A Woman on a Suitcase
By Shazaf Fatima Haider
Liberty Publishing
ISBN: 978-627-7626-38-9
205pp.

Shazaf Fatima Haider’s A Woman on a Suitcase is an engaging and sharp family saga that delves into the complexities of relationships within and between two families.

The story unfolds as the charming yet narcissistic son of one family and the resolute but conflicted daughter of another grapple with the looming prospect of divorce. They are held together only by the web of hypocrisy and make-believe that often masks uncomfortable truths behind façades of harmony and contentment. In this richly layered narrative, no one is as innocent as they seem or wish to appear.

What makes Haider’s writing particularly compelling is her ability to explore universal themes through the lens of deeply personal experiences. Marriage, family and societal expectations are topics that resonate across cultures, but Haider’s storytelling is firmly rooted in the specificities of South Asian life. The characters’ struggles feel authentic, not only because of their emotional depth, but also due to the richly detailed settings and cultural norms that shape their lives.

The book’s premise is succinctly summed up on its back cover: “Newly married Seema Hyderi is tired of being thrown out of her husband’s house. Now, sitting on her suitcase after a third eviction, she has a choice to make: obey her husband and submit, or listen to her instinct and leave forever.”

Shazaf Fatima Haider’s latest novel, about a woman contemplating divorce, delivers a bold and irresistible rollercoaster ride that teeters between the humorous, the audacious, and the outrageous

Each eviction paints a vivid picture of the tensions in Seema’s marriage. After her first expulsion — prompted by her decision to cut her hair short without her husband Momin’s approval — her seemingly benevolent mother-in-law offers advice cloaked in patriarchal conditioning:

“We realise how important it is that our husbands be kept content. Once you come back inside, you should do so as a better wife; otherwise, it is all for nothing.”

This moment encapsulates one of the book’s central themes: the clash between individual agency and the suffocating expectations of conformity. Seema’s choice to cut her hair is not just an act of personal expression but a quiet rebellion against a system that demands her subservience.

The second eviction occurs when Seema returns 45 minutes late from a friend’s dinner party. This time, the mother-in-law admonishes:

“You made a scene, my love. Now the entire neighbourhood will know that you are wilful. Hyderi women must be obedient, even when our men are making an example out of us. We must be like brocade curtains, shielding everything from the world outside. Come what tumult there may, we hang silently, not letting anything show.”

This advice reveals the intricate dynamics of shame and secrecy that govern the lives of women in patriarchal households. The metaphor of the brocade curtains — beautiful yet concealing — underscores the dual burden of maintaining appearances while enduring emotional turmoil.

Finally, Seema’s unrestrained outrage over her husband sharing their intimate details with his father triggers her third expulsion. Her mother-in-law’s response reveals the weight of inherited suffering:

“I know this must be hard for you. It was hard for me too. Hyderi men have always tested the mettle of their women. The thing to do is to be patient and wait. If you want to learn anything from me, learn this: with silence, a woman can tame a raging tiger. And Momin is just a man, just like his father was. Do you see how well I am treated now? It is because I went through all this. Just as you have to. There is no choice — the only way is through.”

Through these exchanges, Haider captures the insidious ways in which oppressive systems perpetuate themselves. The mother-in-law, a victim of patriarchy, becomes its enforcer, passing down the same toxic lessons she once endured.

Haider masterfully crafts a narrative full of “familiar” personalities, delivering a bold and irresistible rollercoaster ride that teeters between the humorous, the audacious, and the outrageous.

The story navigates its twists and turns against the backdrop of societal norms, both in Karachi and London, sparing no one as it tackles themes of infidelity, marital abuse, suppressed emotions, love, hatred, and the yearning for independence within the confines of marriage and joint family life.

Seema’s journey is not just a personal struggle but a broader commentary on the limitations placed on women’s autonomy. Her choices lead her to her estranged mother’s house — a space marked by emotional distance — and to a father whose memory has faded, rendering him nearly unrecognisable. These encounters add another layer of complexity to her journey, forcing her to confront unresolved childhood traumas. These moments of introspection add depth to her character, transforming her from a victim of circumstance to an agent of change.

The narrative also delves into the complexities of maternal relationships. Seema’s strained bond with her mother mirrors her own struggles, suggesting that generational cycles of silence and submission can only be broken through conscious effort. Haider does not offer easy answers but, instead, leaves readers pondering the cost of freedom and the sacrifices it entails.

Haider’s earlier works are worth noting. Her debut, How it Happened (2012), was a riotously funny take on arranged marriages, while her second book, Firefly in the Dark, ventured into the eerie world of jinns. With A Woman on a Suitcase, Haider once again demonstrates her versatility, offering a sharp critique of societal expectations while delivering a deeply entertaining tale.

Ultimately, A Woman on a Suitcase is more than just a story about a failing marriage. It is a powerful exploration of identity, resilience, and the courage it takes to defy tradition. Haider’s writing is both accessible and thought-provoking, making this book a must-read for anyone interested in the intersections of gender, culture and family dynamics.

The reviewer is a writer, artist and educator. She is the author of two coffee-table books on Karachi, and has authored and illustrated 75 children’s books

Published in Dawn, Books & Authors, December 29th, 2024