The title expects that the realm of vultures. In reality, parallel to the primary plot of this book, an allegorical narrative of this a kingdom will be narrated. The metaphor of this vulture within a creature feeding largely about the carcasses of dead animals is used to depict the trespassing of moral limitations imposed by the culture from the faith.
Bano Qudsia has composed this publication drawing the spiritual idea of Haraam and Halaal. Many readers have a tendency to translate Raja Gidh because of sermon, where Bano Qudsia places forth her concept of hereditary transmission of Haraam genes. Obviously the storyline is woven to encourage the thesis. In the view of many critics and readers she still manages to convince them that the pursuance of Haraam, be it monetary, ethical or psychological, results from the deterioration of a individual’s normality in certain sense. She appears to imply that the abnormality is moved into the next generation.
Aside from the aforementioned implication the publication has lots of social, psychological and mental aspects.
Bano Qudsia is one of those Urdu authors who’d think twice before writing a paragraph. However, she doesn’t forfeit the circulation of the story everywhere within this publication. Her characters aren’t white and black ones since a few of the critics might love to indicate. Every sensitive reader that has attended a school or a college at a female setting is likely to come across some similarities between themselves and also among those figures.
Seemin is a contemporary and appealing urban woman and brings all her male group fellows, for example, narrator (abdul)Qayyum along with the youthful liberal scientist Suhail. Aftab belongs to some Kashmiri company family. Although he enjoys her, he cannot rise above his household values and confer with his own parent’s stress to marry someone against his wishes and leave for London to care for his family enterprise. Now the very long narrative of separation starts.