It is of utmost importance to any author that his work possesses the element of longevity. With that being said, Tahmima Anam is one such author who artistically employs techniques in order to ensure that her novels are memorable. It can therefore be argued that a "golden age" is indelible owing to the intimate connection made between the reader and the protagonist, Rehana, which Anam brings into being. Rehana, the writer’s centre of consciousness, is given priority over the other characters in terms of how the reader views Rehana’s actions and interprets her thoughts. During 1971, in war torn Bangladesh, the reader can therefore easily witness and is kept informed as to Rehana’s involvement in the war as well as the relationships she forges and strengthens. Hence, it is undeniable that literary devices are indispensable to the creation of the novel’s longevity as it is these devices that propel the formation of the reader’s bond with the protagonist. The writer’s use of narrative point of view as well as Rehana’s role as trope for the nation (Bangladesh) are thus important techniques deployed by the author. The former technique elucidates Rehana’s innermost sentiments, secrets and motivations whereas the latter is indicative of self realization which parallels the nation’s growth and maturation into an independent one. “Dear husband, I lost our children today”, Rehana utters at the onset of the first chapter. She was relaying the events which led up to her losing custody of her children to Faiz when they were quite young. The use of narrative point of view at this point of the novel is vital to the delineation of Rehana’s feelings of loss and solitude when her children are taken away. It is actually at this point that the reader realizes that the limited omniscient point of view has been employed by Anam, as the story is being filtered through one character’s lens; those of Rehana’s. These first lines of the novel truly capture the reader and make him feel as if he is losing his children too. Rehana experiences a similar feeling when she must now willingly sacrifice Sohail to her country; her children being her most prized possessions. The narrative point of view aids in this regard as it allows the reader to dig deep into Rehana’s feelings and customary voicelessness as she has not the words to say to convince Sohail to stay. “Rehana was silent all the way, though in her head there was a shout. Don’t go, the shout said,” narrates Anam. This silent expression evokes sympathy or possibly empathy in the reader as he is truly touched by the debilitating feeling of having to sacrifice one of Rehana’s own. Another memorable event for both the writer’s centre of consciousness and the reader is found in the chapter “Operation Searchlight” in which Rehana visits the university in order to discover what had truly transpired on March 25. Through the effective employment of the limited omniscient point of view, in the same way that Rihanna “had seen it all” so the reader could vividly visualize the terrible scene; “a thin length of ribbon the road” as well as “corpses piled onto the pavement.” The intricate manner in which the dismaying incident is described influences the reader to imagine that Rehana is narrating the story or even relaying it in a face to face conversation. Also, the chapter ends with the sentence, “Rehana wrapped her arms willing the old strength to rise up within her again”; an important sentence owing