Chapter Index
    Cover of There Are Rivers in the Sky
    Historical Fiction

    There Are Rivers in the Sky

    by testsuphomeAdmin
    There Are Rivers in the Sky by Radhika Maira Tabrez is a lyrical novel that explores the lives of two women, bound by fate yet separated by time and circumstance. Set against the backdrop of contemporary India, the story weaves together themes of family, identity, and the search for belonging. As the women navigate personal and cultural challenges, the novel delves into the transformative power of memory and the quiet strength found in everyday lives.

    In the year 2014, Nar­in is forcibly tak­en from her home, packed into a truck among women and chil­dren, as they trav­el towards Mosul. Over­whelmed with anguish and fear, she expe­ri­ences an intense sense of help­less­ness and lone­li­ness. As the con­voy moves, mem­o­ries of her grand­moth­er’s teach­ings about dis­tin­guish­ing wild herbs sur­face; they keep her teth­ered to the famil­iar­i­ty of home amid uncer­tain­ty.

    Nar­in reflects on the dual streams of good and evil with­in humans, a con­cept told in her grand­moth­er’s sto­ries. She recalls tales of malev­o­lent fig­ures who, despite their cru­el­ty, under­stood the nature of their actions. How­ev­er, the true hor­ror lies in the fanat­i­cal beliefs of those who com­mit atroc­i­ties while con­sid­er­ing them­selves holy. Nar­in strug­gles with the ques­tion of how any­one could please the Cre­ator by inflict­ing pain on His cre­ation. Her grand­moth­er’s teach­ings linger in her mind, urg­ing her to seek the light amidst despair, yet she feels trapped in dark­ness.

    As the con­voy halts at a sig­nif­i­cant build­ing in Mosul, Nar­in begins to real­ize the extent of the chaos unfold­ing around her. Women and chil­dren from var­i­ous Yazi­di set­tle­ments are gath­ered, reveal­ing a coor­di­nat­ed cam­paign against their cul­ture and com­mu­ni­ty. With dread, she wit­ness­es bru­tal vio­lence inflict­ed by mil­i­tants who are often famil­iar faces from her own life.

    Inside the build­ing, fear races through the room, filled with the cries and des­per­a­tion of cap­tives as mil­i­tants assert their pow­er. Nar­in is select­ed for trans­la­tion duties and is con­front­ed with accu­sa­tions of her peo­ple’s infi­deli­ty and her poten­tial fate as a ‘law­ful wife’ to mil­i­tants, invit­ing her to renounce her faith. In a moment of defi­ance, she cries out for her grand­moth­er, show­cas­ing her des­per­a­tion.

    After being phys­i­cal­ly abused and dragged across the floor, Nar­in los­es con­scious­ness. Upon wak­ing, she learns of her cap­tiv­i­ty and must con­tend with her sur­round­ings, the threat, and the lack of time. Despite her fears, she reveals her young age of nine, mark­ing her as a tar­get for exploita­tion. The cap­tives endure fur­ther indig­ni­ties, refus­ing to con­form to the mil­i­tants’ expec­ta­tions.

    As time pass­es in cap­tiv­i­ty, Nar­in meets Salma, a woman who once knew her grand­moth­er, and they find solace in shared mem­o­ries. How­ev­er, the grim real­i­ty of their sit­u­a­tion looms, with Salma hav­ing to nav­i­gate their har­row­ing exis­tence while pro­tect­ing Nar­in. Salma’s attempts to shield Nar­in from fur­ther harm demon­strate the bonds formed in their suf­fer­ing, but the omnipresent dan­ger of the commander’s demands con­tin­ues to threat­en their safe­ty and san­i­ty.

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