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For Laila, life in Murree is one of comfort and tranquillity. The work is not cumbersome, and, on their days off, she and Tariq take the children to ride the chairlift to Patriata hill, or go to Pindi Point, where, on a clear day, you can see as far as Islamabad and downtown Rawalpindi. There, they spread a blanket on the grass and eat meatball sandwiches with cucumbers and drink cold ginger ale.

Then one warm night in July 2002, she and Tariq are lying in bed talking in hushed voices about all the changes back home. There have been so many. The coalition forces have driven the Taliban out of every major city, pushed them across the border to Pakistan and to the mountains in the south and east of Afghanistan. ISAF, an international peacekeeping force, has been sent to Kabul. The country has an interim president now, Hamid Karzai.

It is a good life, Laila tells herself, a life to be thankful for. It is, in fact, precisely the sort of life she used to dream for herself in her darkest days with Rasheed. Every day, Laila reminds herself of this.

Laila decides that now is the time to tell Tariq.

A year ago, she would have gladly given an arm to get out of Kabul. But in the last few months, she has found herself missing the city of her childhood. She misses the bustle of Shor Bazaar, the Gardens of Babur, the call of the water carriers lugging their goatskin bags. She misses the garment hagglers at Chicken Street and the melon hawkers in Karteh-Parwan.

But it isn't mere homesickness or nostalgia that has Laila thinking of Kabul so much these days. She has become plagued by restlessness. She hears of schools built in Kabul, roads repaved, women returning to work, and her life here, pleasant as it is, grateful as she is for it, seems… insufficient to her. Inconsequential. Worse yet, wasteful. Of late, she has started hearing Babi's voice in her head. You can be anything you want, Laila, he says. I know this about you. And I also know that when this war is over, Afghanistan is going to need you.

Laila hears Mammy's voice too. She remembers Mammy's response to Babi when he would suggest that they leave Afghanistan. I want to see my sons' dream come true. I want to be there when it happens, when Afghanistan is free, so the boys see it too. They'll see it through my eyes. There is a part of Laila now that wants to return to Kabul, for Mammy and Babi, for them to see it through her eyes.

"I want to go back," she says.

Tariq sits up in bed and looks down at her.

And then, most compellingly for Laila, there is Mariam. Did Mariam die for this? Laila asks herself. Did she sacrifice herself so she, Laila, could be a maid in a foreign land? Maybe it wouldn't matter to Mariam what Laila did as long as she and the children were safe and happy. But it matters to Laila. Suddenly, it matters very much.

Laila is struck again by how beautiful he is, the perfect curve of his forehead, the slender muscles of his arms, his brooding, intelligent eyes. A year has passed, and still there are times, at moments like this, when Laila cannot believe that they have found each other again, that he is really here, with her, that he is her husband.

"Are you unhappy here? You seem happy. The children too."

"Back? To Kabul?" he asks.

"Only if you want it too."

Laila sits up. Tariq shifts on the bed, makes room for her.

"I am happy," Laila says. "Of course I am. But… where do we go from here, Tariq? How long do we stay? This isn't home. Kabul is, and back there so much is happening, a lot of it good. I want to be a part of it all. I want to do something. I want to contribute. Do you understand?"

She pulls him close and kisses his lips. She believes she has never loved him more than at this moment. "Thank you," she says, her forehead resting against his.

Tariq looks at his hands, then back up at her.

"Herat?"

"I want it, yes, I'm sure. But it's more than that. I feel like I have to go back. Staying here, it doesn't feel right anymore."

"Let's go home."

"Me?" he says. "I'll follow you to the end of the world, Laila."

Tariq nods slowly. "This is what you want, then? You're sure?"

"But only -- only -- if you want to go too."

Tariq smiles. The furrows from his brow clear, and for a brief moment he is the old Tariq again, the Tariq who did not get headaches, who had once said that in Siberia snot turned to ice before it hit the ground. It may be her imagination, but Laila believes there are more frequent sightings of this old Tariq these days.

