I'm a poet and creative mentor, and it’s the intensity of poetic language – its expansiveness and limitations – that shows up in my fiction and in the novels I love. Quinnis an exploration of male violence, incarceration, and radical forgiveness. I’ve spent a decade working with long-term prisoners in Scotland, trying to understand and come to terms with notions of justice and responsibility: does guilt begin and end with the perpetrator of a violent act or are we all in some way culpable? How can literary form dig into this question aslant? Can the unsettled mind be a space for innovative thinking?
Hedayat (1903-1951) was an Iranian writer who knew that death and the mythic experience of Kairos time exists a hair’s breadth away from what we commonly experience as human life.
The Blind Owl was the book that gave me permission to write fiction: instead of writing a novel in standard form, I wanted to create a liminal space, a threshold world between real and unreal; to invite readers into an unfamiliar (and hopefully transformative) vision of humanity.
This is exactly what Hedayat does in The Blind Owl: we are immersed in a fable of otherworldly, repetitive, poetic, dark, and mesmerising power. The story (of jealousy, despair, the cyclical nature of life and death) has a rare depth and a sense of universal reach precisely because it has one foot in the liminal.
Widely regarded as Sadegh Hedayat's masterpiece, the Blind Owl is the most important work of literature to come out of Iran in the past century. On the surface this work seems to be a tale of doomed love, but with the turning of each page basic facts become obscure and the reader soon realizes this book is much more than a love story. Although the Blind Owl has been compared to the works of the Kafka, Rilke and Poe, this work defies categorization. Lescot's French translation made the Blind Owl world-famous, while D.P. Costello's English translation made it largely accessible.…
I always felt that Middle Eastern studies is different from other fields of history. Its ever-presence in our life, the news cycle, religious life, political life, yet, because of language barriers and other filters, there’s a gap in knowledge that is highly conspicuous when forming one’s opinion. When I started my academic training, I felt like I was swimming in this ocean of histories that were completely unknown to me. I studied the Jewish histories of the region only later in my training and found that this gap is even more visible when talking about the history of Jews in the Middle East, because of misconceptions of antisemitism, the Israel-Palestine conflict, political tilt of media outlet, and more. For me, entering this field was a way to understand long-term processes in my own society, and expand the body of scholarship to enrich the public conversation on top of the academic one.
Haggai Ram was one of my Master’s thesis advisors. In this book, he shows how the idea of the Iranian threat was developed, partly as a process of Israeli self-reflection. Iranophobia is indispensable for the reader who would like to know about the roots of animosity between Iran and Israel, the history of the imagination of Iran and Israel vis-à-vis The West, and critical gaze on Zionism and Jewish Statehood in the Middle East. This book exemplifies the importance of looking beyond filters of mythmaking and the political tendencies of history writing and being on the lookout when reading contemporary history for political persuasions and connections between politics and academia.
Israel and Iran invariably are portrayed as sworn enemies, engaged in an unending conflict with potentially apocalyptic implications.Iranophobia offers an innovative and provocative new reading of this conflict. Concerned foremost with how Israelis perceive Iran, the author steps back from all-too-common geopolitical analyses to show that this conflict is as much a product of shared cultural trajectories and entangled histories as it is one of strategic concerns and political differences.
Haggai Ram, an Israeli scholar, explores prevalent Israeli assumptions about Iran to look at how these assumptions have, in turn, reflected and shaped Jewish Israeli identity. Drawing on diverse political,…
Richard Foltz is a cultural historian specializing in the broader Iranian world. He holds a Ph.D. in Middle Eastern History from Harvard University and has published eleven books and over one hundred articles on topics ranging from animal rights to Zoroastrianism. He is currently Professor in the Department of Religions and Cultures at Concordia University in Montréal, Canada.
An engagingly written, fair and balanced history for readers interested in more detail and analysis than is found in my own slim introductory volume. In my view the single best scholarly history of Iran ever written.
Iran is a land of contradictions. It is an Islamic republic, but one in which only 1.4 percent of the population attend Friday prayers. Iran's religious culture encompasses the most censorious and dogmatic Shi'a Muslim clerics in the world, yet its poetry insistently dwells on the joys of life: wine, beauty, sex. Iranian women are subject to one of the most restrictive dress codes in the Islamic world, but make up nearly 60 percent of the student population of the nation's universities. In A History of Iran, acclaimed historian Michael Axworthy chronicles the rich history of this complex nation from…
I was born in Israel, but spent my formative years in Iran, a country rich in culture, superstition, and a history that is nothing short of an author’s dream. I also joined a large, colorful family, whose members possessed their own quirks and habits, which my future fictional characters inherited in one or another of my novels. Although the Iran I knew during the reign of the Shah was quite different than the Iran I had to flee at the onset of the Islamic revolution and the arrival of Ayatollah Khomeini, her history remains ever timely, and never ceases to captivate me.
