ABOUT THE AUTHOR

 Monica Ali is a bestselling writer whose work has been translated into 26
languages. She is the author of five books: Brick Lane, Alentejo Blue, In the
Kitchen, Untold Story and Love Marriage. 
 She is a Fellow of the Royal Society of Literature and in 2003 was named as
one of Granta’s Best of Young British Novelists. She has been nominated
for, amongst others, the Booker Prize, the George Orwell Prize, the
Commonwealth Writers’ Prize and in the U.S. has been a finalist for the
National Book Critics Circle Award and the Los Angeles Times Book Prize.
 She has taught creative writing at Columbia University, New York, where
she was a visiting Professor, and from 2015 to 2018 she was Distinguished
Writer in Residence at the University of Surrey. 
 Brick Lane was turned into feature film produced by Film Four, starring
Tannishtha Chatterjee, directed by Sarah Gavron and written by Abi
Morgan. Monica is currently adapting her fifth novel, Love Marriage, for
television in conjunction with New Pictures.

Monica is Patron of Hopscotch Women’s Centre, a charity that was

originally set up by Save the Children to support ethnic minority families
who had come to join their partners in the UK. The organisation became
independent in 1998 and continues to empower women and girls to achieve
their full potential.
 Monica Ali’s latest novel is Love Marriage.
HISTORY OF BANGLADESH

 The modern nation of Bangladesh has a long history, which is referenced in various ways in Monica
Ali's novel. In ancient times, the eastern region of the Indian subcontinent was known as the kingdom
of Bengal. Various rulers and dynasties held power at different times, leading to slight shifts in
territorial borders. The dominant religion also fluctuated between Hinduism and Buddhism.
 Islam was introduced into the region in the 6th and 7th centuries AD, and was gradually adopted over
time. The dominance of an Islamic faith in the region was accelerated in the 13th century when
Muslim rulers took control of the region. These rulers originated from a variety of regions, including
Turkey and Afghanistan.
 From the mid-1300s until 1576, the region was united under an independent Bengal sultan, which led
to economic prosperity in the region, and widespread tolerance for a range of different religions. In
the 16th century, the rulers of the Mughal empire conquered Bengal and ruled it as one of their
wealthiest and most important provinces.
 The capital city of Dhaka was a thriving metropolis, and advancements in technology and
industrialization took place.
 As the powers of the Mughal empire declined, local leaders became more powerful and
Bengal became more autonomous. However, the newer leaders took a firmer stance on
the trade with Europeans (especially the British) which had been occurring for decades.
 This led to military conflict, and in 1757, British forces won a decisive victory at the
Battle of Plassey. Bengal became part of the Britain's Indian empire, with some nominal
local government but most economic and political power firmly vested in European
hands. This period of colonialism led to famine, instability, and a general decline in
Bengal, while the wealth obtained from the resources there contributed to the progress
of industrialization in Great Britain.
 Class boundaries and tensions were also exacerbated between the Muslim majority and
Hindu minority in this region. Nonetheless, even amidst colonial dominance and the
imposition of Westernized education, the late 19th and early 20th centuries witnessed a
period known as the Bengal Renaissance. During this time, writers and thinkers
celebrated their history and cultural traditions, and led social reform movements
challenging British rule
 In 1947, India became independent and was also partitioned into India and Pakistan.
This partition was established largely along religious lines, with India meant to have a
Hindu majority, and Pakistan a predominantly Muslim population. However, "Pakistan"
was actually two distinct areas, West Pakistan and East Pakistan, separated by almost
1000 miles of Indian territory. While East and West Pakistan were both predominantly
Muslim areas, they were distinctive in terms of culture and language. 
 Conflict immediately began over the official language of government, with
West Pakistan advocating for Urdu and East Pakistan insisting on Bengali being
recognized as an official language. These tensions only became exacerbated
over time, and in 1971 war broke out over the question of independence for the
Bengali people of East Pakistan. After a period of violent conflict, Bangladesh
was established as an independent country. Dhaka has functioned as the capital
city ever since.
BRICK LANE
 Brick Lane is the first novel by Monica Ali. Despite being the work of an
unknown writer, the novel was hotly anticipated. She earned a book deal with
a significant advance based on some preliminary chapters.
 In January 2003, before the novel had been published, Ali's name appeared on
the 20 Best Young British Novelists Under 40 list, in the prestigious literary
journal Granta. Once the novel was published in May 2003, it received very
positive reviews. The novel was shortlisted for the 2003 Man Booker prize, but
did not win the award.
 Brick Lane was adapted into a film in 2007. The production company wanted
to film the movie adaptation in the Brick Lane neighborhood of East London
but this plan was opposed by some local Bangladeshi residents. Some
individuals felt that the novel did not portray the community in a positive light,
and criticized Ali due to her not having been part of that community.
 A campaign was started to block filming in the area. Ali did not comment on
this campaign, but other writers and thinkers such as Germaine Greer and
Salman Rushdie contributed to the argument. In the end, fears of potential
violence led to the exterior scenes being filmed elsewhere.
SUMMARY

