Martyr!
Chapter Thirteen
by Kaveh AkbarThe chapter introduces Roya Shams, a woman living in Tehran in 1987, who reflects on her ambivalence toward life and the constraints of her marriage. She describes her limited personal freedoms, cherishing small moments of solitude like sipping tea or doodling, which stand in stark contrast to her domestic responsibilities. Roya’s husband, Ali, is friends with Gilgamesh, a police officer, and the two men take annual trips to Rasht, leaving Roya briefly free from the exhaustion of constant scrutiny. During one such departure, Roya realizes she is pregnant with Cyrus but delays confirming it, dreading the changes it will bring to her life.
Roya’s solitude is interrupted when Gilgamesh unexpectedly brings his new wife, Leila, to stay with her during the men’s trip. Roya resents this intrusion, as she had eagerly anticipated her rare days of autonomy. Leila is introduced as a lively, unconventional woman who quickly sheds her initial shyness once the men leave. Over dinner, Leila openly mocks Gilgamesh’s odd habits, such as adding cough syrup to his tea, and expresses relief at being free from her husband’s presence. Roya is both amused and unsettled by Leila’s candidness, unsure how to respond to her blunt humor and lack of decorum.
The dynamic between the two women grows tense as Leila’s impulsiveness clashes with Roya’s reserved nature. After dinner, Leila suggests going for a walk, dismissing Roya’s meticulous cleaning habits with impatience. Roya, though annoyed, feels obligated to accommodate her guest and reluctantly agrees. Leila’s behavior—rolling her eyes at Roya’s routines and waiting impatiently by the door—highlights their contrasting personalities. Roya’s internal frustration is palpable as she struggles to reconcile her desire for order with Leila’s carefree attitude.
The chapter captures Roya’s internal conflict between her yearning for independence and the societal expectations placed upon her. Her pregnancy, unconfirmed but deeply felt, symbolizes the impending loss of her fleeting freedom. Leila’s presence serves as both a disruption and a mirror, reflecting Roya’s suppressed desires and frustrations. The tension between the two women underscores the broader themes of autonomy, marriage, and the unspoken constraints of their lives in 1980s Tehran.
FAQs
1. How does the narrator describe her feelings about life and autonomy at the beginning of the chapter, and how does this relate to her reaction to Leila’s arrival?
Answer:
The narrator expresses a complex relationship with life, describing it as something she “never really loved” and comparing her experience to being unable to perceive a cloud’s shape from within it. She values small moments of autonomy—like sipping tea alone or doodling—as rare reprieves from her domestic duties. This context explains her intense frustration when Leila arrives, as the narrator had been eagerly anticipating her husband Ali’s annual fishing trip as a time of complete freedom. The unwelcome presence of a guest threatens her precious “days of total autonomy,” making Leila’s imposition particularly disruptive to her fragile sense of self.2. Analyze the power dynamics in the narrator’s marriage to Ali as revealed through her pregnancy concerns and Leila’s comments about Gilgamesh.
Answer:
While the narrator notes her marriage isn’t as restrictive as some (wives needing permission to use bathrooms), subtle power imbalances emerge. She delays confirming her pregnancy to avoid Ali’s “devout attention” and pity, suggesting she manages his reactions rather than sharing openly. Leila’s mocking description of Gilgamesh—comparing him to an alien mimicking human behavior—parallels this dynamic, highlighting how both women navigate husbands who exert control in different ways (Gilgamesh dictating footwear, Ali unilaterally agreeing to Leila’s stay). The narrator’s silent resentment when Leila dismisses talking about husbands underscores how marital power structures permeate their lives.3. How does the author use contrasting characterization to develop the relationship between Roya and Leila?
Answer:
Sharp contrasts immediately establish tension: Roya is methodical (slowly cleaning dishes despite Leila’s impatience) and guarded (keeping her face still during personal revelations), while Leila is impulsive (diving into food, rolling her eyes) and boundary-pushing (mocking her husband, demanding walks at night). Roya’s internalized restraint (“Myself?” left unsaid) clashes with Leila’s performative boldness (pantomiming Gilgamesh’s dancing). These differences create friction—Roya perceives Leila as rude, while Leila dismisses Roya’s habits as unnecessary—but also curiosity, as Leila’s unpredictability begins to crack Roya’s reserved exterior when she almost smiles at the alien joke.4. What symbolic significance might the narrator’s unconfirmed pregnancy hold in relation to the chapter’s themes?
