The Blind Owl And Other Stories

Following a disjointed, vision-like structure, The Blind Owl is the nightmarish exploration of the psyche of a madman. The narrator is an ailing, solitary misanthrope who suffers from hallucinations, and his dreamlike tale is layered, circular, driven by its own demented logic, and punctuated with macabre and surreal episodes such as the discovery of a mutilated corpse, and a bizarre competition in which two men are locked in a dungeon-like room with a cobra. Initially banned in the author's native Iran, the novel first appeared in Tehran in 1941 and became a bestseller. Full of powerful symbolism and terrifying imagery, this dark novella is Hedayat's masterpiece.

Written in Persian, The Blind Owl is predominantly a love story - an unconventional love story that elicits visions and nightmare reveries from the depths of the reader's subconscious. A young man, an old man and a beautiful young girl perform, as if framed within a Persian miniature, a ritual of destruction as gradually the narrator, and the reader, discover the meaning hidden within the dreams. This unforgettable story contains a unique blend of the mystery of the Arabian Nights and an acutely contemporary sense of panic and hallucination.The Blind Owl was written during the oppressive latter years of Reza Shah's rule (1925-41). It was originally published in a limited edition in Bombay, during Hedayat's year-long stay there in 1937, stamped with "e;Not for sale or publication in Iran"e;. It first appeared in Tehran in 1941 (as a serial in the daily Iran), after Erza Shah's abdication, and had an immediate and forceful effect."e;

Above a disused bar, in a dilapidated Parisian hotel that houses an assortment of indigent, marginalized lost souls, one of the inhabitants, a mysterious, reclusive holy man, is the subject of much speculation from some of his fellow occupants and respectful reverence from others. As the tale unfolds, the dynamics of this precarious microcosm are laid bare, in a powerful portrayal of those society has forgotten.Written when the author of Cain's Book was at the height of his creative powers and enjoying an increasing reputation in avant-garde literary circles, 'The Holy Man' is here presented with 'A Being of Distances', 'Peter Pierce' and 'A Meeting', stories which similarly tackle themes of loneliness and disenfranchisement.

The Routledge Handbook of Persian Literary Translation offers a detailed overview of the field of Persian literature in translation, discusses the development of the field, gives critical expression to research on Persian literature in translation, and brings together cutting-edge theoretical and practical research. The book is divided into the following three parts: (I) Translation of Classical Persian Literature, (II) Translation of Modern Persian Literature, and (III) Persian Literary Translation in Practice. The chapters of the book are authored by internationally renowned scholars in the field, and the volume is an essential reference for scholars and their advanced students as well as for those researching in related areas and for independent translators of Persian literature.

The chapters in this study cover the four major Middle Eastern languages (Arabic, Hebrew, Persian, and Turkish) and are authored by experts in these literatures, who read and engage with these texts in their original languages. Their intimate knowledge of the linguistic and cultural contexts of the works they analyse provides readers access to nuances in the texts and, ultimately, to a more profound understanding of them. This is the first cohesive collection addressing the Gothic in the geographic/linguistic context of the Middle East region. There has been increased interest not only in global iterations of the Gothic but also in Middle Eastern writing, particularly when it intersects with the Gothic (i.e. Frankenstein in Baghdad). The Introduction of the volume offers a new theorisation of Gothic literature, proposing the "transnational region" as a frame for reading literary texts that cross national and linguistic boundaries.

This book introduces the canonical figure Sadegh Hedayat (1903–1951) and draws a comprehensive image of a major intellectual force in the context of both modern Persian Literature and World Literature. A prolific writer known for his magnum opus, The Blind Owl (1936), Hedayat established the use of common language for literary purposes, opened new horizons on imaginative literature and explored a variety of genres in his creative career. This book looks beyond the reductive critical tendencies that read a rich and diverse literary profile in light of Hedayat’s suicide, arguing instead that his literary imagination was not solely the result of genius but rather enriched by a vast network of the world’s literary traditions. This study reflects on Hedayat’s attempts at various genres of artistic creation, including painting, fiction writing, satire and scholarly research, as well as his persistent struggles for artistic authenticity, which transcended solidly established literary and artistic norms. Providing a critical reading of Hedayat’s work to untangle aspects of his writing – including reflections on science, religion, nationalism and coloniality – alongside his pioneering work on folk culture, and how humor informs his writings, this text offers a critical review of the status of Persian literature in the contemporary landscape of the world’s literary studies.

This encyclopaedia will be an indispensable resource and recourse for all who are thinking about cities and the urban, and the relation of cities to literature, and to ways of writing about cities. Covering a vast terrain, this work will include entries on theorists, individual writers, individual cities, countries, cities in relation to the arts, film and music, urban space, pre/early and modern cities, concepts and movements and definitions amongst others. Written by an international team of contributors, this will be the first resource of its kind to pull together such a comprehensive overview of the field.