sells dry fruits and other items on the streets of Kolkata. Rahmat Khan is depicted as a kind-hearted and affectionate person. He has a long beard and wears a loose-fitting robe and a turban, characteristic of his Afghan heritage. Despite his physical appearance, Rahmat Khan is a gentle soul, always willing to engage in conversations and share stories.
• Mini: Mini is a five-year-old girl who lives with her parents in Kolkata. She is described as an innocent and curious child, full of wonder and imagination. Mini is fascinated by the Kabuliwala and forms a unique bond with him. She sees Rahmat Khan as a friend and confidant, and they spend time together, sharing stories and laughter. Mini’s innocent and open-hearted nature allows her to connect with people from different backgrounds, transcending cultural and language barriers.
• Mini’s Father: Mini’s father is a practical and cautious man. He is initially skeptical of the Kabuliwala, considering him to be a mere peddler and a stranger. He tries to protect Mini by discouraging her from interacting too closely with Rahmat Khan. However, as the story progresses, he begins to understand the depth of the Kabuliwala’s emotions and develops empathy towards him.
• Mini’s Mother: Mini’s mother is a caring and compassionate woman. She is initially worried about Mini’s close relationship with Rahmat Khan but eventually realizes the purity of their bond. She becomes more accepting and understanding, supporting Mini’s connection with the Kabuliwala.
• The Landlord: The landlord is a minor character in the story, representing the typical middle-class Bengali society of the time. He is depicted as greedy and unsympathetic towards the plight of the Kabuliwala. He demands rent from Rahmat Khan despite knowing about his financial struggles and lack of customers. The landlord’s attitude stands in stark contrast to the compassionate nature of Mini and her family.

The Kabuliwala Short Story by Rabindranath Tagore- The interaction between these characters highlights the universal themes of empathy and understanding. Tagore uses the relationship between Mini and the Kabuliwala to explore the idea of human connection transcending boundaries of language, culture, and age. The story also raises questions about the transient nature of relationships and the impact of time and circumstances on these connections.

“Kabuliwala” is a touching and thought-provoking short story by Rabindranath Tagore. It portrays the bond between a young girl, Mini, and a Kabuliwala, Abdur Rahman, highlighting themes of human connection, love, and the impact of time and separation. Through their interactions, Tagore explores the capacity for empathy, understanding, and compassion that transcends cultural and social barriers.

The Kabuliwala Short Story by Rabindranath Tagore- The story underscores the universality of human emotions and the profound impact that even brief encounters can have on our lives. 

The Kabuliwala Short Story by Rabindranath Tagore- It reminds us of the power of empathy in fostering meaningful relationships and bridging the gaps between different cultures and backgrounds. Through the characters of Mini and the Kabuliwala, Tagore invites readers to reflect on the importance of cherishing human connections and the consequences of losing touch with the people who once held a special place in our hearts.

The Kabuliwala Short Story by Rabindranath Tagore- “Kabuliwala” also sheds light on the sacrifices and struggles faced by individuals who leave their homes in search of a better life, as seen through the Kabuliwala’s longing for his daughter back in Afghanistan. The story invites us to consider the complexities of migration, displacement, and the challenges faced by those who strive to provide for their families in unfamiliar lands.

The Kabuliwala Short Story by Rabindranath Tagore- Ultimately, “Kabuliwala” serves as a poignant reminder of the power of empathy, love, and understanding in fostering meaningful connections with others. 

The Kabuliwala Short Story by Rabindranath Tagore- It urges us to embrace the common threads that bind us as human beings and to recognize the potential for transformation and growth that lies within these connections. Tagore’s masterful storytelling and exploration of universal themes make “Kabuliwala” a timeless piece of literature that continues to resonate with readers around the world.

Q: When was “Kabuliwala” written? 

A: “Kabuliwala” was written by Rabindranath Tagore and was first published in 1892.

Q: What is the main theme of “Kabuliwala”? 

A: The main themes of “Kabuliwala” include human connection, love, the impact of time and separation, cultural differences, empathy, and the sacrifices made by individuals who leave their homes in search of a better life.

Q: Where is “Kabuliwala” set? 

A: “Kabuliwala” is set in Kolkata (formerly Calcutta), India, during the late 19th century.

Q: Who are the main characters in “Kabuliwala”? 

A: The main characters in “Kabuliwala” are Mini, a young girl, and the Kabuliwala, Abdur Rahman, an Afghan fruit-seller.

Q: What is the significance of the bond between Mini and the Kabuliwala? 

A: The bond between Mini and the Kabuliwala highlights the capacity for empathy, understanding, and compassion that transcends cultural and social barriers. It explores the impact that brief encounters can have on our lives and the power of human connection.

Q: What themes are explored in “Kabuliwala”? 

A: Some of the themes explored in “Kabuliwala” include human connection, love, the impact of time and separation, cultural differences, empathy, and the sacrifices made by individuals who leave their homes in search of a better life.