Answer:
The unconfirmed pregnancy symbolizes the narrator’s suspended agency and looming transformation. Like her hesitation to take the test, she clings to a liminal space where change isn’t “real” yet—a temporary reprieve from Ali’s expectations and the irreversible shift motherhood would bring. The physical symptoms (metallic taste, sore breasts) mirror her emotional state: a body and life increasingly beyond her control. This parallels her broader struggle for autonomy, as both pregnancy and Leila’s arrival represent unwelcome intrusions on her carefully managed solitude. The spotting introduces tension—will this potential child, like Leila, disrupt her fragile equilibrium?5. Evaluate how the chapter portrays female relationships within the constraints of patriarchal society.
Answer:
The chapter presents a nuanced view of female bonds strained by patriarchal structures. Forced together by their husbands’ arrangements, Roya and Leila initially interact with wary politeness masking irritation—a dynamic shaped by male absence (the fishing trip) and presence (unilateral decisions about Leila’s stay). Their tentative connection emerges through shared humor about husbands, suggesting solidarity might form in these cracks of male control. However, Leila’s dismissal of domestic labor (“Who are you cleaning up for?”) highlights class or ideological divides in how women navigate oppression. The relationship remains fraught with unspoken competition and reluctant curiosity, reflecting how systemic constraints complicate female friendships.
Quotes
1. “I never really loved being alive. It’s hard to get there without some sort of distance. Hard to describe the shape of a cloud from inside the cloud.”
This opening reflection by Roya captures her profound sense of detachment and existential weariness. The poetic metaphor illustrates her struggle to perceive life’s meaning while immersed in its daily burdens.
2. “Just being perceived, all the time being perceived, was itself exhausting. Ali’s vacations were vacations for me too.”
This quote reveals the oppressive nature of Roya’s marital dynamic and the constant performance of womanhood in her society. It highlights how even benign male presence requires emotional labor.
3. “Making some blue lines appear on a pregnancy stick would mean I would have to tell Ali, and once I told Ali, I knew nothing would be the same. I just wanted to be vacant a little longer.”
Roya’s conflicted feelings about her pregnancy demonstrate her desire to preserve autonomy in a system that would erase her individuality through motherhood. The word “vacant” poignantly expresses her yearning for temporary nonexistence.
4. “‘He’s like an alien who pretends to be human. “Ah, this is food? I shall eat this. Ah, dancing? Let me try that,“’ she said, pantomiming her husband in a sort of dance seizure.”
Leila’s humorous yet cutting description of her husband Gilgamesh reveals the absurdity of patriarchal performance. This moment marks the beginning of their subversive bonding through shared irreverence toward their husbands.
5. “‘Oh come on, Roya jaan, just leave it! Who are you even cleaning up for?’ Myself? I thought reflexively but did not say.”
This exchange crystallizes the tension between Roya’s ingrained domestic discipline and Leila’s liberating disregard for gendered expectations. The unspoken “Myself?” reveals Roya’s dawning self-awareness about performing wifely duties without authentic purpose.
Quotes
1. “I never really loved being alive. It’s hard to get there without some sort of distance. Hard to describe the shape of a cloud from inside the cloud.”
This opening reflection by Roya captures her profound sense of detachment and existential weariness. The poetic metaphor illustrates her struggle to perceive life’s meaning while immersed in its daily burdens.
2. “Just being perceived, all the time being perceived, was itself exhausting. Ali’s vacations were vacations for me too.”
This quote reveals the oppressive nature of Roya’s marital dynamic and the constant performance of womanhood in her society. It highlights how even benign male presence requires emotional labor.
3. “Making some blue lines appear on a pregnancy stick would mean I would have to tell Ali, and once I told Ali, I knew nothing would be the same. I just wanted to be vacant a little longer.”
Roya’s conflicted feelings about her pregnancy demonstrate her desire to preserve autonomy in a system that would erase her individuality through motherhood. The word “vacant” poignantly expresses her yearning for temporary nonexistence.
4. “‘He’s like an alien who pretends to be human. “Ah, this is food? I shall eat this. Ah, dancing? Let me try that,“’ she said, pantomiming her husband in a sort of dance seizure.”
