Adil Pasha Quotes in Home Fire
“Do you consider yourself British?” the man said.
“I am British.”
“But do you consider yourself British?”
“I’ve lived here all my life.” She meant there was no other country of which she could feel herself a part, but the words came out sounding evasive.
Parvaiz was the person Aneeka talked to about all her griefs and worries, but it was Isma she came to for an embrace, or a hand to rub her back, or a body to curl up against on the sofa. And when the burden of the universe seemed too great for Isma to bear—particularly in those early days after their grandmother and mother had died within the space of a year, leaving Isma to parent and provide for two grief-struck twelve-year-olds—it was Aneeka who would place her hands on her sister's shoulders and massage away the ache.
“Parvaiz is not our father. He’s my twin. He’s me. But you, you’re not our sister anymore.”
“Aneeka…”
“I mean it. You betrayed us, both of us. And then you tried to hide it from me. Don’t call, don’t text, don’t send me pictures, don’t fly across the ocean and expect me to ever agree to see your face again. We have no sister.”
“It’s harder for him,” he said. “Because of his background. Early on, in particular, he had to be more careful than any other MP, and at times that meant doing things he regretted. But everything he did, even the wrong choices, were because he had a sense of purpose. Public service, national good, British values […].”
There he sat, his father’s son. It didn’t matter if they were on this or that side of the political spectrum, or whether the fathers were absent or present, or if someone else had loved them better, loved them more: in the end they were always their fathers' sons.
They’d returned most of the items they took, but not the pictures of Adil Pasha climbing a mountain, sitting beside a campfire, wading across a stream—sometimes alone, sometimes in the company of other men, always smiling, always with a gun slung over his shoulder or cradled in his lap. When you’re old enough, my son, his father had inscribed inside it, which made Parvaiz’s mother furious for reasons he didn't then understand.
Or Farooq would talk and Parvaiz would listen to those stories of his father for which he’d always yearned—not a footloose boy or feckless husband but a man of courage who fought injustice, saw beyond the lie of national boundaries, kept his comrades’ spirits up through times of darkness.
The ache in his back had begun to recede and he remembered how, before the pain had become too unbearable for any thought beyond his own suffering, he had turned his head toward the wall, toward the photograph of his father, and there was this understanding, I am you, for the first time.
He had survived military training, during which he learned that fear can drive your body to impossible feats, and that the men of his father’s generation who fought jihad in Bosnia, Chechnya, Kashmir, all went home to their families for the winter months. That piece of information had made him blubber into his pillow at night, not because it made him understand that his father had never loved him (though he did understand that) but because he finally saw that he was his father’s son in his abandonment of a family who had always deserved better than him.
The man with the explosives around his waist holds up both his hands to stop her from coming to him. “Run!” he shouts. “Get away from me, run!” And run she does, crashing right into him, a judder of the camera as the man holding it on his shoulder flinches in expectation of a blast. At first the man in the navy shirt struggles, but her arms are around him, she whispers something, and he stops. She rests her cheek against his, he drops his head to kiss her shoulder. For a moment they are two lovers in a park, under an ancient tree, sun-dappled, beautiful, and at peace.
Adil Pasha Quotes in Home Fire
“Do you consider yourself British?” the man said.
“I am British.”
“But do you consider yourself British?”
“I’ve lived here all my life.” She meant there was no other country of which she could feel herself a part, but the words came out sounding evasive.
Parvaiz was the person Aneeka talked to about all her griefs and worries, but it was Isma she came to for an embrace, or a hand to rub her back, or a body to curl up against on the sofa. And when the burden of the universe seemed too great for Isma to bear—particularly in those early days after their grandmother and mother had died within the space of a year, leaving Isma to parent and provide for two grief-struck twelve-year-olds—it was Aneeka who would place her hands on her sister's shoulders and massage away the ache.
“Parvaiz is not our father. He’s my twin. He’s me. But you, you’re not our sister anymore.”
“Aneeka…”
“I mean it. You betrayed us, both of us. And then you tried to hide it from me. Don’t call, don’t text, don’t send me pictures, don’t fly across the ocean and expect me to ever agree to see your face again. We have no sister.”
“It’s harder for him,” he said. “Because of his background. Early on, in particular, he had to be more careful than any other MP, and at times that meant doing things he regretted. But everything he did, even the wrong choices, were because he had a sense of purpose. Public service, national good, British values […].”
There he sat, his father’s son. It didn’t matter if they were on this or that side of the political spectrum, or whether the fathers were absent or present, or if someone else had loved them better, loved them more: in the end they were always their fathers' sons.
They’d returned most of the items they took, but not the pictures of Adil Pasha climbing a mountain, sitting beside a campfire, wading across a stream—sometimes alone, sometimes in the company of other men, always smiling, always with a gun slung over his shoulder or cradled in his lap. When you’re old enough, my son, his father had inscribed inside it, which made Parvaiz’s mother furious for reasons he didn't then understand.
Or Farooq would talk and Parvaiz would listen to those stories of his father for which he’d always yearned—not a footloose boy or feckless husband but a man of courage who fought injustice, saw beyond the lie of national boundaries, kept his comrades’ spirits up through times of darkness.
The ache in his back had begun to recede and he remembered how, before the pain had become too unbearable for any thought beyond his own suffering, he had turned his head toward the wall, toward the photograph of his father, and there was this understanding, I am you, for the first time.
He had survived military training, during which he learned that fear can drive your body to impossible feats, and that the men of his father’s generation who fought jihad in Bosnia, Chechnya, Kashmir, all went home to their families for the winter months. That piece of information had made him blubber into his pillow at night, not because it made him understand that his father had never loved him (though he did understand that) but because he finally saw that he was his father’s son in his abandonment of a family who had always deserved better than him.
The man with the explosives around his waist holds up both his hands to stop her from coming to him. “Run!” he shouts. “Get away from me, run!” And run she does, crashing right into him, a judder of the camera as the man holding it on his shoulder flinches in expectation of a blast. At first the man in the navy shirt struggles, but her arms are around him, she whispers something, and he stops. She rests her cheek against his, he drops his head to kiss her shoulder. For a moment they are two lovers in a park, under an ancient tree, sun-dappled, beautiful, and at peace.