THE CHILDREN NEED reassuring, each in their own way.

Laila explains.

"But first, I want to go to Herat," she says.

Laila has to sit down with an agitated Aziza, who still has nightmares, who'd been startled to tears the week before when someone had shot rounds into the sky at a wedding nearby. Laila has to explain to Aziza that when they return to Kabul the Taliban won't be there, that there will not be any fighting, and that she will not be sent back to the orphanage. "We'll all live together. Your father, me, Zalmai. And you, Aziza. You'll never, ever, have to be apart from me again. I promise." She smiles at her daughter. "Until the day you want to, that is. When you fall in love with some young man and want to marry him."

"I can't pry him off of her, Mammy," says Aziza.

On the day they leave Murree, Zalmai is inconsolable. He has wrapped his arms around Alyona's neck and will not let go.

"Zalmai. We can't take a goat on the bus," Laila explains again.

As she leans back and watches Sayeed receding in the rear window of the bus, Laila hears the voice of doubt whispering in her head. Are they being foolish, she wonders, leaving behind the safety of Murree? Going back to the land where her parents and brothers perished, where the smoke of bombs is only now settling?

It isn't until Tariq kneels down beside him, until he promises Zalmai that he will buy him a goat just like Alyona in Kabul, that Zalmai reluctantly lets go.

There are tearful farewells with Sayeed as well. For good luck, he holds a Koran by the doorway for Tariq, Laila, and the children to kiss three times, then holds it high so they can pass under it. He helps Tariq load the two suitcases into the trunk of his car. It is Sayeed who drives them to the station, who stands on the curb waving goodbye as the bus sputters and pulls away.

Or the thousand splendid suns that hide behind her walls.

And then, from the darkened spirals of her memory, rise two lines of poetry, Babi's farewell ode to Kabul:

THE WARS IN Afghanistan have ravaged the roads connecting Kabul, Herat, and Kandahar. The easiest way to Herat now is through Mashad, in Iran. Laila and her family are there only overnight. They spend the night at a hotel, and, the next morning, they board another bus.

One could not count the moons that shimmer on her roofs,

Mashad is a crowded, bustling city. Laila watches as parks, mosques, and chelo kebab restaurants pass by. When the bus passes the shrine to Imam Reza, the eighth Shi'a imam, Laila cranes her neck to get a better view of its glistening tiles, the minarets, the magnificent golden dome, all of it immaculately and lovingly preserved. She thinks of the Buddhas in her own country. They are grains of dust now, blowing about the Bamiyan Valley in the wind.

Laila settles back in her seat, blinking the wetness from her eyes. Kabul is waiting. Needing. This journey home is the right thing to do.

But first there is one last farewell to be said.

IN HERAT, most of the streets are paved, lined with fragrant pines. There are municipal parks and libraries in midconstruction, manicured courtyards, freshly painted buildings. The traffic lights work, and, most surprisingly to Laila, electricity is steady. Laila has heard that Herat's feudal-style warlord, Ismail Khan, has helped rebuild the city with the considerable customs revenue that he collects at the Afghan-Iranian border, money that Kabul says belongs not to him but to the central government. There is both a reverential and fearful tone when the taxi driver who takes them to Muwaffaq Hotel mentions Ismail Khan's name.

The bus ride to the Iranian-Afghan border takes almost ten hours. The terrain grows more desolate, more barren, as they near Afghanistan. Shortly before they cross the border into Herat, they pass an Afghan refugee camp. To Laila, it is a blur of yellow dust and black tents and scanty structures made of corrugated-steel sheets. She reaches across the seat and takes Tariq's hand.

The two-night stay at the Muwaffaq will cost them nearly a fifth of their savings, but the trip from Mashad has been long and wearying, and the children are exhausted. The elderly clerk at the desk tells Tariq, as he fetches the room key, that the Muwaffaq is popular with journalists and NGO workers.

