55 pages • 1 hour read
Randa JarrarA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Nidali, Mama, and Gamal arrive in Texas. As Baba drives them to their new home, Nidali marvels at how clean the streets are and how the drivers stay in their lanes and obey traffic signals.
They reach their new home: a long, narrow house a few steps off the ground, with tiny bedrooms and—to Nidali’s shock and disappointment—no bidet. She will have to masturbate in the bath instead of on the bidet, which she believes can lead to developing “power issues” because “in a bidet, the girl is on top, but in America, where one has to do it in the bath, one is on the bottom, and so is always dominated” (217).
The family becomes accustomed to local ways. On public transport, Mama is often mistaken by locals as a fellow Latina, and they don’t believe her when she says she’s Egyptian.
Nidali starts school, and she finds the adjustment more jarring than her previous experience; Egypt was less of a culture shock for her than America. Her teachers scold her for not standing and reciting the pledge of allegiance, and she eventually learns to go through the motions. Rather than sitting with other students in the cafeteria, where students segregate themselves into cliques according to race, she eats lunch in the bathroom.
At home, she masturbates in bed, but rather than thinking of Fakhr, she thinks of a classmate named Omar Medina who sits next to her in pre-calculus.
One day, Nidali decides to emerge from her usual hiding place and eat in the cafeteria. She beelines for an abandoned table but is approached by a girl named Dimi who tells her that no one sits at that table because it is cursed. Dimi invites Nidali to join her and another girl, Camilla. The two girls correct Nidali’s English as she speaks, commenting that Nidali speaks like she’s on NPR. Nidali wishes that she could “translate herself” (225)—the fullness of her personality—into English, a language she learned through imitating radio broadcasters.
After school, Mama agrees to take the three girls shopping. As the girls peruse the mall, Mama sits at a piano and eventually starts playing. Dimi and Camilla pick out pants for Nidali. Mama convinces a begrudging security guard to let her come to the mall once a day and play for free.
Mama begins to make lots of friends from the neighborhood. Baba, by contrast, believes that they’re there “to be educated and make money, not friends” (229). Mama takes up gardening, regularly has neighbors over to visit her, and manages to find an old piano that she moves into the house with the help of a dozen men.
One day, Mama draws a lotus on the ground with chalk. The next day, a real lily floats in the pond in the backyard. Nidali is jealous of how quickly Mama has established a life in Texas and “how easily she seemed to root herself there” (231).
Nidali ends the chapter with a narrative shift, moving from speaking about her life in the first person to the second person.
Throughout this chapter, Nidali narrates her life in the second person and present tense.
Nidali continues to spend time with Dimi and Camilla at school and eventually becomes friends with another girl, Aisha. Fakhr writes her letters, and she writes back to him until her father discovers the correspondence and forbids her from contacting Fakhr. Baba also tells her that she is not allowed to attend a rap concert with her friends.
One day, fed up, Nidali decides to run away. She steals her father’s credit card and attempts to sell her gold necklaces at a pawn shop but gives up, indignant at the low prices offered to her. She decides that she needs to become a taco vendor and tries to apply for a street license. The man asks her how old she is, then tries to proposition her. Nidali escapes to a motel, checks in under a fake name, and calls her parents. She negotiates with them, withholding her location until her father gives in to some of her demands. He allows her to resume contact with Fakhr but says that she is not allowed to date. She agrees to these terms, though she muses internally that she “will regret not having negotiated more on the dating bit” (237).
Mama confides in Nidali that she has kept all the letters sent by Fakhr since Baba forbid them from corresponding, implying that Nidali can have the letters if she wants.
Nidali shifts back to narrating in the first person and past tense.
During Nidali’s sophomore year, Mama tells Baba that she thinks Nidali is bored because she is not being challenged enough. Mama convinces the principal to advance Nidali to 11th grade.
