However, truth, pertaining to both historical and contemporary realities, has many sides. No writer has the moral right to deny some vital realities just to showcase his preferred reality as the only truth there is. The chief falsity of Bhyrappa’s claim lies in the fact that, while lifting the veil over one historical truth (especially the breaking of Hindu temples and idols under the watch of bigoted Muslim rulers in past centuries, where he is on solid ground), he has himself placed a veil over other important sides of the truth about the largely positive, and mutually enriching, encounter between Hinduism and Islam. He has refused to recognise anything noble and uplifting in Islam. He does not acknowledge that the Muslim contribution to the making of India has many admirable features. His depiction of the Muslim life in India is entirely negative. All the Muslim characters in the novel are conservative and closed-minded; Amir, the pseudo-progressive filmmaker; his parents, who are heavily influenced by the moral policing of the Tablighi Jamaat; and his son Nazir, who is born to his first wife Lakshmi, his artistically endowed Hindu lover whom he forces to convert to Islam. All of them look down upon Hindus and Hinduism. Nazir, who grows up to have a lucrative job in Saudi Arabia, is also shown to have the expat’s disdain for India.