 The novel centers around the life of Nazneen, a Bangladeshi immigrant who marries an
older man named Chanu Ahmed in an arranged marriage. She relocates to London to
start her new married life with her husband. In London, Nazneen is exposed to a new
culture, and struggles to find balance between new possibilities and old traditions.
Nazneen also maintains contact with her outcast sister, Hasina, who ran away with a
man in a love marriage. In her letters, Hasina describes her difficult life working in a
factory, and then later as a prostitute.
 As time passes, Nazneen becomes increasingly frustrated with Chanu and his lack of
decisiveness. The couple has a son, but he dies as an infant. This loss draws the couple
closer together, and Nazneen gives birth to two daughters, Shahana and Bibi.
 As his daughters grow older, Chanu becomes more and more worried about what their
fate will be in a foreign country and becomes more determined than ever to return to
Bangladesh. In order to get the money for this move, he takes work as a cab driver,
allows Nazneen to work sewing clothes, and borrows money from wealthy Mrs. Islam.
 Once Nazneen begins working, she meets Karim, who brings her sewing supplies from
his uncle’s store. They end up having an affair, and Karim also opens Nazneen's eyes to
growing injustice and racial tensions. However, Nazneen is haunted by guilt and ends
up having a mental breakdown.
 After she recovers, Nazneen ends the relationship with Karim. With
pressure mounting to pay back their debt, Nazneen becomes
increasingly convinced that she cannot go back to Bangladesh. She
plans to tell Chanu on the day that they are scheduled to leave.
 On the day the family is supposed to leave for Bangladesh, racially
motivated riots break out in their neighborhood. Nazneen is horrified
when she learns that her daughter Shahana has run away and might
be caught up in the violence. With Karim's help, she is able to find
Shahana, and that night Nazneen tells Chanu that she and the
children will be remaining in London.
 In the months after Chanu's departure, Nazneen finds a newfound
sense of independence and freedom as she works to provide for
herself and her children. Meanwhile, Hasina finds a fresh start and
the possibility of love with another man in Bangladesh.
 The novel ends with Nazneen going ice skating for the first time,
symbolizing her dream of finally leading an independent life.
 MAJOR CHARACTERS
Chanu Ahmed
 He is the husband of Nazneen and is about forty years old at the start of the novel. He is an
educated man and works in a state institution, but later quits to become a taxi driver. He
plans to return back to Bangladesh with his family.
Karim
 Karim is the lover of Nazneen and is a second-generation Bengali immigrant in London.

Nazneen
 Nazneen is the protagonist in the book. She lives in a village in Bangladesh until she is
eighteen and then moves to London when she gets married to Chanu. Nazneen is the sister
of Hanisa, and the mother of Raqib (who dies as an infant), Shahana, and Bibi.
Hasina
 Hasina is the younger sister of Nazneen. She rebels against her family by marrying for love,
and lives a difficult but independent life. Hasina writes to Nazneen, telling her sister about
her life.
Shahana
 She is the daughter of Nazneen and Chanu. She is born in Brick Lane, London. Shahana
has never been to Bangladesh, and she does not like the Bengali culture.
Dr. Azad
 Dr. Azad is a prominent member of the London Bangladeshi community. Because he is
influential and well-educated, Chanu is always trying to build a closer relationship with him.
Rupban (Amma)
 The mother of Nazneen and Hasina, Rupban seems to live an unhappy life and dies when her
daughters are young.
Hamid (Abba)
 He is the father of Nazneen and Hasina.

Mumtaz
 The sister of Hamid and aunt to Hasina and Nazneen, she plays an influential role in the
lives of her nieces, especially after their mother dies.
Razia
 She is a woman Nazneen becomes friends with after moving to London. Razia has two
children and she inspires Nazneen to become more independent and stand up for herself.
Mrs. Islam
 A wealthy and well-connected older woman, Mrs. Islam loans money to Chanu and is
determined to be paid back.
 THEMES
Racism

 When Chanu and Nazneen move to London, they take up residence in Brick Lane, a multiethnic
neighborhood. Nazneen meets a lot of other Bangladeshi immigrants like herself and becomes invested in
the community there. Chanu, however, is exposed to the racism of the rest of the city. As an immigrant,
he is often treated badly and not given the same opportunities he would have been offered as a white
person. In response to the way he is treated, Chanu becomes more and more mistrustful of British society,
and comes to see it as a corrupting influence.

