33 pages 1 hour read

Mohsin Hamid

How to Get Filthy Rich in Rising Asia

Fiction | Novel | Adult | Published in 2013

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Character Analysis

The Unnamed Narrator, or “You”

At the beginning of each chapter, the main character appears as the narrator of the story and the creator of the rules comprising the plan to getting rich. He weighs in as an authority on amassing wealth, writing and reading stories, having contingency plans, debt management, the usefulness of glad-handing to cut through red tape, and more. When he switches to the narrative format of the book, he uses examples from his life to illustrate the principles he is teaching. However, at these points, he asks the reader to become him and switches to present tense, referring to himself as “you.” In this way, the reader—who is ostensibly following the rules on the path to riches—can step into his shoes and experience the same events as the narrator as he puts his plan for success into practice.

After being raised in a poor village, the narrator becomes a skilled salesman of expired food, then a water bottling entrepreneur, and finally, a truly wealthy water magnate. During the book, he dabbles in fundamentalism, becomes infatuated with the pretty girl, marries, fathers a son, and loses his wife. His mother dies when he is young and his father never recovers from the loss, putting the narrator in the position of supporting his father emotionally. The other business-minded characters in the book—with the exception of the pretty girl—are ruthless in their business calculations. They are willing to lie, repackage expired food, and even to commit murder. The narrator never resorts to criminal means.

He spends his last few years with the pretty girl, and they are the happiest times of his life. When he dies, he realizes that he has not followed his third rule—he went and fell in love—and admits that he has not written a perfect guide to becoming rich in rising Asia. At the moment of his death, he is more peaceful and content than at any other time shown in the book. 

The Pretty Girl

The pretty girl’s name is never given, making her both a character and a symbol, given that she is never referred to without the adjective of “pretty.” At the beginning of the novel, she is working in a beauty salon. She dreams of becoming a model and begins working for a marketing director who promises to get her a shampoo ad in exchange for sexual favors. She will go on to become a moderately successful model, appearing in ads for jeans. When her modeling career begins to ebb, she attempts to transition into acting, but lands only minor parts. She eventually finds success as the host of a popular cooking show. When the show ends, she opens a home-furnishing boutique and becomes friends with her assistant. At various times, she reenters the narrator’s life. Sometimes they merely talk on the phone, and twice they have sex.

The pretty girl finds the idea of being tied to a man repellent. It is not until the end of the novel when she is in her 80s that she and the narrator begin to live together. She finds his consistent company as pleasant and comforting as he does. Their time together, in what is shown in the novel, is the happiest and most peaceful time of her life.

Unlike the narrator, the pretty girl is not nostalgic. She refuses to dwell on the past and pursues her own success in order to forget where she was raised, and what she was required to do to escape the town of her birth. When her assistant is killed in a shop robbery, however, the pretty girl is compelled to return to the place where she was born. 

The Narrator’s Son

The narrator fathers a son with his young wife. The boy is never given a name, but the time the narrator spends with him is always fulfilling and peaceful. As a child, the boy is given to making impromptu speeches for audiences. He loves stories, just like the narrator. Later, in his 30s, he will move to America and gain citizenship as he pursues his dream of becoming an artist. He stays in touch with his father via video calls and visits him after the narrator has moved in with the pretty girl.

The son—like many of the characters who appear in the novel—is not fully-realized in the same way as the narrator and the pretty girl. He plays a role in the narrator’s life. In this way he is similar to “the bureaucrat” or “the master,” whose purposes in the novel were to, respectively, facilitate contracts and serve as a business mentor. However, as the novel ends, he is there at his father’s death bed, and he helps the narrator realize that because he loved this son, his life was not spent solely on his own ambitions.

During the son’s month-long visit, the narrator looks at him: “You feel a love you know you will never be able to adequately express to him, a love that flows one way, down the generations, not in reverse, and is understood and reciprocated only when time has made of a younger generation an older one” (222). Without his son, the narrator would never have learned that he was capable of this type of love.