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Argument: The Kite Runner reflects a modern day allegory of humanitarianism. Hosseini's novel shows the shift from race and nation as primary community and national builders to the modern individual shaping to form "the human". Claims: Khaled Hosseini humanized a country (Afghanistan) many in the West find inhuman. The author combined elements of coming to age, culture, and a morality tale to bring a real-life humanization to his characters. The novel discerns between "good Muslim" and "bad Muslim" and the shaping of what it means to be a "good Muslim", especially in today's modern world.  Evidence: "The identification of "universality" in a third world work of fiction has long been a mode of praise and acceptance, and a means of selecting which third world texts are worth reading in the West; this practice clearly 'take[s] the white reader to be the norm'" - "To some degree, the novel's portrayal of Amir's turn to Islam as personal spirituality problematizes the totalizing representations of Islam in western media accounts of the so-called "War on Terror", and, more generally, in a variety of Orientalist discourses. Yet at the same time, by conforming to the narrative expectations of the western reader, and affirming the dominant cultural values of that reader (i.e. religion as personal), the novel translates difference into sameness." - "The Kite Runner opens by foregrounding the themes of sin, guilt, and redemption, which shape the narrative"

Louisa Ermelino's article comprises an interview done with Khaled Hosseini, author of A Thousand Splendid Suns and The Kite Runner. Expressed in the text and through Hosseini's own words, a picture of not only his personality, but his conception of Afghan culture arrives in strong concentration. And although the article focuses on his 'up and coming' novel A Thousand Splendid Suns, the author focuses on both Hosseini and his work. Stated in the article, Hosseini published his first book with 'obscurity.' A book like The Kite Runner had never reached such a great popularity. Hosseini wrote the books as an Afghani-American. His culture comes from that found in Afghanistan, yet he must part his own culture due to the fact he does not believe in the extremes found in Islam. Separating cultures and influences gave Hosseini an unadulterated view of Afghanistan, one filled with both love and misery for such a rich culture with social destitute. Yet, he writes about controversial topics, forced to when much is unknown and hidden in the Afghani culture. Hosseini states this himself, saying when he addresses sex in A Thousand Splendid Suns, "'Sex is such a taboo subject in Afghanistan, but it's a need or a means to something, and I wanted to write about these women in the full scope of their lives, spiritual and physical. In a society where invisibility is modesty, this is scandalous'" he brings out the underlying area in their society in both novels, areas many, even in the States, are uncomfortable with. Through his writing Hosseini plans to redefine Afghan culture, to reintroduce it through the eyes of two young women. Because they are women, burqas come to represent them rather than repress them, though, with some limitations, "For the urban women, the burqa was a disaster, but in the villages, many women wear it by choice, and this is the least of their problems, even though it's so visible to the West" and with new cultural understanding of Afghani

women and the roles their clothing plays when representing them. Khaled Hosseini gives a strong and fresh view of his people and culture in the twenty first century, which helps to shape the book and the characters within.

Although the author summarizes the novel, they add flashes of insight to each character and relate A Thousand Splendid Suns to The Kite Runner. Chua offers her opinions and literary analysis to characters and the theme of the novel.  With support, Chua offers that Rasheed, Jalil, and Hakim all foil one another, "Hosseini has adadmirably conceived him [ Hakim] as a foil to Jalil (who is weak like Babi [Hakim], but selfish) and to Rasheed (who is far from weak, and also selfish)." Each of the men represent a father figure, either to Mariam or Laila, or Laila's children. What they exemplify, which Chua does not touch on, is how a father treats his daughters. In a society where women are second to men, the way a father may dote (or mistreat) his daughter puts a twist on the gender roles in Afghani society.  Chua does touch on one of the main characters with a specific purpose. Mariam, a bastard child, often finds herself at the blunt end of trauma in the book. The author of the essay speculates that because Mariam's mother killed herself, "the defining trauma, then, teaches Mariam that to assert oneself, to dare, to take the initiative is to suffer pain, cause hurt to others, and precipitate tragedy". She accepts the hatred that comes to her from Rasheed and forces herself to live in a hardened bubble she created because she "deserves" to be punished. Mariam faces the challenged many Afghani women find themselves in and handles it much like the others. Although unhappy she remains with Rasheed and only the bravery found within herself inevitably saves Laila, but destroys Mariam's own life. The change in character after her mother dies should not be over looked and in fact Mariam's subservient attitudes should be noted and compared to whether the death of her mother had any effect on her decisions.