For the next few weeks, Nidali tries to convince her father to extend her curfew. She wants to stay at the library until closing, at ten o’clock, rather than being forced to leave an hour earlier. She also wants to attend a poetry slam on Saturdays. Finally, in a last-ditch effort, Nidali writes a faux suicide note and hands it to her father. Unfazed, Baba forbids her from attending the poetry slam but approves her later library curfew.
Nidali narrates this chapter in present tense, with a mix of first person and second person point of view. The chapter is broken into small, short, numbered sections.
Nidali describes Baba’s life in America. He spends his days working, commuting to and from the office by bus. Nidali depicts his life as monotonous. Baba yearns to build his own house, but loan agents repeatedly reject his loan applications. He tries to build his credit by applying for more credit cards.
One day, Nidali’s family receives a letter in the mail telling them that they are the winners of $10,000,000. They spend all night giddily fantasizing about how they’ll spend the money. Then they read the fine print on the mailer and realize that they didn’t win anything—it was just a marketing ploy.
Mama makes money teaching piano classes. Lots of neighbors come over to visit her. She opens her own bank account and gets a credit card. She applies for a mortgage, but after the loan officer asks for her taxes, Mama realizes that she hasn’t filed any, and she spends the next 133 lessons earning enough money to pay back what she owes “so she won’t go to jail” (244).
A boy from school asks Nidali out on a date. The “date” consists of an invitation to his house. There, the boy sexually assaults Nidali, forcing himself into her mouth. Nidali bites him and runs away. The boy spreads rumors at school that Nidali is a “whore,” and her father starts calling her a “whore” as well (245).
On the way home from work, Baba sees a model of a mobile home. He becomes enamored with the idea of getting a mobile home, but Mama does not approve.
Nidali notices that Mama and Baba fight less than they used to, and the fights that they do have are not quite as violent.
Baba receives an anonymous letter saying that his daughter “sucks dicks” (248). He beats up Nidali and berates her. Nidali dares him to kill her. Baba chases her around with a knife. Nidali calls the police, and they document her injuries. She takes Baba to court but drops the charges. Nidali comments, “It’s hard to buy a house when you have a criminal record” (249).
Nidali shifts to third person perspective, referring to herself by her name and referring to Baba by his name, Waheed. She describes a seemingly normal day during which her family tries to eat out at a restaurant, but all the restaurants nearby are mysteriously closed. Her family later finds out that this day was Thanksgiving.
Mama finds out that their home is actually a mobile home. Out of anger, she recruits her piano tuner to use his truck to turn their home around, like how “Jahilia’s women turned their tents around when they wanted to divorce their husbands” (250). Baba comes home and laughs.
Mama, Nidali, and Gamal buy a Christmas tree and bring it home. When Baba comes home, he starts sneezing and orders them to throw out the tree. They refuse to comply. Baba then screams until he passes out from exhaustion. Nidali observes that he “cannot change the fact that our household is changing” (252). The next day, he gets up and goes back to work.
In defiance, Nidali smears a booger on one of her application forms. Baba tears it up and starts a new one. His face glows as if he is the one applying to school instead of Nidali.
Baba hears Nidali listening to Jay-Z in her room. He says that he recognizes the music—not the Jay-Z song but the Ab-Halim song it’s sampling (Ab-Halim is a famous Egyptian singer). Nidali and Baba talk about the song, then Nidali uses humor to steer the conversation toward school. She asks Baba how he’d feel if she went far away for college, but Baba protests.
Nidali meets with her college counselor, Ms. Quiff. Even though Ms. Quiff knows that Nidali’s parents want her to go to school nearby, Nidali manages to convince Ms. Quiff to let her apply to one out-of-state school, telling the counselor, “I’d like to apply to one college that is known for its writing program, preferably on the East Coast. Just for the hell of it. Like a lotto ticket” (257). Ms. Quiff acquiesces and gives Nidali a college reference book. Nidali goes to the park and reads it like a “porno”—as if it’s a dirty magazine she must keep secret from her parents—and sets her sights on “a small college in Boston” (259).
