How does Hosseini use point of view in The Kite Runner?

Author Khaled Hosseini uses a variety of literary devices to present his point of view in The Kite Runner. The protagonist, Amir, serves as the constant narrator with the exception of Chapter 16, when the narration is taken over by Rahim Khan. Since the story is actually told by Amir in retrospect, the reader is given a glimpse of many different aspects of his personality and inner consciousness. Amir shifts constantly from dialogue to long descriptive passages. Because he tells his story from an adult perspective, Amir's reflection upon past events allows for such devices as foreshadowing, flashback, imagery and metaphorical symbolism. The reader also is given a basic lesson in the Farsi and Pashtun language: Hosseini's characters use many common Afghan words, usually followed by translations. Internal monologue is also used frequently to describe the inner feelings of Amir and other characters.

How does Khaled Hosseini use point of view and narrative voice in "The Kite Runner"?

The first portion of this work is told to the reader using first person narration through Amir as a young manas he struggles to grow into adulthood faced with his own shame concerning his best friend, Hassan, and his quest to forge a strong bond with his father, Baba. Through Amir's voice, the reader is able to understand the harsh realities of growing up and the pain and guilt associated with the betrayal of one you love: "Kabul had become a city of  ghosts for me. A city of hare lipped ghosts."

First person narration provides insight into Amir's heart and soul allowing the reader into the Afghan culture through the eyes of the main character.

How does Hosseini use narrative voice to show childhood's impact on adulthood in 'The Kite Runner'?

The Kite Runner is a good first novel, but it has the flaws of a first novel: it is overly symmetrical, full of coincidences (that would make Dickens blush), a too convenient villain (a Nazi rapist, turned Taliban!), and an overbearing narrative voice.

The novel is a bildungsroman, a novel of maturity and coming-of-age, and a long confessional.  The narrator Amir tells us in flashback of his guilt early: “There is a way to be good again."  The novel begins with the premise: "I became what I am today at the age of twelve," which is a paradoxical way of presenting a coming-of-age tale.  Really, it's a "I came of age at age twelve and have been stuck there ever since" novel.  No need for Freud here: Amir is repressed.

So, we are geared up from the start for a guilt toward redemption payoff.  We know that he turned his back on Hassan.  We know his secret from childhood.  So, when he narrates the second "half" of the book, in America as an adult, we carry his guilt, and by the end we want to get rid of it as badly as he does.