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Short Story Reviews

Kabuliwala by Rabindranath Tagore

In Kabuliwala by Rabindranath Tagore we have the theme of connection, love, escape, trust, friendship, sadness and charity. Taken from his Collected Stories collection the story is narrated in the first person by an unnamed man (Mini’s father) and after reading the story the reader realises that Tagore may be exploring the theme of connection. Mini though at first afraid of Rahman gets to enjoy the time that she spends with him. She is intrigued by the goods he sells and rather than accepting the money for the purchased items. Rahman hands Mini back the money her father has given her. It is also noticeable that Mini’s father is very much in love with Mini despite the fact that at times by being inquisitive she can be a handful. Most times Mini’s father plays along with Mini when she is asking questions as she knows all that Mini is doing is trying to learn. Mini’s mother on the other had has less patience and does not like Mini asking so many questions. It is also interesting that Mini’s father likes to escape into different worlds, he is a writer after all. However he always seems to be brought back down to life by family life.

There is also an element of trust in the story. By letting Mini talk and play with Rahman Mini’s father is trusting Rahman. Which may suggest that Mini’s father considers Rahman to be of good character. Mini’s mother on the other hand appears to be distraught that Mini is being allowed to talk to a person she knows nothing about. It is also noticeable that Rahman and Mini’s relationship is only fleeting. After Raham has been sentenced to jail for seven years. Mini after a period of time and as other girls would do forgets all about her friendship with Rahman. However despite the passing of time Rahman has never forgotten Mini. Something that is noticeable by the fact that he arrives to Mini’s home on the night of her wedding. There is also a sense that Mini does not recognise Rahman. There is no talk of their past and the meeting between the two ends abruptly. This is more than hurtful for Rahman because he knows that he has a young daughter the same age as Mini in his village and she too most likely will not recognise Rahman. Tagore possibly deliberately adding an element of sadness into the story through Rahman’s character.

Mini’s mother is also an interesting character. Though she has little patience for Mini’s continued talking she still nonetheless is concerned about her daughter. She knows what can happen on the streets of Calcutta and that Mini could easily be kidnapped. Though some critics might suggest that Mini’s mother is overreacting it is most likely that she is just protecting Mini from the dangers of the streets. Mini’s father on the other hand believes that Mini should be allowed to explore the world around her. To live her life to the best of her ability. Particularly when it comes to Rahman who has something that he can teach Mini. Rahman is very much a man of mystery with his stories he can help enlighten Mini’s already inquisitive mind.  It is as though Rahman and Mini’s friendship is a match made in heaven. Rahman though he may have attacked a man with a knife over an unpaid debt has never brought any danger to Mini or her family. He at all times has been polite and good-natured when it comes to his engagement with Mini and her family.

The end of the story is also interesting as Mini’s father feels sympathy for Rahman. He knows that Rahman has a daughter and he knows that it is better for him to visit his daughter. The life he had previously lived in Calcutta is no more. So the money Rahman receives from Mini’s father is very helpful. It affords Rahman the opportunity to not only see his daughter again but there may also be a possibility that Rahman can become a Kabuliwala again. A life that reader knows Rahman very much enjoyed. It is also interesting that Mini’s father feels good about his act of charity. Just as he is together with his daughter at Mini’s wedding. So too can Rahman be with his daughter back in his village. Rahman will be able to put behind him the seven years he spent in jail and start a fresh life all over again. One that will include him getting to know his daughter all over again. Thanks to the charity of Mini’s father who could have avoided Rahman and have asked him to leave the house. If anything Mini’s father has showed an altruistic streak when he did not have to. He was not made or pushed to help Rahman rather he choose to. Which leaves the reader suspecting that Mini’s father is a good man. Who does not judge another person by their past. For Mini’s father the future and what an individual does with their future is important.

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• Print length 45 pages
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• Publication date February 19, 2014
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• ASIN ‏ : ‎ B00IJZJBG2
• Publisher ‏ : ‎ Versilio/The Adaptation Company (February 19, 2014)
• Publication date ‏ : ‎ February 19, 2014
• Language ‏ : ‎ English
• File size ‏ : ‎ 35279 KB
• Text-to-Speech ‏ : ‎ Enabled
• Screen Reader ‏ : ‎ Supported
• Enhanced typesetting ‏ : ‎ Enabled
• X-Ray ‏ : ‎ Not Enabled
• Word Wise ‏ : ‎ Enabled
• Sticky notes ‏ : ‎ On Kindle Scribe
• Print length ‏ : ‎ 45 pages

About the author

Rabindranath tagore.

Rabindranath Tagore was a Nobel Laureate for Literature (1913) as well as one of India’s greatest poets and the composer of independent India’s national anthem, as well as that of Bangladesh. He wrote successfully in all literary genres, but was first and foremost a poet, publishing more than 50 volumes of poetry. He was a Bengali writer who was born in Calcutta and later traveled around the world. He was knighted in 1915, but gave up his knighthood after the massacre of demonstrators in India in 1919.

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Kabuliwala by Rabindranath Tagore

Fresh Reads

The Fruitseller from Kabul

My five years’ old daughter Mini cannot live without chattering. I really believe that in all her life she has not wasted a minute in silence. Her mother is often vexed at this, and would stop her prattle, but I would not. To see Mini quiet is unnatural, and I cannot bear it long. And so my own talk with her is always lively.

One morning, for instance, when I was in the midst of the seventeenth chapter of my new novel, my little Mini stole into the room, and putting her hand into mine, said: “Father! Ramdayal the door-keeper calls a crow a krow! He doesn’t know anything, does he?”