The grandson of an eminent ayatollah and the son of an Iranian diplomat, Hooman Majd offers perspective on Iran's complex and misunderstood culture through an insightful tour of Iranian culture, introducing fascinating characters from all walks of life, including zealous government officials, tough female cab drivers, and open-minded, reformist ayatollahs. It's an Iran that will surprise readers and challenge Western stereotypes.
Hooman Majd, acclaimed journalist and New York-residing grandson of an Ayatollah, has a unique perspective on his Iranian homeland. In this vivid, warm and humorous insider's account, he opens our eyes to an Iran that few people see, meeting opium-smoking clerics, women cab drivers and sartorially challenged presidential officials, among others.
Revealing a country where both t-shirt wearing teenagers and religious martyrs express pride in their Persian origins, that is deeply religious yet highly cosmopolitan, authoritarian yet reformist, this is the one book you should read to understand Iran and Iranians today.
I grew up feeling invisible in media, and absent in history. My Iranian history was hidden from me by a culture that believed shielding young people from trauma was the right thing to do, and my queer history was hidden from me by a homophobic time. I’m passionate about the power of seeing yourself represented in storytelling and in history, and have devoted much of my life to telling queer stories, and queer historical stories. As a parent, as a queer Iranian storyteller, as a passionate believer in art as a tool for empathy, these are books I think will both entertain readers and inspire them to love their fellow humans a little more.
When I was growing up, there was zero queer Iranian representation to inspire me or guide me.
I felt quite literally invisible in the world, and my own mission has been to flood the world with queer Iranian stories to fill this void. Thankfully, a number of other authors are now doing the same, including Sara Farizan, Arvin Ahmadi, and Adib Khorram.
I chose the sequel to Adib’s masterful Darius the Great Deserves Better because I love how it leans into intergenerational family dynamics, which are a particular passion of mine (and of most immigrants who must work to unite the disparate parts of our histories).
Darius Kellner is having a bit of a year. Since his trip to Iran this past spring, a lot has changed. He's getting along with his dad, and his best friend Sohrab is only a Skype call away. Between his first boyfriend, Landon, his varsity soccer practices, and his internship at his favourite tea shop, Darius is feeling pretty okay. Like he finally knows what it means to be Darius Kellner. Then, of course, everything changes. Darius's grandmothers are in town for a long visit while his dad is gone on business, and Darius isn't sure whether they even like…
I am a Canadian-American writer of Indian heritage, an award-winning novelist and short fiction writer, playwright, and poet. I grew up in Delhi, hearing stories from my maternal grandparents who were refugees during the 1947 Partition of India. So, as my work reflects, I’m drawn to stories of resilience in the face of cultural conflict, religious upheaval, migration, immigration, and displacement. My MBA is from Marquette University, and my MFA from the University of British Columbia. I am working on another novel.
The cross-cultural stories in this anthology are painful, funny, and heartbreaking. You’ll find famous and little-known writers exploring migration, immigration, othering, and otherness. We know these problems, but sometimes stories help us imagine alternate ways of solving them, making connections we can build from our common humanity.
Thirty acclaimed writers of international fiction explore the stranger in tales of cultural clashes and bonds. These stories of disparate experience travel beyond politics and multicultural manners to become an essential discussion of otherness. Contributors include Nathan Englander, Laila Lalami, Ana Menendez, Josip Novakovich, Wanda Coleman, Tony d'Souza, Samrat Upadhyay, Mary Yukari Waters, Luis Alfaro, and Amanda Eyre Ward, as well as other accomplished writers from Azerbaijan, Bangladesh, Iran, Israel, Pakistan, and Zimbabwe, some published for the first time in the United States.
I worked for many years in business consultancy before branching into other genres, including fiction. Through working regularly in Singapore I was able to travel around the region, finding I loved that part of the world. I came to regard Thailand as the jewel of Southeast Asia. I continue to visit and aim for my light-hearted travel writing to encourage others to enjoy the area and be ambitious in their travel plans. I regard my book as an invitation to share my love of a unique place and was delighted when one reviewer described my writing of it as “Brysonish.”
Again, a writer I love, more serious than the likes of Bill Bryson but no less readable.
This book records a journey from China along the historic Silk Road and across the world to the mountains of Central Asia, encompassing time in places such as Afghanistan, which was a difficult place then and one where circumstances deteriorated subsequently.
It is writing that makes you dwell on the history and want to follow every step—and every page.
Colin Thurbon's beautiful prose unfolds along the Silk Road, unearthing a richly layered past on his most ambitious journey.