THE NEXT MORNING, after a breakfast of tea with fresh bread, quince marmalade, and boiled eggs, Tariq finds her a taxi.

The room has two beds, and a bathroom with running cold water. There is a painting of the poet Khaja Abdullah Ansary on the wall between the beds. From the window, Laila has a view of the busy street below, and of a park across the street with pastel-colored-brick paths cutting through thick clusters of flowers. The children, who have grown accustomed to television, are disappointed that there isn't one in the room. Soon enough, though, they are asleep. Soon enough, Tariq and Laila too have collapsed. Laila sleeps soundly in Tariq's arms, except for once in the middle of the night when she wakes from a dream she cannot remember.

"I'll be fine," Laila says. "I promise. Take the children to a market. Buy them something."

"Are you sure you don't want me to come along?" Tariq says. Aziza is holding his hand. Zalmai isn't, but he is standing close to Tariq, leaning one shoulder on Tariq's hip.

"Bin Laden slept here once," he boasts.

"I'm sure."

"I worry."

"This was back in March 1979, about nine months before the Soviets invaded. Some angry Heratis killed a few Soviet advisers, so the Soviets sent in tanks and helicopters and pounded this place. For three days, hamshira, they fired on the city. They collapsed buildings, destroyed one of the minarets, killed thousands of people.

Zalmai begins to cry when the taxi pulls away, and, when Laila looks back, she sees that he is reaching for Tariq. That he is beginning to accept Tariq both eases and breaks Laila's heart.

Through the windshield, she sees coppersmiths welding brass handles to jugs, saddlemakers laying out cuts of rawhide to dry in the sun.

He has dark, shoulder-length hair -- a common thumbing of the nose at the departed Taliban, Laila has discovered -- and some kind of scar interrupting his mustache on the left side. There is a photo taped to the windshield, on his side. It's of a young girl with pink cheeks and hair parted down the middle into twin braids.

Laila tells him that she has been in Pakistan for the last year, that she is returning to Kabul. "Deh-Mazang."

"Oh, my whole life. I was born here. I've seen everything. You remember the uprising?"

"Have you lived here long, brother?" she asks.

"YOU'RE NOT FROM HERAT," the driver says.

Laila says she does, but he goes on.

"I'm sorry," Laila says, marveling at how every Afghan story is marked by death and loss and unimaginable grief. And yet, she sees, people find a way to survive, to go on. Laila thinks of her own life and all that has happened to her, and she is astonished that she too has survived, that she is alive and sitting in this taxi listening to this man's story.

Thousands. I lost two sisters in those three days. One of them was twelve years old." He taps the photo on his windshield. "That's her."

GUL DAMAN IS a village of a few walled houses rising among flat kolbas built with mud and straw. Outside the kol-bas, Laila sees sunburned women cooking, their faces sweating in steam rising from big blackened pots set on makeshift firewood grills. Mules eat from troughs. Children giving chase to chickens begin chasing the taxi. Laila sees men pushing wheelbarrows filled with stones. They stop and watch the car pass by. The driver takes a turn, and they pass a cemetery with a weather-worn mausoleum in the center of it. The driver tells her that a village Sufi is buried there.

THE MIDDLE-AGED man who opens the door is short, thin, russet-haired. His beard is streaked with parallel stripes of gray. He is wearing a chapan over his pirhan-tumban.

"Yes. I am his son, Hamza. Is there something I can do for you, hamshireh?"

"I won't be long," she says to the driver.

"Jalil Khan's daughter."

He blinks again. Then he puts a palm to his cheek and his face lights up with a smile that reveals missing and rotting teeth. "Oh!" he says. It comes out sounding like Ohhhhhh, like an expelled breath. "Oh! Mariam! Are you her daughter? Is she --" He is twisting his neck now, looking behind her eagerly, searching. "Is she here? It's been so long! Is Mariam here?"

