Out Of Nowhere

“But when Saeed kicked that ball, I swear: someone guided it.”

This quote uses personification, as the ball appears to be under some external, supernatural control. This literary device enhances the impact, suggesting a force beyond skill influencing Saeed’s pass, and imbuing the scene with a sense of destiny. “I swear,” adds a layer of hyperbole, emphasizing Tom’s awe and disbelief at Saeed’s skill, thereby elevating the action from a simple soccer play to a moment of extraordinary significance and connection.

“Sometimes he surprised me and came up with a string of English that made you think he could speak the language. Other times he faded and I couldn’t tell if he was just not getting the words or avoiding a topic.”

By placing Saeed’s moments of linguistic clarity against instances of reticence or confusion, Maria Padian highlights the challenges faced by non-native speakers in adapting to a new language. The use of indirect characterization allows the reader to infer Saeed’s internal struggle, as his fluctuating proficiency in English reveals aspects of his personality and experience. This variation not only deepens the character’s portrayal but also invites the reader to engage empathetically with the complexities of language barriers and cultural integration.

“‘You know, I am…new customer,’ he continued, ‘but I think, you know…we the team. And all go tomorrow. With Tom, right?’”

The use of ellipses and fragmented speech captures the Saeed’s struggle with language, employing the literary device of syntax to reflect his discomfort in a non-native language. This stylistic choice not only adds realism to the dialogue but also conveys the character’s efforts to communicate and belong. The repetition of “you know” further underscores his attempt to connect and be understood.

“I feel sorry for you Bouchard. You could have been good, but instead you’re stuck in a crap program. Playin’ with Osama over there.”

This quote employs the literary device of irony, where Alex’s pity for Tom is contrasted with prejudiced words. The use of a derogatory nickname for Saeed, equating him with Osama Bin Laden, is an example of racial stereotyping, reflecting themes of racism and xenophobia. This dialogue not only reveals the speaker’s biases but also highlights societal prejudices, creating commentary on the challenges of cultural integration.

“Did the mayor think she was telling us something we didn’t know? Did she think this was going to help? Maybe instead of writing letters she could have come up with something actually useful. Like hiring someone to direct traffic in the hallways at our school and steer all the wandering kids to their classrooms.”

This passage uses rhetorical questions and irony to convey Tom’s skepticism and frustration toward the mayor’s actions. The rhetorical questions suggest that the mayor’s letter is obvious and unhelpful, highlighting a disconnect between the political leadership and the community’s real needs. Additionally, the suggestion of hiring someone to direct traffic serves as an ironic comment on the mayor’s lack of practical solutions, contrasting the mayor’s seemingly superficial action with a concrete, albeit simplistic, proposal to address a specific problem.

“Of course, how the hell did we know what terrorists looked like? Acted like? And whether or not they played soccer?”

Tom’s reflection after his family dinner uses rhetorical questions to challenge the prejudices about Somali refugees. Questions like “how the hell did we know what terrorists looked like? Acted like? And whether or not they played soccer?” highlight the absurdity of stereotyping based on ethnicity. The mention of soccer, a common and unifying sport, ironically counters the divisive views of his relatives, emphasizing the refugees’ normalcy and humanity. This passage reveals Tom’s growing awareness of and opposition to the biases in his community.

“Now, if you went up to one of those Somali kids at your high school and told them the basic tenet of your faith was something they could most closely equate with cannibalism, what do you think they’d say?”

Aunt Maddie points out Cherisse’s own biases through rhetorical questions, challenging her to consider how her religious beliefs might be perceived by Somalians from different cultural backgrounds. By juxtaposing the central tenet of one faith with a concept as startling as cannibalism in another cultural context, the dialogue highlights the potential for misunderstanding and the importance of empathy and cultural sensitivity. This interaction explores tolerance, the diversity of belief systems, and the complexity of intercultural communication, encouraging both the character and the reader to reflect on their own biases.

“In camp, at Dadaab? When you gets to leave, you answer a lot of questions. But some things, you don’t know. And some things we got no paper. So for everyone, for birthday? They January one.”