Gender
 As a Bangladeshi girl, Nazneen experiences an arranged marriage to her husband, Chanu. Chanu is a kind
husband, but he subscribes to gender norms, assuming that Nazneen's priorities will be taking care of the
home and children. Nazneen has no control over her important life decisions as she is the subject of her
husband's will. Later on, Chanu becomes determined to move back to Bangladesh, so he allows her to
work in order to help them move faster.
 Other female characters, such as Razia and Hasina, find themselves even more at the mercy of gendered
power dynamics. However, by the end of the novel, Nazneen has shown herself to be able to contribute
economically and make decisions about her own life. Noemie Pereira-Ares notes that "the main female
personae are constantly struggling against patriarchal constraints, eventually succeeding in becoming
independent subjects and active agents in their migrating experience" (204).
Motherhood
 Motherhood is shown to be a source of both fulfillment and sorrow in the novel. Nazneen
and Hasina's mother loves her daughters dearly, but also seems to be unhappy in her
marriage. When Nazneen becomes a mother, she becomes more frustrated with her
husband because she wants to give her son a better life. Nazneen's love for her son, and
later her daughters, helps her to feel stronger and more self-assured.
 However, it also causes her profound grief because she cannot protect her son from illness
and she worries about protecting her daughters who grow up torn between two cultures.
For other women, such as Razia, motherhood pushes them to become more self-reliant.
However, motherhood often traps women in lives and marriages they do not necessarily
want because they fear hurting their children or losing them entirely.

Family
 Family is at the core of Nazneen's life and purpose. She is often unhappy because she is
torn between her family of origin, and the family she creates after her marriage. Nazneen
always misses her sister and continues to feel responsible for Hasina. Letters from Hasina
are one of the only things that connects Nazneen to the family she grew up in.
 At the same time, Nazneen loves her children fiercely and gradually comes to even love
Chanu because of the experiences the couple goes through together. Nazneen feels intense
guilt during her affair because of how it betrays and jeopardizes her family. Family makes
Nazneen who she is, but it also often makes her feel sad, guilty, and trapped.
Fate
 Fate is introduced as a major theme when Nazneen's life is left to chance when she is a newborn. She grows
up thinking that she should just accept whatever happens to her, and not try to assert her will. However, life
forces Nazneen to have more agency. Her desire to help her family leads her to take risks like starting to
work.
 Once she meets Karim, Nazneen also begins to experience desire, and chooses to act to follow that desire.
By the end of the novel, when she chooses to remain in England with her daughters because she knows she
can support them, Nazneen has learned that she can make choices and decide at least some of her own fate.

Desire
 For much of the novel, Nazneen seems docile and obedient. She marries Chanu without complaint and
works hard to be a dutiful wife. When Chanu denies her things she wants, such as the opportunity to go to
school or to get to know the city better, she seems to accept his authority. However, simmering under the
surface, Nazneen is filled with desire to make her own choices and experience more of life. She is filled
with shame, but she also cannot deny that she imagines different opportunities for herself. Her affair with
Karim represents all of her long repressed desires finally breaking free.

History
 Chanu takes pride in being an educated man, and he also loves the history of his country and his people. He
is discouraged to find that Bengali history does not seem to be recognized or valued in England. Chanu
immerses himself in English literature and history along with learning about his native country, and
therefore believes that people can know about more than one culture. As his daughters get older, Chanu
fears what it will mean for them if they grow up without a sense of history or connection to the culture they
came from. Chanu believes it will impact their self-esteem and how they see themselves. His desire to
return to Bangladesh is rooted in his desire to give his children a sense of roots and history.
SYMBOLS

Nazneen's Best Sari

 On the day that Nazneen and Karim make

love for the first time, she puts on her best
sari. She does not know at the time that they
will consummate their relationship, and
cannot understand why she feels the impulse
to dress up for no reason. The sari symbolizes
the emergence of Nazneen's desire and
femininity.
 Even though she tries to deny it, her attraction
to Karim has awakened a new consciousness
about her appearance. She feels aware of her
body and sensuality in a way she has never
experienced before. The sari symbolizes
Nazneen's desire to no longer be invisible and
passive, but to draw attention to herself and
finally experience pleasure.
Plastic Bags
 When Hasina writes about her life with James and Lovely, she mentions that James
works for a plastics company, and also describes how the street in front of their
mansion is littered with plastic bags. The business is threatened by a potential ban
on plastic bags.
 The plastic bags symbolize wealth, greed, and corruption in Bangladesh. James is
making a profit off of something that has destructive and ugly effects on society.
His business allows him to live a wealthy life, but doesn't benefit society. Although
Hasina doesn't give many details, her letters hint that James is eventually going to
suffer the consequences of living a corrupt and greedy life.
Chanu's Trousers

