17 : 30 | Santiniketan
๐๐ผ๐ถ๐ป ๐๐ ๐๐ต๐ถ๐ ๐ช๐ฒ๐ฑ๐ป๐ฒ๐๐ฑ๐ฎ๐ ๐ฎ๐ ๐๐ฟ๐๐ต๐๐ต๐ถ๐น๐ฎ ๐ฆ๐ฎ๐ป๐๐ถ๐ป๐ถ๐ธ๐ฒ๐๐ฎ๐ป ๐ณ๐ผ๐ฟ ๐๐ต๐ฒ ๐ฏ๐ผ๐ผ๐ธ ๐ฑ๐ถ๐๐ฐ๐๐๐๐ถ๐ผ๐ป ๐๐ฒ๐๐๐ถ๐ผ๐ป ๐๐ถ๐๐น๐ฒ๐ฑ ‘๐๐๐๐๐๐’ ๐ฏ๐ ๐๐ฟ๐ฎ๐ถ๐ด ๐ง๐ต๐ผ๐บ๐ฝ๐๐ผ๐ป, ๐๐ต๐ถ๐ฐ๐ต ๐ถ๐ ๐น๐ฒ๐ฑ ๐ฏ๐ ๐ ๐ฎ๐ฑ๐ต๐๐ท๐ฎ ๐๐ต๐ฎ๐๐๐ฎ๐ฟ๐ฎ๐ท.
๐ฎ๐ฏ ๐๐๐น๐, ๐ฎ๐ฌ๐ฎ๐ฑ | ๐ช๐ฒ๐ฑ๐ป๐ฒ๐๐ฑ๐ฎ๐
๐ฑ:๐ฏ๐ฌ ๐ฝ๐บ ๐ผ๐ป๐๐ฎ๐ฟ๐ฑ๐
๐ข๐ฝ๐ฒ๐ป ๐๐ผ ๐๐น๐น.
๐๐ฏ๐ผ๐๐ ๐๐ต๐ฒ ๐ฏ๐ผ๐ผ๐ธ
The journey of Dodola in Habibi is devastating to witness. There has never been a character so inconspicuously portrayed, so deficiently understood, and so ironically embodied at her birth. The isolation of her sex manifests itself most deeply in the hands of her creator. The men in her story who exploit her, rape her, or even love her, can not see her beyond her relations to them. Neither could Craig Thompson himself. That is the paradox of the story.
All the expository, proverbial anecdotes from the Quran and the Bible that stream from her mind and grace the book only sustain her through it, but fail to emancipate her. One feels that her vision and, as such, the book, has been conceived from an undeniable orientalist inquisition of the author, alienating her from the realism that she could have represented. Yet Habibi is essential for all its exonerating qualities. The exquisite art inspired by Persian miniatures, calligraphic charm of minute Naksh cursives opposed by sombre Kufic poise, the depth of its inquiry on the Islamic and Christian faith and how brilliantly they fuse together astonish us. Habibi is mesmerising, masterly and gripping. Habibi is also uncomfortable, infuriating and tragic.