Before I could explain to her the differences of language in this world, she was embarked on the full tide of another subject. “What do you think, Father? Bhola says there is an elephant in the clouds, blowing water out of his trunk, and that is why it rains!”

And then, darting off anew, while I sat still making ready some reply to this last saying, “Father! what relation is Mother to you?”

“My dear little sister in the law!” I murmured involuntarily to myself, but with a grave face contrived to answer: “Go and play with Bhola, Mini! I am busy!”

The window of my room overlooks the road. The child had seated herself at my feet near my table, and was playing softly, drumming on her knees. I was hard at work on my seventeenth chapter, where Protrap Singh, the hero, had just caught Kanchanlata, the heroine, in his arms, and was about to escape with her by the third story window of the castle, when all of a sudden Mini left her play, and ran to the window, crying, “A Kabuliwala! a Kabuliwala!” Sure enough in the street below was a Kabuliwala, passing slowly along. He wore the loose soiled clothing of his people, with a tall turban; there was a bag on his back, and he carried boxes of grapes in his hand.

I cannot tell what were my daughter’s feelings at the sight of this man, but she began to call him loudly. “Ah!” I thought, “he will come in, and my seventeenth chapter will never be finished!” At which exact moment the Kabuliwala turned, and looked up at the child. When she saw this, overcome by terror, she fled to her mother’s protection, and disappeared. She had a blind belief that inside the bag, which the big man carried, there were perhaps two or three other children like herself. The pedlar meanwhile entered my doorway, and greeted me with a smiling face.

So precarious was the position of my hero and my heroine, that my first impulse was to stop and buy something, since the man had been called. I made some small purchases, and a conversation began about Abdurrahman, the Russians, she English, and the Frontier Policy.

As he was about to leave, he asked: “And where is the little girl, sir?”

And I, thinking that Mini must get rid of her false fear, had her brought out.

She stood by my chair, and looked at the Kabuliwala and his bag. He offered her nuts and raisins, but she would not be tempted, and only clung the closer to me, with all her doubts increased.

This was their first meeting.

One morning, however, not many days later, as I was leaving the house, I was startled to find Mini, seated on a bench near the door, laughing and talking, with the great Kabuliwala at her feet. In all her life, it appeared; my small daughter had never found so patient a listener, save her father. And already the corner of her little sari was stuffed with almonds and raisins, the gift of her visitor, “Why did you give her those?” I said, and taking out an eight-anna bit, I handed it to him. The man accepted the money without demur, and slipped it into his pocket.

Alas, on my return an hour later, I found the unfortunate coin had made twice its own worth of trouble! For the Kabuliwala had given it to Mini, and her mother catching sight of the bright round object, had pounced on the child with: “Where did you get that eight-anna bit?”

“The Kabuliwala gave it me,” said Mini cheerfully.

“The Kabuliwala gave it you!” cried her mother much shocked. “Oh, Mini! how could you take it from him?”

I, entering at the moment, saved her from impending disaster, and proceeded to make my own inquiries.

It was not the first or second time, I found, that the two had met. The Kabuliwala had overcome the child’s first terror by a judicious bribery of nuts and almonds, and the two were now great friends.

They had many quaint jokes, which afforded them much amusement. Seated in front of him, looking down on his gigantic frame in all her tiny dignity, Mini would ripple her face with laughter, and begin: “O Kabuliwala, Kabuliwala, what have you got in your bag?”

And he would reply, in the nasal accents of the mountaineer: “An elephant!” Not much cause for merriment, perhaps; but how they both enjoyed the witticism! And for me, this child’s talk with a grown-up man had always in it something strangely fascinating.

Then the Kabuliwala, not to be behindhand, would take his turn: “Well, little one, and when are you going to the father-in-law’s house?”

Now most small Bengali maidens have heard long ago about the father-in-law’s house; but we, being a little new-fangled, had kept these things from our child, and Mini at this question must have been a trifle bewildered. But she would not show it, and with ready tact replied: “Are you going there?”

Amongst men of the Kabuliwala’s class, however, it is well known that the words father-in-law’s house have a double meaning. It is a euphemism for jail, the place where we are well cared for, at no expense to ourselves. In this sense would the sturdy pedlar take my daughter’s question. “Ah,” he would say, shaking his fist at an invisible policeman, “I will thrash my father-in-law!” Hearing this, and picturing the poor discomfited relative, Mini would go off into peals of laughter, in which her formidable friend would join.

These were autumn mornings, the very time of year when kings of old went forth to conquest; and I, never stirring from my little corner in Calcutta, would let my mind wander over the whole world. At the very name of another country, my heart would go out to it, and at the sight of a foreigner in the streets, I would fall to weaving a network of dreams,—the mountains, the glens, and the forests of his distant home, with his cottage in its setting, and the free and independent life of far-away wilds. Perhaps the scenes of travel conjure themselves up before me, and pass and repass in my imagination all the more vividly, because I lead such a vegetable existence, that a call to travel would fall upon me like a thunderbolt. In the presence of this Kabuliwala, I was immediately transported to the foot of arid mountain peaks, with narrow little defiles twisting in and out amongst their towering heights. I could see the string of camels bearing the merchandise, and the company of turbaned merchants, carrying some of their queer old firearms, and some of their spears, journeying downward towards the plains. I could see—but at some such point Mini’s mother would intervene, imploring me to “beware of that man.”