Baba forces Nidali to write compositions every night, thinking that this writing practice will prepare her for the statement of purpose on her college applications. He makes her write “in both English and Arabic, about something purely Arab, or relating to my Arabness, or to a famous Arab” (261).
Around this same time, Baba decides to play the lotto on a regular basis. He does this by dictating numbers to Nidali and giving her $50 each time to buy the tickets.
The narrative displays several of Nidali’s writing compositions, which Nidali spells “combozishans” to imitate her father’s accent in English (261). Nidali defies Baba’s instructions by writing wild stories, using swear words, or writing about pop culture. When Baba sees these compositions, he tears them up and dictates his own thoughts to Nidali instead.
One night, Baba finds out that he won $3,000 in the lotto, but Nidali reveals that she pocketed all his lotto money instead of buying the tickets, so he didn’t actually win. She sees this as her well-deserved compensation for serving as Baba’s scribe.
Nidali reveals that she used $50—out of the $600 in lotto money she pocketed—to secretly apply to the “forbidden-fruit college in Boston” (269).
A couple weeks later, Nidali visits Omar Medina—her crush from school, whom she calls “Medina”—to study with him. Nidali knows that Medina broke up with his girlfriend after he found out she cheated on him and that he is now “on a rebound rampage” (270). Nidali asks him to rebound with her, but Medina protests, saying that Nidali is more like a cousin to him.
Nidali sits on a chair and gets stung in the rear by a wasp and starts having a reaction. Medina gives her aloe and some medicine and sits with her on the bed.
Eventually, Medina kisses Nidali, and they have sex. Nidali orgasms but Medina does not; he says he can only do so if he’s in love, and he starts to cry. Nidali leaves.
At home, she washes the blood from between her legs and sits on an ice pack to nurse her wasp sting. She “felt a sense of panic about whether I would be loved now that I was no longer a virgin, then thought of why I would ever want to marry someone who would hold that condition over me” (276).
One night, Mama wakes up Nidali in the middle of the night and asks her if she’s not a virgin; she thinks that Nidali had sex. Nidali finally admits that she did. Mama tells her that she still loves her.
Nidali receives a big envelope in the mail from the college in Boston. She shoves it into a bush, hiding it to read later. Mama opens a letter from the bank and screams in joy—they’ve been approved for a mortgage.
Nidali goes to prom. She graduates from high school. Finally, she opens the letter from Boston. She reads it and finds out that she got in. Baba tells Nidali that she is not allowed to go to school in Boston. She hatches a plan to run away. She sneaks out and stays at her friend Dimi’s house for 10 days. On the 10th day, Mama comes to Dimi’s house, searching for Nidali. Mama yells for Nidali but Nidali stays hidden.
Nidali comes home. She sees that most of her mother’s hair has turned white. Mama swears at Nidali, and Nidali apologizes. Seeing her mother’s white hair with strands of black, she thinks to herself that it looks like a piano. Mama goes to bed and sleeps for hours, not waking up even when Baba and Nidali scream at each other.
Baba tells Nidali that Mama stayed awake for all 10 nights, worried about her. Nidali tells Baba that she “want[s] to do college right, because […] it means a lot to” her (288). Baba reminisces about holding Nidali as a baby.
The night before Nidali leaves for Boston, Mama gives her a box of letters that Mama and Baba wrote to each other during their courtship. She tells Nidali to never forget her family.
The narrative ends with Nidali recounting an anecdote about her family. Mama and Baba argue over a pen that a woman on an airplane handed Baba 20 years ago. Mama believes that the pen is a spy pen. The family tries to break the pen open in various ways. When that doesn’t work, they decide to drive into the country and fling the pen out the window.
In these chapters, Jarrar employs fragmentation as well as shifts in tense and narrative perspective to illustrate Nidali’s disjointed sense of identity and the impact of trauma on her experiences. The narrative shifts between first, second, and third-person point of view, and moves back and forth between present and past tense. Chapter 16 breaks away from the coherent structure of the rest of the narrative and consists of a series of fragmented vignettes, each capturing a different memory. These stylistic choices reflect Nidali’s inner state as she grapples with extreme circumstances.