Saeed’s imperfect English and repetition underscore his identity as a non-native speaker and a refugee. Phrases like “When you gets to leave” and “some things we got no paper” depict the linguistic challenges faced by refugees. The repeated emphasis on January 1 as a universal birthday for those without documents highlights the impersonal nature of the bureaucratic systems that refugees navigate. This language serves not only to deepen Saeed’s character but also to reflect displacement and cultural dislocation.

“One day she might be rockin’ the hijab; another day it was a long-sleeve Celtics sweatshirt. But her outfits were nothing compared to her opinions. As she started to relax around me, she started throwing out opinions. And she had a lot of them.”

Samira’s transformation is illustrated through the contrast between her varying attire and her outspoken opinions. Her shift from wearing a hijab to a Celtics sweatshirt symbolizes her evolving personality and challenges stereotypes. As she becomes more vocal about her opinions, it signifies her emerging confidence and departure from societal expectations, highlighting her character development.

“I see Saeed doesn’t have a doctor to sign his sports permission forms, and his mother can’t speak English and she doesn’t have a job. Kids spray paint ‘Go back to Africa!’ in the bathroom.”

The quote uses juxtaposition to contrast Saeed’s challenging personal circumstances with the hostility he faces from his peers. The reality of his situation, marked by the absence of a doctor and a mother who can’t speak English or hold a job, is set against the backdrop of overt racism, exemplified by the hateful graffiti. This contrast highlights the struggles and discrimination faced by immigrants but also serves to elicit empathy.

“She also has this friend Jackie […] She’s a black woman from Pittsburgh, born and raised in this country, and she’s Muslim. […] She doesn’t cover up with long skirts and a hijab; she dates and goes to parties and plays sports.”

The description of Jackie employs characterization to challenge the reader’s understanding of cultural and religious identity. By highlighting Jackie’s identity as a Black Muslim woman who embraces a lifestyle that includes dating, partying, and playing sports, the narrative counters stereotypical representations of Muslim women. This characterization reflects the diversity within religious and cultural groups and emphasizes the theme of individuality beyond societal expectations. The contrast between Jackie’s lifestyle and traditional practices, like wearing a hijab, serves as a literary tool to showcase the varied ways in which individuals express their cultural and religious identities.

“Somali people are pretty conservative, and refugees a lot of times get even stricter about religion when they leave home. They’ve already lost so much, you know? Religion is one of the few things they’ve got left.”

The passage conveys the relationship between cultural conservatism, religious adherence, and the refugee experience. By stating that Somali refugees often become stricter about their religion after displacement, the narrative underscores how religion can serve as a stabilizing force amid the upheaval and loss inherent in the refugee experience.

“I got Mr. Rhodes. I got people like him, and Alex, and all the rest of them who needed to keep us in our place. Greasing the skids for their kids’ sports, their kids’ college, eventually their kids’ jobs.”

In this quote, the use of metaphor, in the phrase “greasing the skids,” conveys the concept of systemic privilege and inequality. The metaphor suggests a smooth and effortless pathway provided for certain groups, in contrast to the obstacles faced by others. Tom’s tone of realization and perhaps resentment toward this unfair advantage features themes of social stratification and the challenge of breaking through systemic barriers.

“White supremacists show up trying to start a fight…it’s a mess. But then some Somali lady teaches Maddie how to make sambusas. You teach Abdi his ABCs. Saeed teaches you how to kick a goal from midfield.”

This passage adeptly utilizes symbolism to convey themes of unity and learning amidst conflict. The contrast between the aggression of white supremacists and the communal sharing of culture and skills—such as making sambusas, teaching ABCs, and soccer techniques—illustrates how positive interactions and cultural exchange can emerge from tense and hostile environments. Each act of teaching and learning symbolizes the breaking down of barriers and the building of understanding and respect across different communities.

“Time is a lunging dog on a leash when you’re in an emergency room. It yanks you forward in ways you can’t control, and even though you want to haul it back an hour, two, and change the direction of…everything…you can’t.”