Mini’s mother is unfortunately a very timid lady. Whenever she hears a noise in the street, or sees people coming towards the house, she always jumps to the conclusion that they are either thieves, or drunkards, or snakes, or tigers, or malaria or cockroaches, or caterpillars, or an English sailor. Even after all these years of experience, she is not able to overcome her terror. So she was full of doubts about the Kabuliwala, and used to beg me to keep a watchful eye on him.

I tried to laugh her fear gently away, but then she would turn round on me seriously, and ask me solemn questions.

Were children never kidnapped?

Was it, then, not true that there was slavery in Cabul?

Was it so very absurd that this big man should be able to carry off a tiny child?

I urged that, though not impossible, it was highly improbable. But this was not enough, and her dread persisted. As it was indefinite, however, it did not seem right to forbid the man the house, and the intimacy went on unchecked.

Once a year in the middle of January Rahmun, the Kabuliwala, was in the habit of returning to his country, and as the time approached he would be very busy, going from house to house collecting his debts. This year, however, he could always find time to come and see Mini. It would have seemed to an outsider that there was some conspiracy between the two, for when he could not come in the morning, he would appear in the evening.

Even to me it was a little startling now and then, in the corner of a dark room, suddenly to surprise this tall, loose-garmented, much bebagged man; but when Mini would run in smiling, with her, “O! Kabuliwala! Kabuliwala!” and the two friends, so far apart in age, would subside into their old laughter and their old jokes, I felt reassured.

One morning, a few days before he had made up his mind to go, I was correcting my proof sheets in my study. It was chilly weather. Through the window the rays of the sun touched my feet, and the slight warmth was very welcome. It was almost eight o’clock, and the early pedestrians were returning home, with their heads covered. All at once, I heard an uproar in the street, and, looking out, saw Rahmun being led away bound between two policemen, and behind them a crowd of curious boys. There were blood-stains on the clothes of the Kabuliwala, and one of the policemen carried a knife. Hurrying out, I stopped them, and enquired what it all meant. Partly from one, partly from another, I gathered that a certain neighbour had owed the pedlar something for a Rampuri shawl, but had falsely denied having bought it, and that in the course of the quarrel, Rahmun had struck him. Now in the heat of his excitement, the prisoner began calling his enemy all sorts of names, when suddenly in a verandah of my house appeared my little Mini, with her usual exclamation: “O Kabuliwala! Kabuliwala!” Rahmun’s face lighted up as he turned to her. He had no bag under his arm today, so she could not discuss the elephant with him. She at once therefore proceeded to the next question: “Are you going to the father-in-law’s house?” Rahmun laughed and said: “Just where I am going, little one!” Then seeing that the reply did not amuse the child, he held up his fettered hands. “Ali,” he said, “I would have thrashed that old father-in-law, but my hands are bound!”

On a charge of murderous assault, Rahmun was sentenced to some years’ imprisonment.

Time passed away, and he was not remembered. The accustomed work in the accustomed place was ours, and the thought of the once-free mountaineer spending his years in prison seldom or never occurred to us. Even my light-hearted Mini, I am ashamed to say, forgot her old friend. New companions filled her life. As she grew older, she spent more of her time with girls. So much time indeed did she spend with them that she came no more, as she used to do, to her father’s room. I was scarcely on speaking terms with her.

Years had passed away. It was once more autumn and we had made arrangements for our Mini’s marriage. It was to take place during the Puja Holidays. With Durga returning to Kailas, the light of our home also was to depart to her husband’s house, and leave her father’s in the shadow.

The morning was bright. After the rains, there was a sense of ablution in the air, and the sun-rays looked like pure gold. So bright were they that they gave a beautiful radiance even to the sordid brick walls of our Calcutta lanes. Since early dawn to-day the wedding-pipes had been sounding, and at each beat my own heart throbbed. The wail of the tune, Bhairavi, seemed to intensify my pain at the approaching separation. My Mini was to be married to-night.

From early morning noise and bustle had pervaded the house. In the courtyard the canopy had to be slung on its bamboo poles; the chandeliers with their tinkling sound must be hung in each room and verandah. There was no end of hurry and excitement. I was sitting in my study, looking through the accounts, when some one entered, saluting respectfully, and stood before me. It was Rahmun the Kabuliwala. At first I did not recognise him. He had no bag, nor the long hair, nor the same vigour that he used to have. But he smiled, and I knew him again.

“When did you come, Rahmun?” I asked him.

“Last evening,” he said, “I was released from jail.”

The words struck harsh upon my ears. I had never before talked with one who had wounded his fellow, and my heart shrank within itself, when I realised this, for I felt that the day would have been better-omened had he not turned up.

“There are ceremonies going on,” I said, “and I am busy. Could you perhaps come another day?”

At once he turned to go; but as he reached the door he hesitated, and said: “May I not see the little one, sir, for a moment?” It was his belief that Mini was still the same. He had pictured her running to him as she used, calling “O Kabuliwala! Kabuliwala!” He had imagined too that they would laugh and talk together, just as of old. In fact, in memory of former days he had brought, carefully wrapped up in paper, a few almonds and raisins and grapes, obtained somehow from a countryman, for his own little fund was dispersed.