Leila’s humorous yet cutting description of her husband Gilgamesh reveals the absurdity of patriarchal performance. This moment marks the beginning of their subversive bonding through shared irreverence toward their husbands.
5. “‘Oh come on, Roya jaan, just leave it! Who are you even cleaning up for?’ Myself? I thought reflexively but did not say.”
This exchange crystallizes the tension between Roya’s ingrained domestic discipline and Leila’s liberating disregard for gendered expectations. The unspoken “Myself?” reveals Roya’s dawning self-awareness about performing wifely duties without authentic purpose.
— Unknown
FAQs
1. How does the narrator describe her feelings about life and autonomy at the beginning of the chapter, and how does this relate to her reaction to Leila’s arrival?
Answer:
The narrator expresses a complex relationship with life, describing it as something she “never really loved” and comparing her experience to being unable to perceive a cloud’s shape from within it. She values small moments of autonomy—like sipping tea alone or doodling—as rare reprieves from her domestic duties. This context explains her intense frustration when Leila arrives, as the narrator had been eagerly anticipating her husband Ali’s annual fishing trip as a time of complete freedom. The unwelcome presence of a guest threatens her precious “days of total autonomy,” making Leila’s imposition particularly disruptive to her fragile sense of self.
2. Analyze the power dynamics in the narrator’s marriage to Ali as revealed through her pregnancy concerns and Leila’s comments about Gilgamesh.
Answer:
While the narrator notes her marriage isn’t as restrictive as some (wives needing permission to use bathrooms), subtle power imbalances emerge. She delays confirming her pregnancy to avoid Ali’s “devout attention” and pity, suggesting she manages his reactions rather than sharing openly. Leila’s mocking description of Gilgamesh—comparing him to an alien mimicking human behavior—parallels this dynamic, highlighting how both women navigate husbands who exert control in different ways (Gilgamesh dictating footwear, Ali unilaterally agreeing to Leila’s stay). The narrator’s silent resentment when Leila dismisses talking about husbands underscores how marital power structures permeate their lives.
3. How does the author use contrasting characterization to develop the relationship between Roya and Leila?
Answer:
Sharp contrasts immediately establish tension: Roya is methodical (slowly cleaning dishes despite Leila’s impatience) and guarded (keeping her face still during personal revelations), while Leila is impulsive (diving into food, rolling her eyes) and boundary-pushing (mocking her husband, demanding walks at night). Roya’s internalized restraint (“Myself?” left unsaid) clashes with Leila’s performative boldness (pantomiming Gilgamesh’s dancing). These differences create friction—Roya perceives Leila as rude, while Leila dismisses Roya’s habits as unnecessary—but also curiosity, as Leila’s unpredictability begins to crack Roya’s reserved exterior when she almost smiles at the alien joke.
4. What symbolic significance might the narrator’s unconfirmed pregnancy hold in relation to the chapter’s themes?
Answer:
The unconfirmed pregnancy symbolizes the narrator’s suspended agency and looming transformation. Like her hesitation to take the test, she clings to a liminal space where change isn’t “real” yet—a temporary reprieve from Ali’s expectations and the irreversible shift motherhood would bring. The physical symptoms (metallic taste, sore breasts) mirror her emotional state: a body and life increasingly beyond her control. This parallels her broader struggle for autonomy, as both pregnancy and Leila’s arrival represent unwelcome intrusions on her carefully managed solitude. The spotting introduces tension—will this potential child, like Leila, disrupt her fragile equilibrium?
5. Evaluate how the chapter portrays female relationships within the constraints of patriarchal society.
Answer:
The chapter presents a nuanced view of female bonds strained by patriarchal structures. Forced together by their husbands’ arrangements, Roya and Leila initially interact with wary politeness masking irritation—a dynamic shaped by male absence (the fishing trip) and presence (unilateral decisions about Leila’s stay). Their tentative connection emerges through shared humor about husbands, suggesting solidarity might form in these cracks of male control. However, Leila’s dismissal of domestic labor (“Who are you cleaning up for?”) highlights class or ideological divides in how women navigate oppression. The relationship remains fraught with unspoken competition and reluctant curiosity, reflecting how systemic constraints complicate female friendships.
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