Throughout Saeed and Nadia’s story, seemingly unrelated vignettes interrupt the storyline, just for the plot to be picked up again within a few pages. It was not until a few chapters in that I realized that each vignette portrayed a different experience with the magical doors that Saeed and Nadia would eventually travel through. Still, I could not quite comprehend why Hamid felt the need to diverge from the storyline so frequently. Perhaps it is because each vignette not only provides a different perspective of the migrant experience but also helps further the plot by serving as a parallel to Saeed and Nadia’s story.
The vignettes paint migration as not just a means of escaping war and peril but as an opportunity to find the ideal life for oneself. A man in England contemplates suicide before discovering a door to Namibia and creating a new life for himself there. Regardless of how geographically desirable a location may seem, suffering can always find a way to manifest itself. Hamid depicts migration as a tool to break free from both physical and mental suffering and suggests that we are not as bound to our locations of origin as we may believe we are. In another vignette, an old man from Brazil finds love in Amsterdam and brings his Dutch love interest back to Rio de Janeiro for a visit. The nomadic lifestyle that these doors provide is what allowed the two men to discover their love for each other.
Nadia and Saeed could have had a stable life in England, but they both felt incomplete and were inclined to relocate once again to Marin, California. Through the vignettes and Saeed and Nadia’s journey, Hamid communicates that the reason for migrating can be as grave as fleeing for one’s life and can be as simple as craving new experiences.