I said again: “There is a ceremony in the house, and you will not be able to see any one to-day.”

The man’s face fell. He looked wistfully at me for a moment, said “Good morning,” and went out. I felt a little sorry, and would have called him back, but I found he was returning of his own accord. He came close up to me holding out his offerings and said: “I brought these few things, sir, for the little one. Will you give them to her?”

I took them and was going to pay him, but he caught my hand and said: “You are very kind, sir! Keep me in your recollection. Do not offer me money!—You have a little girl, I too have one like her in my own home. I think of her, and bring fruits to your child, not to make a profit for myself.”

Saying this, he put his hand inside his big loose robe, and brought out a small and dirty piece of paper. With great care he unfolded this, and smoothed it out with both hands on my table. It bore the impression of a little band. Not a photograph. Not a drawing. The impression of an ink-smeared hand laid flat on the paper. This touch of his own little daughter had been always on his heart, as he had come year after year to Calcutta, to sell his wares in the streets.

Tears came to my eyes. I forgot that he was a poor Cabuli fruit-seller, while I was—but no, what was I more than he? He also was a father. That impression of the hand of his little Parbati in her distant mountain home reminded me of my own little Mini.

I sent for Mini immediately from the inner apartment. Many difficulties were raised, but I would not listen. Clad in the red silk of her wedding-day, with the sandal paste on her forehead, and adorned as a young bride, Mini came, and stood bashfully before me.

The Kabuliwala looked a little staggered at the apparition. He could not revive their old friendship. At last he smiled and said: “Little one, are you going to your father-in-law’s house?”

But Mini now understood the meaning of the word “father-in-law,” and she could not reply to him as of old. She flushed up at the question, and stood before him with her bride-like face turned down.

I remembered the day when the Kabuliwala and my Mini had first met, and I felt sad. When she had gone, Rahmun heaved a deep sigh, and sat down on the floor. The idea had suddenly come to him that his daughter too must have grown in this long time, and that he would have to make friends with her anew. Assuredly he would not find her, as he used to know her. And besides, what might not have happened to her in these eight years?

The marriage-pipes sounded, and the mild autumn sun streamed round us. But Rahmun sat in the little Calcutta lane, and saw before him the barren mountains of Afghanistan.

I took out a bank-note, and gave it to him, saying: “Go back to your own daughter, Rahmun, in your own country, and may the happiness of your meeting bring good fortune to my child!”

Having made this present, I had to curtail some of the festivities. I could not have the electric lights I had intended, nor the military band, and the ladies of the house were despondent at it. But to me the wedding feast was all the brighter for the thought that in a distant land a long-lost father met again with his only child.

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Amazon Kills Mean Reviews of Kristi Noem’s Book

Goodreads has also suspended feedback for the now infamous memoir.

Dan Ladden-Hall

News Correspondent

John Lamparski/Getty Images

Kristi Noem has spent the past few weeks fighting a firestorm of criticism about the contents of her new book—the one in which she boasts about murdering her pet dog , Cricket, in a gravel pit, discusses botching the execution of a goat, and dishes details on a dubious meeting with North Korean leader Kim Jong Un .

So she’ll probably be somewhat relieved that Amazon appears to have imposed a limit on reviews for No Going Back: The Truth on What’s Wrong With Politics and How We Move America Forward , which was published Tuesday. The online retail giant said it had “noticed unusual reviewing activity” on the book and therefore restricted the reviews, which are now completely invisible on the memoir’s page as of Wednesday morning—though reports about what was being said before the restriction came into force will be difficult reading for the South Dakota governor.

Goodreads, the Amazon subsidiary where bookworms share their literary recommendations and reviews, has similarly imposed “temporary limitations on submitting ratings and reviews” of Noem’s book. “This may be because we’ve detected unusual behavior that doesn’t follow our review guidelines,” an explanatory note reads when attempting to add a review as of Wednesday morning.

One Amazon review captured by MeidasTouch before the feedback disappeared was titled “Filled with lies, and violence against animals.” “She shot her puppy in the head,” the reviewer grumbled. “Enough said.”

Another one-star review under the heading “My cat loved this book” said: “He says Cricket was asking for it.” Other negative reviews appear to have consisted entirely of poop emojis, while RawStory said one person called the work “grift for VP at its best” and advised shoppers to “save a tree” by not buying the book.

Not that the book appears to have done anything to burnish Noem’s chances for being chosen by Donald Trump to become his running mate. Several GOP sources previously told The Daily Beast that the memoir had not gone down well in Trumpworld, with one putting her chances of winning the veepstakes at “less than zero now.”

For her own part, Noem has remained bullish in increasingly heated interviews when asked about the book, evading giving a straight answer about the veracity of its anecdote about meeting Kim Jong Un (which, according to the book’s publisher , is being removed from new editions of the print edition and scrubbed “as soon as technically possible on the audio and ebook” versions) and insisting that her choice to kill Cricket was illustrative of her willingness to make hard decisions.

Noem’s patience appeared to completely snap during one interview with Fox Business Network host Stuart Varney on Tuesday morning when he asked her if she’d discussed her dog-killing in conversations with Trump.