Nidali’s fragmented narration mirrors her dissociation and serves as a coping mechanism to distance herself from her trauma. This fragmentation begins in Chapter 13 when Nidali compares her mother’s rootedness to her own sense of displacement and rootlessness. While Mama flourishes in her new home, Nidali struggles to find a sense of belonging: “I felt splintered, like the end of a snapped-off tree branch. I had even taken to talking to myself, keeping me company, narrating my own movements. In this way, me became her, I became Nidali, you, she” (231). Nidali’s sense of self splinters further as she experiences extreme trauma, coping with sexual assault as well as life-threatening violence at home. She narrates these two experiences in oblique ways, using second-person perspective and an instructive tone to convey the dissociation and detachment she feels from her own body. These narrative choices create a sense of protection and distancing, shielding Nidali from the full impact of her trauma while also highlighting the disconnection she feels from herself. Her writing reads like a warning to other young girls: “When a boy asks you on a date and you say yes, and he says you should come over to his house […]. Don’t go” (244). The mixed temporalities of the novel suggest a longing to warn her past self.
At school, the way in which students segregate themselves into separate lunch tables echoes the motif of the map. Nidali describes the student center as a global “map,” serving as a microcosm of global socioeconomic divisions. This emphasizes the theme of School as Both Refuge and Battleground. White, Black, and Latino students gravitate toward different tables, separating themselves according to race and economic class.
Nidali is not sure where she belongs within this map. As she struggles to adjust to life in America, she thinks to herself that she is losing her sense of “where home really was” (221). The theme of Multicultural Identity and the Meaning of Home recurs throughout these chapters. Baba yearns to build his own house, but loan officers repeatedly deny his applications. Baba, forced to become a refugee twice during his life, now seeks stability through homeownership. His dream of a house goes beyond just having a physical shelter; it represents a desire for permanence.
In these chapters, Baba and Mama experience their new lives in America in different ways. As characters, their respective trajectories invert: while Mama thrives and finds a sense of belonging in their new home, Baba grapples with a persistent sense of displacement and instability. Baba, formerly the confident and oppressive patriarch of the family, finds himself in a vulnerable position as he loses power within the household and feels his dream of a house slipping away. Mama, by contrast, adapts quickly to her new surroundings and forges strong ties within the community. She gains a sense of agency and independence, making her own money and opening a bank account.
The theme of Relationships as War continues throughout these chapters. Although Mama and Baba’s marriage settles into a less violent relationship, Nidali increasingly rebels against Baba and encounters violent resistance from him. She makes strategic moves to assert her independence and break free from his control, while he retaliates with harsh punishment. She runs away more than once, using her absence as a negotiation tactic to bargain for more freedom.
The motif of the pen appears several times in this section. Nidali uses a pen as she makes the fateful decision to fill out her application to the college in Boston—an action which leads to freedom and possibility. She also ends the story with an anecdote about a pen, using it as a metonym for storytelling and family legacy.
Lastly, the motif of nature and weather adds depth to Nidali’s experiences after she loses her virginity. Nidali decides that she will not worry about being judged for not being a virgin, and then she hears “water everywhere around me, until finally I realized that it was raining, pouring pails and buckets of heaven’s rain onto our metal roof above our head” (276). At different points in the novel, water has served as a conduit for Nidali’s sexuality: She uses the bidet and the bath to masturbate, she tells Fakhr to imitate the motion of water when he touches her, and she has a sexual encounter in the ocean. As Nidali contemplates the loss of her virginity, sitting on the bed after having wiped the blood from between her legs, the rain pouring down—not just rain, but “heaven’s rain”—represents a blessing and a cleansing, a purifying force that washes away the shame and judgment associated with her sexual experiences.