"Is this Mullah Faizullah's house?" Laila asks.

He parks outside the walled, one-story house. Laila sees the tops of fig trees above the walls, some of the branches spilling over the side.

Hamza blinks. A puzzled look passes across his face.

"I've come here about an old friend of your father's, Mariam."

There is a windmill too. In the shadow of its idle, rust-colored vanes, three little boys are squatting, playing with mud. The driver pulls over and leans out of the window. The oldest-looking of the three boys is the one to answer. He points to a house farther up the road. The driver thanks him, puts the car back in gear.

"Mariam…"

They exchange salaam alaykums.

"She has passed on, I'm afraid."

The smile fades from Hamza's face.

"Come in," Hamza says. He swings the door open. "Please come in."

The boy leaves soundlessly.

THEY SIT ON the floor in a sparsely furnished room. There is a Herati rug on the floor, beaded cushions to sit on, and a framed photo of Mecca on the wall. They sit by the open window, on either side of an oblong patch of sunlight. Laila hears women's voices whispering from another room. A little barefoot boy places before them a platter of green tea and pistachio gaaz nougats. Hamza nods at him.

For a moment, they stand there, at the doorway, Hamza looking at the ground. A donkey brays somewhere.

Laila does. She tells him everything. It takes longer than she'd imagined. Toward the end, she struggles to maintain composure. It still isn't easy, one year later, talking about Mariam.

When she's done, Hamza doesn't say anything for a long time. He slowly turns his teacup on its saucer, one way, then the other.

"So tell me," Hamza says tiredly.

"My son."

"May I ask you something?"

"Of course."

Laila lowers her cup.

"My father, may he rest in peace, was so very fond of her," he says at last. "He was the one who sang azan in her ear when she was born, you know. He visited her every week, never missed. Sometimes he took me with him. He was her tutor, yes, but he was a friend too. He was a charitable man, my father. It nearly broke him when Jalil Khan gave her away."

"Can you show me?" she says. "Where Mariam lived. Can you take me there?"

"I'm sorry to hear about your father. May God forgive him."

Hamza nods his thanks. "He lived to be a very old man. He outlived Jalil Khan, in fact. We buried him in the village cemetery, not far from where Mariam's mother is buried. My father was a dear, dear man, surely heaven-bound."

Hamza and Laila exit the village and walk downhill on the road that connects Gul Daman to Herat. After fifteen minutes or so, he points to a narrow gap in the tall grass that flanks the road on both sides.

THE DRIVER AGREES to wait awhile longer.

They walk uphill this way for two hundred yards or more. Then the path levels, and opens into a flatter patch of land. They stop, catch their breath. Laila dabs at her brow with her sleeve and bats at a swarm of mosquitoes hovering in front of her face. Here she sees the low-slung mountains in the horizon, a few cottonwoods, some poplars, various wild bushes that she cannot name.

"There used to be a stream here," Hamza says, a little out of breath. "But it's long dried up now."

The path is rough, winding, and dim, beneath the vegetation and undergrowth. The wind makes the tall grass slam against Laila's calves as she and Hamza climb the path, take the turns. On either side of them is a kaleidoscope of wildflowers swaying in the wind, some tall with curved petals, others low, fan-leafed. Here and there a few ragged buttercups peep through the low bushes. Laila hears the twitter of swallows overhead and the busy chatter of grasshoppers underfoot.

"That's how you get there," he says. "There is a path there."

He says he will wait here. He tells her to cross the dry streambed, walk toward the mountains.

"I'll wait here," he says, sitting on a rock beneath a poplar. "You go on."

"I won't --"

Laila thanks him. She crosses the streambed, stepping from one stone to another. She spots broken soda bottles amid the rocks, rusted cans, and a mold-coated metallic container with a zinc lid half buried in the ground.

"Don't worry. Take your time. Go on, hamshireh."