“Enough, Stuart,” Noem raged. “This interview is ridiculous, what you are doing right now. You need to stop.”

Got a tip? Send it to The Daily Beast  here .

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Minority Rule review: rich history of America’s undemocratic democracy

From an absurd Senate where California and Wyoming are equal, to Republican voter suppression, Ari Berman covers it all

A ri Berman’s new book is a rich history of America’s ambivalent attitude toward majority rule. The founding document declared “all men are created equal”, but by the time a constitution was drafted 11 years later, there was already a severe backlash to that revolutionary assertion.

To prevent the union from disintegrating, free states and big states repeatedly gave in to slave states and small states, producing a constitution that would be adopted by the majority.

The first and worst decision was to give each state two senators regardless of population. Virginia had 12 times the population of Delaware. Today, the situation is vastly worse: California is 63 times bigger than Wyoming. By 2040, Berman writes, “roughly 70% of Americans will live in 15 states with 30 senators, while the other 30%, who are whiter, older and more rural … will elect 70 senators”.

The filibuster, a delaying tactic that led to most legislation requiring 60 votes to pass the Senate – but which has no basis in the constitution – makes the country even more undemocratic. Forty Republican senators representing just 21% of the population have blocked bills on abortion rights, voting rights and gun control supported by big majorities.

The House of Representatives was supposed to be closer to the people than the Senate, which wasn’t even elected by voters when first created. But when the free states placated the slave states by allowing them to count every enslaved Black person as three-fifths of a human being, for the purposes of representation, that increased how many representatives slave states sent to the House.

To Berman, it was “a fundamental contradiction that the nation’s most important democratic document was intended to make the country less democratic”. As the New Yorker Melancton Smith noted at the time, the constitution represented a “transfer of power from the many to the few”.

The national voting rights correspondent for Mother Jones, Berman also offers a horrific description of the hundreds of millions of dollars being spent by modern-day oligarchs to make America even more undemocratic. In just six years, the Federalist Society raised an astonishing $580m “through a shadowy network of a dozen dark money nonprofit groups” to put its “preferred judges on the bench”. The society has gotten a huge bang for its buck – more than 500 judges appointed by both Bushes and 226 appointed by Donald Trump were endorsed by the Federalists.

The worst results of this hammerlock on judicial appointments are at the very top of the pyramid: “For the first time in US history, five of six conservative justices on the supreme court have been appointed by Republican presidents who initially lost the popular vote and confirmed by senators representing a minority of Americans.”

And what is the “signature project” of these justices? The dismantling of the civil rights laws that are the greatest legacy of the 1960s.

Federalist Society judges worked in lockstep with the Republican Senate leader, Mitch McConnell, whose priority has been to end all effective limits on who can spend how much in every election.

“I never would have been able to win my race if there had been a limit on the amount of money I could raise and spend,” McConnell wrote of his first race, in 1984. Eighteen years later, the Republican John McCain and Democrat Russ Feingold managed to ban unlimited donations. Their law survived McConnell’s first lawsuit to undo it, on a 5-4 supreme court vote. But four years later, after the extremist Samuel Alito replaced the moderate Sandra Day O’Connor, the court gutted the law, allowing unlimited corporate expenditure as long as ads “didn’t explicitly” endorse a candidate.

“Thus began a trend,” Berman explains. “GOP-appointed judges reliably supported Republican efforts to tilt the rules and institutions of democracy in their favor … which in turn helped Republicans win more elections and appoint more judges, with one undemocratic feature of the system augmenting the other.”

As the country’s founders adopted a constitution that disenfranchised all Black people and all women, modern conservatives do all they can to keep the voting rolls as unrepresentative as possible, particularly as people of color become the majority in the US. Racism remains the strongest fuel for efforts to make it as hard as possible for Black and younger voters to exercise their franchise.

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The worst recent example of this was the failure of a narrowly Democratic Senate to adopt a voting rights act in 2021. It failed when Kyrsten Sinema of Arizona and Joe Manchin of West Virginia, both Democrats then, refused to alter the filibuster rule. Manchin supported the bill, then reversed with a specious explanation: while the right to vote was “fundamental to American democracy … protecting that right … should never be done in a partisan manner”

Berman’s book ends on a more hopeful note, with descriptions of Democratic victories in Michigan and Wisconsin.

In Michigan, a 29-year-old activist, Katie Fahey, figured out she could end the gerrymandering which had let the Republicans dominate her state by putting a ballot initiative before the voters. She needed 315,000 signatures. In one of the few good news stories about social media, she was able to use Facebook to gather 410,000 signatures in 110 days without any paid staff. In 2018, the reform won with an amazing 61% of the vote. Another initiative that dramatically expanded voter access through automatic and election-day access passed by 66%.

The end of gerrymandering enabled Democrats to flip both houses in Michigan in 2022, “giving them control of state politics for the first time in 40 years”. And in Wisconsin, the election of an additional liberal justice to the state supreme court finally ended Republicans’ domination of the state government.

The hopeful message is clear: despite massive Republican efforts to suppress liberal votes, it is still possible for a well-organized grassroots campaign to overcome the millions of dollars spent every year to prevent the triumph of true democracy.