On buses, donkey carts, trains, jeeps and camels, Colin Thubron traces the drifts of the first great trade route out of the heart of China into the mountains of Central Asia, across northern Afghanistan and the plains of Iran into Kurdish Turkey. A magnificent account of an ancient world in modern ferment, Thubron covers over 7000 miles in eight months enduring a near-miss with a drunk-driver, incarceration in a Chinese cell, and undergoing root canal treatment without anaesthetic, along the way.…
As a religious person, I’ve always believed religion is a force for good while being constantly reminded of the horrors it causes. This became a real-world concern with the 9/11 attacks (which happened my second week in college) and the faith-tinged US response. I spent ten years in Washington, DC working at the intersection of faith and counterterrorism, hopeful religion could solve our problems but worried it will only make things worse. I’ve continued that work as a Professor at the University of Vermont. This book reflects that tension and my desire to resolve it.
This book focuses on Iran, but like the Niebuhr book has broader applications.
Tabaar is an expert on Iranian politics who conducted incredibly in-depth research on Islamic politics in the country before and after its revolution in 1979. He pushes back on the simplistic idea that religious ideas drove politics in Iran; instead, a “politics of Islam” dominated,” in which actors drew on Islamic symbols and practices to advance their political goals.
Tabaar’s book gives a compelling example of the way religion can both drive politics and be caught up in political actors’ strategic calculations, leading to unexpected effects. It provided a foundation for my book’s argument that religion is both an influence on and tool of foreign policy that rarely works out the way it was intended.
Since the 1979 revolution, scholars and policy makers alike have tended to see Iranian political actors as religiously driven-dedicated to overturning the international order in line with a theologically prescribed outlook. In Religious Statecraft, Mohammad Ayatollahi Tabaar argues that such views have the link between religious ideology and political order backwards. This provocative book examines the politics of Islam rather than political Islam-demonstrating that religious narratives can change rapidly, frequently, and dramatically in accordance with elites' threat perceptions. Tabaar traces half a century of shifting Islamist doctrines against the backdrop of Iran's factional and international politics. He argues that the…
I’m a scholar who has spent most of his working life looking at the history of North Africa. This passion was formerly directed toward looking at the conditions that Europeans imposed on local populations, but in recent times, I have moved solely to consider forgotten cultures made by indigenous Muslim and Jewish populations. Making this move has been the best, riskiest, and most rewarding choice I’ve ever made in my career, and I am now a cheerleader for the incredible forms of art made by ordinary people in these societies.
I love this book (and think you will too) because of the way in which it weaves together architectural, art, social, and religious history so as to tell the story of one of the greatest cities in the Islamic world: Isfahan.
Its beautiful illustrations take readers to a place that many will not have a chance to visit while connecting the beauty of its built environment to cultures that come before and after the Safavid moment.
Its author is THE guide to the topic, and gaining a sense of the history of built environments is of critical importance for anyone interested in the history of Islamic art.
Winner of the Houshang Pourshariati Iranian Studies Book Award 2009 This beautifully illustrated history of Safavid Isfahan (1501-1722) explores the architectural and urban forms and networks of socio-cultural action that reflected a distinctly early-modern and Perso-Shi'i practice of kingship. An immense building campaign, initiated in 1590-91 at the millennial threshold of the Islamic calendar (1000 A.H.), transformed Isfahan from a provincial, medieval, and largely Sunni city into an urban-centered representation of the first Imami Shi'i empire in the history of Islam. The historical process of Shi'ification of Safavid Iran and the deployment of the arts in situating the shifts in…
I firmly believe we each have a unique story to tell, to record in order to help others and to record a history. I love the ordinary person who lives an extraordinary life. So many people don’t realize how wonderful they are. It is also cathartic to write your story, in doing so you forgive others as you forgive yourself for decisions poorly made.
This all-American woman loved an Iranian student 25 years her junior. Her story takes you on an adventure, sparing no details of the emotional roller coaster ride, even learning his language. They created a bridge between East and West. She immersed herself to see life and Iranian customs through his eyes, willing herself to understand, hoping to influence him with American ways. Reading her story you will witness an extraordinary marriage and wonder if you could ever possibly do the same.
Afshin, a captivating Iranian graduate student, rents a room in Miriam Valmont’s home. Landlady and tenant share an immediate and fast-growing attraction, despite the fact that Miriam is twice Afshin’s age. When Afshin proposes a temporary Islamic marriage, Miriam readily agrees, driven by desire and curiosity. What shocks her, though, is the role Afshin invites her to play at the end of the marriage so that he, as a Muslim, can continue to express affection. The Bird and the Fish is the story of two people with radically different lives who find a way to honor a passionate love.