She heads toward the mountains, toward the weeping willows, which she can see now, the long drooping branches shaking with each gust of wind. In her chest, her heart is drumming. She sees that the willows are arranged as Mariam had said, in a circular grove with a clearing in the middle. Laila walks faster, almost running now. She looks back over her shoulder and sees that Hamza is a tiny figure, his chapan a burst of color against the brown of the trees' bark. She trips over a stone and almost falls, then regains her footing. She hurries the rest of the way with the legs of her trousers pulled up. She is panting by the time she reaches the willows.

To get in, she has to sidestep a large fluttering spider-web. It's dim inside. Laila has to give her eyes a few moments to adjust. When they do, she sees that the interior is even smaller than she'd imagined. Only half of a single rotting, splintered board remains of the floorboards. The rest, she imagines, have been ripped up for burning as firewood. The floor is carpeted now with dry-edged leaves, broken bottles, discarded chewing gum wrappers, wild mushrooms, old yellowed cigarette butts. But mostly with weeds, some stunted, some springing impudently halfway up the walls.

When she approaches it, Laila sees that the lone windowpane is empty and that the door is gone. Mariam had described a chicken coop and a tandoor, a wooden outhouse too, but Laila sees no sign of them. She pauses at the entrance to the kolba. She can hear flies buzzing inside.

Fifteen years, Laila thinks. Fifteen years in this place.

Mariam's kolba is still here.

Laila sits down, her back to the wall. She listens to the wind filtering through the willows. There are more spider-webs stretched across the ceiling. Someone has spray-painted something on one of the walls, but much of it has sloughed off, and Laila cannot decipher what it says. Then she realizes the letters are Russian. There is a deserted bird's nest in one corner and a bat hanging upside down in another corner, where the wall meets the low ceiling.

In Pakistan, it was difficult sometimes to remember the details of Mariam's face. There were times when, like a word on the tip of her tongue, Mariam's face eluded her. But now, here in this place, it's easy to summon Mariam behind the lids of her eyes: the soft radiance of her gaze, the long chin, the coarsened skin of her neck, the tightlipped smile. Here, Laila can lay her cheek on the softness of Mariam's lap again, can feel Mariam swaying back and forth, reciting verses from the Koran, can feel the words vibrating down Mariam's body, to her knees, and into her own ears.

Laila closes her eyes and sits there awhile.

Then, suddenly, the weeds begin to recede, as if something is pulling them by the roots from beneath the ground. They sink lower and lower until the earth in the kolba has swallowed the last of their spiny leaves. The spi-derwebs magically unspin themselves. The bird's nest self-disassembles, the twigs snapping loose one by one, flying out of the kolba end over end. An invisible eraser wipes the Russian graffiti off the wall.

Laila watches Mariam glue strands of yarn onto her doll's head. In a few years, this little girl will be a woman who will make small demands on life, who will never burden others, who will never let on that she too has had sorrows, disappointments, dreams that have been ridiculed. A woman who will be like a rock in a riverbed, enduring without complaint, her grace not sullied but shaped by the turbulence that washes over her. Already Laila sees something behind this young girl's eyes, something deep in her core, that neither Rasheed nor the Taliban will be able to break. Something as hard and unyielding as a block of limestone. Something that, in the end, will be her undoing and Laila's salvation.

A young Mariam is sitting at the table making a doll by the glow of an oil lamp. She's humming something. Her face is smooth and youthful, her hair washed, combed back. She has all her teeth.

The floorboards are back. Laila sees a pair of sleeping cots now, a wooden table, two chairs, a cast-iron stove in the corner, shelves along the walls, on which sit clay pots and pans, a blackened teakettle, cups and spoons. She hears chickens clucking outside, the distant gurgling of the stream.

The little girl looks up. Puts down the doll. Smiles.

Laila's eyes snap open. She gasps, and her body pitches forward. She startles the bat, which zips from one end of the kolba to the other, its beating wings like the fluttering pages of a book, before it flies out the window.