 When Nazneen briefly goes home to wash and change her clothes while Raqib is in
the hospital, she feels empowered and triumphant. It seems like Raqib has fully
recovered from his illness, and Nazneen feels proud that she has asserted herself
and fought to save her son. Impulsively, she tries on a pair of Chanu's trousers.
 The trousers symbolize power, assertiveness, and the ability to make one's own
fate. For Nazneen, it seems like these qualities had been limited only to men, but in
this moment, she feels like she can also share in them.
MOTIFS
Ice Skating
 Very early in the novel, Nazneen is intrigued when she sees ice skating on television. Throughout
the years she lives in London, Nazneen comes back to motifs of ice skating, whether by watching it
on television or trying on clothes and imaging herself as a skater. At key moments in her life, she
also explores moving her body and imaging what it would be like to skate. Finally, at the very end
of the novel, Razia takes Nazneen skating for the first time.
 Skating symbolizes Nazneen's desire for freedom and independence, and her hope of living a life
where she can make her own choices. At first it seems impossible, but she gradually moves closer
towards this goal. Importantly, when Nazneen finally goes skating, she does so while still wearing
her sari. She is able to combine her identity and history with a new vision of being free.

The Smell of Limes

 Whenever Karim is around, Nazneen detects a smell of limes. She associates this smell with him,
and her desire for him. The scent of the limes becomes a motif whenever Nazneen is thinking about
her lover. The motif evokes the sensual, bodily response she has to him, and it also reveals that she
notices the smallest details about him. This motif also shows how Nazneen's attraction to Karim is
associated with a time in her life when she was more youthful and carefree. Nazneen often reflects
on how her early life in Bangladesh was much more sensual and vibrant: she can vividly recall
smells, tastes, and colors. The association of Karim with the smell of a tropical fruit shows that he
transforms Nazneen into the young, open-hearted girl again.
 IMAGERY
Nazneen's Cooking
 At various points in the novel, Ali describes Nazneen's careful attention to cooking traditional

Bengali foods. Ali uses imagery evoking the smells, colors, tastes, and sounds of food
preparation to vividly evoke the cooking experience for readers. The imagery creates a sense
of vividness in the narrative and makes it more possible for readers to imagine themselves
being present in the story.
 The food imagery also shows the attention Nazneen devotes to maintaining a continuity with

her past and culture, even in a strange place. She can still make the dishes she grew up eating
in Bangladesh, and feel a sense of connection to the life she once had.

Mrs. Islam
 Mrs. Islam is a formidable and foreboding presence in the novel, and Ali uses vivid imagery
to bring this character to life. She describes the sounds, sights, and smells associated with
Mrs. Islam, such as the way she groans in pain, and the scents of all the medicines she takes.
 This imagery helps a reader to feel more interested in Mrs. Islam as a character, and to have a

more specific idea of who she is as a woman. Nazneen's life is quite sheltered and confined,
but the vivid imagery used to present different characters highlights the way in which she still
encounters complex and interesting figures, even within her small social circle.
The Picnic in St. James's Park
 During Chanu's "holiday" excursion, the family pauses to enjoy a
picnic in St. James's Park. Imagery is used to describe the food they
eat, the beauty of the summer day, and the various sights they
observe in a large and complex urban park where many different
people gather.
 This imagery creates a very pleasant impression which makes it
seem like they are a happy family enjoying a lovely summer outing.
However, the imagery also highlights the gap between appearances
and reality, since Chanu actually has a tense relationship with his
daughters, and Nazneen is secretly hiding an adulterous affair.
Finally, the vivid imagery reflects Nazneen's heightened sensual
awareness. Once she begins sleeping with Karim, she becomes
hyper-aware of herself and the world around her.

Nazneen's Walk in London

 Early in the novel, Nazneen flees into the streets of London after
learning bad news about her sister Hasina. Since this is one of the
first times Nazneen ventures outside of her neighborhood, the
imagery shows the strong impression the city leaves in her mind.
 Imagery reflects the sights, sounds, and smells Nazneen observes in
a city which seems grim and foreboding. Everything seems cold,
alien, and colorless to her in contrast with her home country. The
imagery reveals Nazneen's curiosity, but also her discomfort with her
new home.