Minority Rule is published in the US by Farrar, Straus and Giroux

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What the final trials of Nazis teach us about guilt and memory

In “Final Verdict,” Tobias Buck examines how thinking has evolved about who was culpable — in both the moral and legal sense — for the Holocaust.

How does one judge the people of the past? How best to judge them in one’s own mind? In society? In a court of law?

These are the questions taken up by Tobias Buck, managing editor of the Financial Times, in his new book, “ Final Verdict: The Holocaust on Trial in the 21st Century .” Born in Germany, Buck studied law in Berlin before going into journalism, and he draws on all elements of his experience as he seeks answers, grappling with how his country has tried to come to terms with its legacy.

The book focuses on the trial of Bruno Dey, who was brought into court at the age of 93, in 2019. Decades prior, Dey worked as a Nazi SS officer and manned a tower at the Stutthof concentration camp. Buck takes the reader through the trial: the questions brought up by the judge, Dey’s defense, testimony by survivors and expert witnesses. The verdict was handed down in 2020: Dey was found guilty of complicity in the murder of more than 5,000 people, for which he was given a two-year suspended prison sentence. But despite the book’s title, he isn’t its real subject. Instead, Buck is interested in the process — in both the specific trial and the country at large — that led Judge Anne Meier-Göring to her decision.

To that end, Buck discusses other Nazi trials over the course of the past several decades, to show how thinking has evolved about who was culpable — in both the moral and the legal sense — for the Holocaust. In the 1950s, former Nazi police chief Bernhard Fischer-Schweder, a senior SS officer “who had volunteered for the mass killings and fired his own gun,” was found guilty only as an accessory. The judges in such cases found that the accused “acted in response to an order, not with the will of the perpetrator but the will of the accessory,” and were simply “tools of the Führer.” But over time, some worked to shift how Germany thought about guilt, and to transform the law. Buck tells their stories, too, among them Thomas Walther, who decided to take on the case of Nazi camp guard John Demjanjuk by proving not that he’d been involved in any one specific killing but that he was on duty at Sobibor, a “factory of death.” (That trial began in 2009; Demjanjuk was ultimately found guilty of being an accessory to murder in 28,060 cases.)

Buck fleshes out this picture with his own family story, but he also attends to the testimony of people who pretend to have survived the Holocaust and, in one especially moving chapter, how survivors rebuilt — or perhaps more accurately, built anew — a Jewish community in Munich after World War II. Along the way, he analyzes the Memorial to the Murdered Jews of Europe and Stolpersteine, or stumbling stones, which mark Holocaust victims’ names on the pavement outside their former places of residence. In these sections, especially when he writes of the detractors of some memorials, his point comes through elegantly: We contest not only what we remember but how we remember.

Despite Buck’s excellent reporting — or perhaps because of his focus on those details — larger questions are sometimes raised too hastily. German “memory culture” — how Germany relates to and faces up to its past, and the collective commitments that enable such practices — is tackled in one (thoughtful and compelling) chapter toward the end, but I was somewhat frustrated that these questions and this context were not given more consistent consideration throughout. And though Buck can hardly be faulted for writing a book that proved to be even more relevant and timely than it was when he started out, many readers are likely to wish that the role of Israel in Germany’s memory culture had been given more than the brief consideration Buck allots to the subject.

More than that, though, I was left wishing Buck had spent more time on what it means to entrust the memory of state-backed violence to the state — which is precisely what the legal proceedings he describes effectively do. Buck cites the words of the Dey case judge’s decision: “Don’t look away. Be compassionate. … Respect human dignity — at all costs.” Reflecting on this, he writes: “Hard as [these instructions] may be to follow, they must be followed. And they must be followed even in the most difficult and most dangerous of circumstances — precisely because the stakes are so high. That is not just what our conscience demands. That is what the law demands.”

But what about when the law does not demand it? What about when the law, today, allows or encourages discrimination? What does it mean to have memory entrusted to courts, which enforce the laws as they are written by those who have power — a thing that, historically, is used not only against the guilty but against the vulnerable?

I would not expect “Final Verdict,” or any book, to be able to wholly answer those questions. I would have loved to see Buck try. Still, it is to his credit that he leaves one wanting to see him think more about guilt, memory and what Germans, in and out of the courtroom, do with both.

Emily Tamkin is a global affairs journalist and author of “The Influence of Soros” and “Bad Jews.”

Final Verdict

The Holocaust on Trial in the 21st Century

By Tobias Buck

Hachette. 327 pp. $30

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The Plucky Irish Heroine of ‘Brooklyn’ Is Back — and in Crisis

Now a suburban married mother, Eilis Lacey finds herself in a quandary in “Long Island,” Colm Tóibín’s sequel to his much-admired novel.

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LONG ISLAND, by Colm Tóibín

In the early 1950s, Eilis Lacey, a fictional character, said goodbye to Enniscorthy, the real town in County Wexford, Ireland, where her creator, the novelist Colm Tóibín, would be born a few years later. She crossed the Atlantic, making her way to Brooklyn and into “ Brooklyn ,” Tóibín’s near-perfect 2009 novel about her emigration.