"Let's go back," he says. Then, "I have something to give you."

Before she leaves the clearing, Laila takes one last look at the kolba where Mariam had slept, eaten, dreamed, held her breath for Jalil. On sagging walls, the willows cast crooked patterns that shift with each gust of wind. A crow has landed on the flat roof. It pecks at something, squawks, flies off.

Laila jo?

Laila gets to her feet, beats the dead leaves from the seat of her trousers. She steps out of the kolba. Outside, the light has shifted slightly. A wind is blowing, making the grass ripple and the willow branches click.

"Good-bye, Mariam."

And, with that, unaware that she is weeping, Laila begins to run through the grass.

She finds Hamza still sitting on the rock. When he spots her, he stands up.

LAILA WAITS FOR Hamza in the garden by the front door. The boy who had served them tea earlier is standing beneath one of the fig trees holding a chicken, watching her impassively. Laila spies two faces, an old woman and a young girl in hijabs, observing her demurely from a window.

Laila looks down at the oval-shaped tin box. It looks like an old chocolate box. It's olive green, with fading gilt scrolls all around the hinged lid. There is a little rust on the sides, and two tiny dents on the front rim of the lid. Laila tries to open the box, but the latch is locked.

He gives it to Laila.

"Jalil Khan gave this to my father a month or so before he died," Hamza says. "He asked my father to safeguard it for Mariam until she came to claim it. My father kept it for two years. Then, just before he passed away, he gave it to me, and asked me to save it for Mariam. But she… you know, she never came."

The door to the house opens and Hamza emerges. He is carrying a box.

"What's in it?" she asks.

Hamza puts a key in her palm. "My father never unlocked it. Neither did I. I suppose it was God's will that it be you."

Laila sits on the bed, the box on her lap. Part of her wants to leave it unopened, let whatever Jalil had intended remain a secret. But, in the end, the curiosity proves too strong. She slides in the key. It takes some rattling and shaking, but she opens the box.

In it, she finds three things: an envelope, a burlap sack, and a videocassette.

BACK AT THE HOTEL, Tariq and the children are not back yet.

The old clerk leads Laila to the second floor, to a door at the end of a long hallway. He works the lock, lets her in. Laila's eyes find the TV in the corner. They register nothing else about the suite.

Laila takes the tape and goes down to the reception desk. She learns from the elderly clerk who had greeted them the day before that the hotel has only one VCR, in its biggest suite. The suite is vacant at the moment, and he agrees to take her. He leaves the desk to a mustachioed young man in a suit who is talking on a cellular phone.

She turns on the TV, turns on the VCR. Puts the tape in and pushes the PLAY button. The screen is blank for a few moments, and Laila begins to wonder why Jalil had gone to the trouble of passing a blank tape to Mariam. But then there is music, and images begin to play on the screen.

The old man is looking at her quizzically.

"How are you?" Tariq asks, putting his arm around her shoulder.

Laila frowns. She keeps watching for a minute or two. Then she pushes STOP, fast-forwards the tape, and pushes PLAY again. It's the same film.

The film playing on the screen is Walt Disney's Pinocchio. Laila does not understand.

"I'm fine," Laila says. "I'll tell you later."

TARIQ AND THE children come back to the hotel just after six o'clock. Aziza runs to Laila and shows her the earrings Tariq has bought for her, silver with an enamel butterfly on each. Zalmai is clutching an inflatable dolphin that squeaks when its snout is squeezed.

They walk to a nearby kebab house to eat. It's a small place, with sticky, vinyl tablecloths, smoky and loud. But the lamb is tender and moist and the bread hot. They walk the streets for a while after. Tariq buys the children rosewater ice cream from a street-side kiosk. They eat, sitting on a bench, the mountains behind them silhouetted against the scarlet red of dusk. The air is warm, rich with the fragrance of cedar.

