Conclusion

Hosseini purposely uses literary devices like figurative language and connotation to show the separation of ideas about social issues and cultural values between the traditional and modern areas of Afghanistan. More specifically, there is a different amount of acceptance of women's rights in these two areas because of the different things they value. For instance, in the quote, "The women in this part of Kabul were a different breed from the women in the poorer neighborhoods like the one where she and Rasheed lived, where so many of the women covered fully," Hosseini uses figurative language to show how different women are in these different neighborhoods (74). In the poorer neighborhoods, women are forced to wear burqas, whereas in this modern area, women are allowed to wear anything they want, as well as makeup. They are so different that Hosseini even calls them, "a different breed" from one another. He purposely uses this term to emphasize that they can be considered to be different breeds from one another because of how different and separate they are. The poorer neighborhoods and richer neighborhoods of Afghanistan have different views on this social issue because of how they think. For instance, the poorer neighborhoods are typically more traditional, whereas the richer neighborhoods are typically modern. So, while the traditional neighborhoods value religion and men dominance, the modern neighborhoods value equality and other modern ideas. So, finally, through calling them different breeds, Hosseini is showing that they are so different because of how that specific area values different kinds of rights like women's rights. Another quote that supports this idea is "Mariam watched them cantering uninhibited down the street...", which uses connotation to show the difference of how men treat women in these different areas (74). Hosseini implies through the words "cantering uninhibited" that women are more independent in modern areas of Afghanistan, specifically Kabul in this case. The word "cantering" is like a fast-paced walk, which shows the women are in a rush to get somewhere, because they work, rather then stay at home to cook and clean. The word, "inhibit," means to restrain or prohibit, which is typically done to something one has control over. So, when Hosseini describes these women as "uninhibited," it shows that these women have more control over themselves and are therefore more independent. Since women in modern areas are more independent, it shows that modern areas value equality more because they don't follow traditional beliefs like the poorer areas. 

A Thousand Splendid Suns, Passage Four (Chapter 11: pages 74-75)

        They strolled past carpet shops, handicraft shops, pastry shops, flower shops, and shops that sold suits for men and dresses for women, and, in them, behind lace curtains, Mariam saw young girls sewing buttons and ironing collars. From time to time, Rasheed greeted a shopkeeper he knew, sometimes in Farsi, other times in Pashto. As they shook hands and kissed on the cheek, Mariam stood a few feet away. Rasheed did not wave her over, did not introduce her.
        He asked her to wait outside an embroidery shop. "I know the owner," he said. "I'll just go in for a minute, say my salaam. "
        Mariam waited outside on the crowded sidewalk. She watched the cars crawling up Chicken Street, threading through the horde of hawkers and pedestrians, honking at children and donkeys who wouldn't move. She watched the bored looking merchants inside their tiny stalls, smoking, or spitting into brass spittoons, their faces emerging from the shadows now and then to peddle textiles and fur collared coats to passersby.
        But it was the women who drew Mariam's eyes the most.
        The women in this part of Kabul were a different breed from the women in the poorer neighborhoods like the one where she and Rasheed lived, where so many of the women covered fully. These women were what was the word Rasheed had used? "modern." Yes, modern Afghan women married to modern Afghan men who did not mind that their wives walked among strangers with makeup on their faces and nothing on their heads. Mariam watched them cantering uninhibited down the street, sometimes with a man, sometimes alone, sometimes with rosy cheeked children who wore shiny shoes and watches with leather bands, who walked bicycles with high rise handlebars and gold colored spokes unlike the children in Deh Mazang, who bore sand fly scars on their cheeks and rolled old bicycle tires with sticks.
        These women were all swinging handbags and rustling skirts. Mariam even spotted one smoking behind the wheel of a car. Their nails were long, polished pink or orange, their lips red as tulips. They walked in high heels, and quickly, as if on perpetually urgent business. They wore dark sunglasses, and, when they breezed by, Mariam caught a whiff of their perfume. She imagined that they all had university degrees, that they worked in office buildings, behind desks of their own, where they typed and smoked and made important telephone calls to important people. These women mystified Mariam. They made her aware of her own lowliness, her plain looks, her lack of aspirations, her ignorance of so many things.