Eilis was often lonely, but she was hardly alone. In the 1950s, Ireland lost more than 15 percent of its population to emigration; 50,000 of those who left made their way to America. But Eilis wasn’t a statistic or a symbol: She was a soul — a witty, observant, sometimes anxious young woman finding her way and her place in the world. (Both her caution and her boldness were superbly captured by Saoirse Ronan in John Crowley’s film adaptation .)

Where would Eilis go from Brooklyn? The obvious answer, supplied in the title of Tóibín’s new novel, “Long Island,” was foreshadowed in the earlier book. On one of their dates, Tony Fiorello, a Bensonhurst plumber and Eilis’s eventual husband, tells her about his plan to start a construction business with his brothers out on the island, with a cluster of houses where the whole extended Fiorello family will live.

As “Long Island” gets underway, that plan has long since come to pass. It’s the mid-1970s, and Eilis has taken part in another large-scale demographic movement, the exodus from the cities to the suburbs. She lives with Tony and their two teenage children near a bevy of in-laws.

The voyage to America, encouraged by her older sister, Rose, and enabled by a helpful priest, wasn’t entirely Eilis’s idea. Neither was the relocation to Long Island — that was Tony’s dream. But Eilis is hardly passive. She is an interesting and vivid character because she manages to make her destiny her choice. She may be constrained, in Lindenhurst as in Enniscorthy, by social norms and family expectations, but in her own mind, and in the eyes of sympathetic readers, she is free.

In the opening pages of “Long Island,” fate deals her a wild card. Or rather, Tony does. A stranger shows up at Eilis’s door to inform her that his wife is pregnant and that Tony, who had done some repairs for the family, is the father.

“If anyone thinks I am keeping an Italian plumber’s brat in my house and have my own children believe that it came into the world as decently as they did, they can have another think,” he tells her. Because he is Irish, Eilis takes him at his word. And perhaps because she is Irish, she is equally adamant. “The baby will not pass the threshold,” she tells her mother-in-law, who clearly has something else in mind.

Tony’s transgression, and his family’s response to it, underscores Eilis’s alienation from the large Italian American family she has married into. With her marriage in limbo, she decides to return to Enniscorthy for the first time in more than 20 years. Her children, Larry and Rosella — who have had “no real interest in Enniscorthy, or even Ireland” — will join her for part of the summer.

Readers of “Brooklyn” will recall that Eilis’s previous trip home came in the wake of Rose’s death. If you’re just joining her, Tóibín offers a succinct recap of that visit:

That summer, in Enniscorthy, Eilis had a romance with Jim Farrell. No one … knew that she was, by that time, married to Tony. They had got married in Brooklyn. Eilis had wanted to tell her mother as soon as she arrived home, but it was too hard because it meant that, no matter what, she would have to go back to America. So she told no one, no one at all. And then, at summer’s end, she had abruptly left, just as Jim was making it clear that he wanted to marry her.

This loose end turns into the warp and woof of “Long Island.” Jim, who never married and never got over Eilis, manages a pub he inherited from his parents. He has been carrying on a discreet affair with Nancy, who had been Eilis’s best friend and who is now a widow running a chip shop in town. Jim and Nancy take pains to avoid the inquisitive eyes and judgmental tongues of their neighbors, but once Eilis shows up no secrets are safe.

Eilis herself, with her rented car and her Americanized attitudes, attracts envious, curious, suspicious scrutiny, including from her own mother. Meanwhile, her renewed connection with Jim and Nancy, coming on the heels of her marital crisis back home, sends her and the novel into a swirl of complicated feelings and difficult choices.

“Long Island” is both a sequel to “Brooklyn” and a companion to “ Nora Webster ,” Tóibín’s 2014 novel — his masterpiece, in my opinion — about another Enniscorthy woman’s struggle for autonomy. Eilis’s mother makes an appearance in that novel, which is set in the late 1960s and early ’70s. While events in the wider world are mentioned in all three books — the Troubles in Northern Ireland, the war in Vietnam — these are not historical novels in the usual sense. Tóibín’s interest is in the finer grain of individual perception.

He brings us close enough to Eilis, and to Nora, to see what and how they think, but not so close as to invade their privacy or compromise their dignity. In an autobiographical essay, Tóibín applied James Merrill’s description of Elizabeth Bishop to his own mother, who gave “a lifelong impersonation of an ordinary woman.” Nora and Eilis are drawn in similar terms, their ordinary experiences of migration, marriage and motherhood filtered through an intense and meticulously observed inner life. What holds the reader’s eye, in “Brooklyn” and “Nora Webster,” are not the external movements of a plot but the intimacy and accuracy of the portrait.

“Long Island” is a busier book than its predecessors, more exciting in some ways but in others less satisfying. There is more plot — more incidents and coincidences, more twists and revelations — and less Eilis. Her point of view alternates with Jim’s and Nancy’s, which heightens the drama but also feels like something of a betrayal. Like the busybodies of Enniscorthy, we are preoccupied with what Eilis will do next — no spoilers here — and less attentive to who she is. This exquisitely drawn, idiosyncratic soul turns out to be just another character in a novel after all.

LONG ISLAND | By Colm Tóibín | Scribner | 294 pp. | $28

A.O. Scott is a critic at large for The Times’s Book Review, writing about literature and ideas. He joined The Times in 2000 and was a film critic until early 2023. More about A.O. Scott

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