Set during the pivotal period of Afghanistan's ravaging war, Hosseini depicts women as the

targets for double standards and as a marginalised group in his novel The Kite Runner first
published in 2003. The theme of misogyny is explored through the vivid portrayal of the
mistreatments endured by the novel’s female characters.

Through the men’s biassed perception of females, the prejudice and powerlessness of women
could evidently be seen. The Russian soldier demanded thirty minutes with a female passenger,
the latter being treated inhumanely and humiliated in front of everyone in the truck, and the
‘soldier’s eyes settling’ on her made it clear that he solely saw her as a sexual object with which
to indulge his fantasies. The soldier takes advantage of the woman's lack of power by using his
position of privilege and gender against her. Rape, although in many instanced implied, serves
as a significant symbol in the novel: it highlights the power dynamics between the genders and
amplifies poignant reality of women being the disregarded gender. Not only does the women
being dehumanised, the safety and selfhood of Afghans that are stripped away represents the
rape of the country in its entirety by the intruders. Moreover, Amir’s deceased mother, Sofia,
also underscores the distinct gender roles in the traditional Afghan society. Although rarely
mentioned in the novel, her legacy and love for creative writing lives on through Amir, which are
deemed effeminate by Baba and Baba’s disapproval functions as a major factor towards the
deprivation of emotional connection between them. Amir’s hobby also contributes to his quiet
and unassertive nature: both of which are despised by Baba, indicating his belief that men
should only possess masculine qualities.

The novel also portrays societal expectations on women, mostly being enforced by men. This is
personified firstly through Hassan’s mother, Sanaubar. Initially, she is described as having ‘sent
countless men to reveries of infidelity’, once again the emphasis on outer appearances allude to
the devaluement of females, whose only purpose is to deliver pleasure for male. Her
abandonment of Hassan reflects the limited agency afforded to women in a patriarchal society:
she is capable of cutting down family relationships in order to seek a more promising and
prosperous life, by ‘[running] off with a clan of travelling singers’. Perhaps living in years of
guilt, she unexpectedly returned to Kabul to seek reconciliation with Hassan; now with ‘stringy
greying hair and sores on her arms’ which hints at the brutal punishments she suffered from by
transgressing the social boundaries and rebelling typical female role, the extreme length that
Sanaubar went to redeem herself demonstrate women’s resilience and strength even in the face
of harsh Taliban regime.

Hosseini also draws a link between Afghan and the more modernised American society in its
presentation of gender disparities, signifying how it is not confined to location. Soraya, who is
expected to gain reputation and upholding the family’s honour, is not able to engage in
inappropriate affairs and is ‘made [to] come home’; similar to the patriarchal structure in
Afghanistan, women are excluded from decision-making for matters such as marriage and plays
an insignificant role in the household.

The violence employed by the males in coercing females into following their orders. Hassan’s
wife Farzana is characterised as ‘a shy woman’ and ‘courteous’. This could be a harrowing
reflection to the extreme policies set by the Taliban against females. Whilst politeness is one of
the societal expectations for women, Farzana’s quiet nature is resulted from being publicly
beaten for speaking loudly. Women almost being voiceless signifies the restrictions posed on
their freedom of speech - they are forced to conform to male authority, the abuse experienced by
females further silence their voice and perpetuate their oppression.

Another character in the novel, Sohrab, although being a boy, is often associated with femininity
considering the abuse and his vulnerability. He is presented with feminine descriptions:
‘mascara’ and also ‘[unnaturally] red cheeks’; the colour red connotes blood and violence,
alluding to the hardships he has endured through. By depicting the Sohrab in a traditionally
feminine role or with feminine traits, the author may be aiming to evoke empathy from the
readers and shed light on the suffering of innocent victims, regardless of gender. Thus, his
feminisation does not necessarily justify the Taliban’s abuse ; rather, it underscores the injustice
and cruelty he faces whilst illustrating the devastating impact of war on an individual.

In essence, female characters represent the deprivation of power in Afghanistan. Through

Hosseini’s crafting of the novel’s characters, a diverse portrayal is presented of the multiple
ways in which sexism and the injustice for women is prevalent in the conservative Afghan
society.