My dear Mariam:

Laila had opened the envelope earlier when she'd come back to the room after viewing the videotape. In it was a letter, handwritten in blue ink on a yellow, lined sheet of paper.

May 13, 1987

It read:

As you know, I came to Kabul a month ago to speak with you. But you would not see me. I was disappointed but could not blame you. In your place, I might have done the same. I lost the privilege of your good graces a long time ago and for that I only have myself to blame. But if you are reading this letter, then you have read the letter that I left at your door. You have read it and you have come to see Mullah Faizullah, as I had asked that you do. I am grateful that you did, Mariam jo. I am grateful for this chance to say a few words to you.

Where do I begin?

I pray that this letter finds you in good health.

Your father has known so much sorrow since we last spoke, Mariam jo. Your stepmother Afsoon was killed on the first day of the 1979 uprising. A stray bullet killed your sister Niloufar that same day. I can still see her, my little Niloufar, doing headstands to impress guests. Your brother Farhad joined the jihad in 1980. The Soviets killed him in 1982, just outside of Helmand. I never got to see his body. I don't know if you have children of your own, Mariam jo, but if you do I pray that God look after them and spare you the grief that I have known. I still dream of them. I still dream of my dead children.

I have dreams of you too, Mariam jo. I miss you. I miss the sound of your voice, your laughter. I miss reading to you, and all those times we fished together. Do you remember all those times we fished together? You were a good daughter, Mariam jo, and I cannot ever think of you without feeling shame and regret. Regret… When it comes to you, Mariam jo, I have oceans of it. I regret that I did not see you the day you came to Herat. I regret that I did not open the door and take you in. I regret that I did not make you a daughter to me, that I let you live in that place for all those years. And for what? Fear of losing face? Of staining my so-called good name? How little those things matter to me now after all the loss, all the terrible things I have seen in this cursed war. But now, of course, it is too late. Perhaps this is just punishment for those who have been heartless, to understand only when nothing can be undone. Now all I can do is say that you were a good daughter, Mariam jo, and that I never deserved you. Now all I can do is ask for your forgiveness. So forgive me, Mariam jo. Forgive me. Forgive me. Forgive me.

Ah, death. I won't burden you with details, but death is within sight for me now. Weak heart, the doctors say. It is a fitting manner of death, I think, for a weak man.

I hope you do not think that I am trying to buy your forgiveness. I hope you will credit me with knowing that your forgiveness is not for sale. It never was. I am merely giving you, if belatedly, what was rightfully yours all along. I was not a dutiful father to you in life. Perhaps in death I can be.

I am not the wealthy man you once knew. The communists confiscated so much of my land, and all of my stores as well. But it is petty to complain, for God -- for reasons that I do not understand -- has still blessed me with far more than most people. Since my return from Kabul, I have managed to sell what little remained of my land. I have enclosed for you your share of the inheritance. You can see that it is far from a fortune, but it is something. It is something. (You will also notice that I have taken the liberty of exchanging the money into dollars. I think it is for the best. God alone knows the fate of our own beleaguered currency.)

Mariam jo, I dare, I dare allow myself the hope that, after you read this, you will be more charitable to me than I ever was to you. That you might find it in your heart to come and see your father. That you will knock on my door one more time and give me the chance to open it this time, to welcome you, to take you in my arms, my daughter, as I should have all those years ago. It is a hope as weak as my heart. This I know. But I will be waiting. I will be listening for your knock. I will be hoping.

May God grant you a long and prosperous life, my daughter. May God give you many healthy and beautiful children. May you find the happiness, peace, and acceptance that I did not give you. Be well. I leave you in the loving hands of God.

Jalil

Your undeserving father,

That night, after they return to the hotel, after the children have played and gone to bed, Laila tells Tariq about the letter. She shows him the money in the burlap sack. When she begins to cry, he kisses her face and holds her in his arms.