In this scene, the metaphor of time as a “lunging dog on a leash” in the emergency room captures the chaotic and uncontrollable nature of time during a crisis. This personification emphasizes Tom’s emotional turmoil and helplessness while waiting for news about Donnie’s accident, evoking a sense of urgency and desperation.

“In a strange new world, she was trying to fit in as a new American, but also as a good Muslim.”

This quote depicts Samira’s struggle in balancing her identity as a “new American” with her religious beliefs as a “good Muslim.” This duality is inherent in the immigrant experience, where characters navigate the complexities of assimilating into a new culture while preserving their own. The phrase “strange new world” emphasizes the challenge of navigating a new cultural context.

“Shaming the family is huge. I can’t tell you how huge. And a big part, probably the biggest part, of a family’s reputation, it the purity of women.”

The statement utilizes repetition to emphasize the intense cultural importance placed on family honor and women’s purity. This highlights the societal pressures and gender-specific expectations within certain cultures, emphasizing the significant impact these norms have on individual lives, particularly on women who bear the burden of upholding family reputation.

“Young Somali men, mostly teens, are disappearing. Into thin air, with no word to their families. […] They were in Somalia, where they’d joined up with an Islamic militia. Apparently, they’d been recruited through their mosque in Minneapolis and were training to be terrorists.”

This passage uses foreshadowing to create a sense of mystery and concern regarding Saeed’s disappearance. The mysterious way these young men vanish, described as “into thin air,” creates an ominous tone that foreshadows Saeed’s potential fate, adding suspense and depth to his storyline. Importantly, this narrative thread also confronts the issue of stereotyping: the assumption that young Somali men, including Saeed, may be predisposed to extremist involvement.

“Here’s the thing that really sucked: they’d almost got me believing their story. They’d almost convinced me, despite everything I knew and felt about Saeed, that maybe, deep down, he couldn’t be trusted.”

Tom’s introspective struggle, as captured in “they’d almost got me believing their story,” highlights the tension between his own understanding of Saeed and the persuasive power of societal prejudices. This internal conflict showcases the theme of trust versus suspicion in a setting rife with cultural and racial biases. His near acceptance of the misleading narrative about Saeed, despite personal experiences to the contrary, underscores how easily trust can be undermined by stereotypes and fear, offering a critical reflection on the complexities of loyalty and the deep impact of external prejudices on personal relationships.

“Samira say that. I believe, Tom. My sister is…true. But in picture, Tom, she don’t run. And a picture is what peoples see.”

The juxtaposition between belief in personal truth versus public perception is conveyed through the contrast between Samira’s words and the implications of a photograph. The phrase “But in picture, Tom, she don’t run” highlights how complex realities are often misrepresented by a single image or narrative.

“And like that, they were gone. They slipped back into the nowhere they came from. As if they’d never existed and the past few months had never happened.”

The sudden disappearance of Saeed and Samira in the passage highlights the transient and unpredictable nature of relationships, particularly in the lives of refugees. The phrase “They slipped back into the nowhere they came from” captures the impermanence and loss. This narrative choice conveys the emotional and complex realities of refugees whose lives are marked by instability and change.

“My memories are my heart photographs. I have so many of you and they are all good…I remember when I taught you to make sambusas…I remember riding in your van and you played your CDs and made me sing American songs with you.”

In Samira’s letter to Myla, the metaphor of memories as “heart photographs” encapsulates the cherished nature of their shared experiences. The recollection of specific, joyful moments serves as a literary technique, using imagery to paint a “heart picture” of their shared experiences. It emphasizes the theme of cross-cultural friendships and the lasting impact of shared, simple moments on our lives.

“And I realize that in some way, forever, I will always be looking and listening for him.”

Tom’s reflection at the end of the novel employs symbolism and imagery to illustrate the enduring impact of Saeed on his life. The phrase “looking and listening for him” symbolizes the lasting influence of Saeed, suggesting that his presence continues to resonate in Tom’s life. This ongoing search represents not just a literal longing but also a deeper, emotional quest for the qualities or lessons that Saeed embodied. The use of the word “forever” emphasizes the permanence of Saeed’s impact, indicating a transformative effect on Tom’s perspective or identity.