Women Art And Literature In The Iranian Diaspora

Does the study of aesthetics have tangible effects in the real world? Does examining the work of diaspora writers and artists change our view of "the Other"? In this thoughtful book, Ebrahimi argues that an education in the humanities is as essential as one in politics and ethics, critically training the imagination toward greater empathy. Despite the surge in Iranian memoirs, their contributions to debunking an abstract idea of terror and their role in encouraging democratic thinking remain understudied. In examining creative work by women of Iranian descent, Ebrahimi argues that Shirin Neshat, Marjane Satrapi, and Parsua Bashi make the Other familiar and break a cycle of reactionary xenophobia. These authors, instead of relying on indignation, build imaginative bridges in their work that make it impossible to blame one evil, external enemy. Ebrahimi explores both classic and hybrid art forms, including graphic novels and photo-poetry, to advocate for the importance of aesthetics to inform and influence a global community. Drawing on the theories of Rancière, Butler, Arendt, and Levinas, Ebrahimi identifies the ways in which these works give a human face to the Other, creating the space and language to imagine a new political and ethical landscape.

The series Studies on Modern Orient provides an overview of religious, political and social phenomena in modern and contemporary Muslim societies. The volumes do not only take into account Near and Middle Eastern countries, but also explore Islam and Muslim culture in other regions of the world, for example, in Europe and the US. The series Studies on Modern Orient was founded in 2010 by Klaus Schwarz Verlag.

Until recently, Iranian literature has overwhelmingly been the domain of men. But the new hybrid culture of diaspora Iranians has produced a prolific literature by women that reflects a unique perspective and voice. Let Me Tell You Where I've Been is an extensive collection of poetry, fiction, and nonfiction by women whose lives have been shaped and influenced by Iran's recent history, exile, immigration and the formation of new cultural identities in the United States and Europe. These writings represent an emerging and multi-cultural female sensibility. Unlike many flat media portrayals of Iranian women—as veiled, silenced—these writers offer a complex literary view of Iranian culture and its influences. These writers interrogate, challenge, and re-define notions of home and language and their work offers readers an experience of Iranian diaspora culture. Featuring over one hundred selections (two-thirds of which have never been published before) by more than fifty contributors--including such well-known writers as Gelareh Asayesh, Tara Bahrampour, Firoozeh Dumas, Roya Hakakian and Mimi Khalvati--the collection represents a substantial diversity of voices in this multicultural community. Divided into six sections, the book's themes of exile, family, culture resistance, and love, create a rich and textured view of the Iranian diaspora. The poems, short stories, and essays are suggestive of an important conversation about Iran, Iranian culture, the Persian and English languages, and the dual identities of many of its authors. This powerful collection is a tribute to the wisdom, insight, and sensitivity of women attempting to invent and articulate a literature of in-betweenness.

Acclaimed poet Nilofar Shidmehr’s debut story collection is an unflinching look at the lives of women in post-revolutionary Iran and the contemporary diaspora in Canada. The stories begin in 1978, the year before the Iranian Revolution. In a neighbourhood in Tehran, a group of affluent girls play a Cinderella game with unexpected consequences. In the mid 1980s, women help their husbands and brothers survive war and political upheaval. In the early 1990s in Vancouver, Canada, a single-mother refugee is harassed by the men she meets on a telephone dating platform. And in 2003, a Canadian woman working for an international aid organization is dispatched to her hometown of Bam to assist in the wake of a devastating earthquake. At once powerful and profound, Divided Loyalties depicts the rich lives of Iranian women and girls in post-revolutionary Iran and the contemporary diaspora in Canada; the enduring complexity of the expectations forced upon them; and the resilience of a community experiencing the turmoil of war, revolution, and migration.

The 1979 Revolution in Iran caused the migration of millions of Iranians, many of whom wrote, and are still writing, of their experiences. Formed at the junctions of Iranian culture, English language and Western cultures, this body of work has not only formed a unique literary space, offering an insightful reflection of Iranian diasporic experiences and its shifting nature, but it has also been making a unique and understudied contribution to World Literatures in English as significant as Indian, African and Asian writing in English. Sanaz Fotouhi here traces the origins of the emerging body of diasporic Iranian literature in English, and uses these origins to examine the socio-political position and historical context from which they have emerged. Fotouhi brings together, introduces and analyses, for the first time, a significant range of diasporic Iranian writers alongside each other and alongside other diasporic literatures in English. While situating this body of work through existing theories such as postcolonialism, Fotouhi sheds new light on the role of Iranian literature and culture in Western literature by showing that these writings distinctively reflect experiences unique to the Iranian diaspora. Analysing the relationship between Iranians and their new surroundings, by drawing on theories of migration, narration and identity, Fotouhi examines how the literature borne out of the Iranian diaspora reconstructs, maintains and negotiates their Individual and communal identities and reflects today's socio-political realities. This book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those interested in the cultural history of the Middle East.

Women Write Iran is the first full-length study on life narratives by Iranian women in the diaspora. Nima Naghibi investigates auto/biographical narratives across genres—including memoirs, documentary films, prison testimonials, and graphic novels—and finds that they are tied together by the experience of the 1979 Iranian revolution as a traumatic event and by a powerful nostalgia for an idealized past. Naghibi is particularly interested in writing as both an expression of memory and an assertion of human rights. She discovers that writing life narratives contributes to the larger enterprise of righting historical injustices. By drawing on the empathy of the reader/spectator/witness, Naghibi contends, life narratives offer the possibilities of connecting to others and responding with an increased commitment to social justice. The book opens with an examination of how the widely circulated video footage of the death of Neda Agha-Soltan on the streets of Tehran in June 2009 triggered the articulation of life narratives by diasporic Iranians. It concludes with a discussion of the prominent place of the 1979 revolution in these narratives. Throughout, the focus is on works that have become popular in the West, such as Marjane Satrapi’s best-selling graphic novel Persepolis. Naghibi addresses the significant questions raised by these works: How do we engage with human rights and social justice as readers in the West? How do these narratives draw our attention and elicit our empathic reactions? And what is our responsibility as witnesses to trauma, atrocity, and human suffering?

The Iranian-American author’s award-winning debut examines an immigrant’s coming of age with “punchy conversation, vivid detail [and] sharp humor” (The New York Times Book Review). Growing up in the United States, Xerxes Adam’s understanding of his Iranian heritage vacillates from typical teenage embarrassment to something so tragic it can barely be spoken. His father, Darius, is obsessed with his own exile, and fantasizes about a nonexistent daughter he can relate to better than his living son. His mother changes her name and tries to make friends. But neither of them helps Xerxes make sense of the terrifying, violent last moments in a homeland he barely remembers. As Xerxes grows up and moves to New York City, his major goal in life is to completely separate from his parents. But after the attacks of September 11th change New York forever, and Xerxes meets a beautiful half-Iranian girl on the roof of his building, he begins to realize that his heritage will never let him go. Winner of the California Book Award Silver Medal in First Fiction, Sons and Other Flammable Objects is a sweeping, lyrical tale of suffering, redemption, and the role of memory in making peace with our worlds. A New York Times Book Review Editor’s Choice

Eighteen months after Iran’s Islamic Revolution in 1979, hundreds of thousands of the country’s women participated in the Iran-Iraq War (1980–88) in a variety of capacities. Iran was divided into women of conservative religious backgrounds who supported the revolution and accepted some of the theocratic regime’s depictions of gender roles, and liberal women more active in civil society before the revolution who challenged the state’s male-dominated gender bias. However, both groups were integral to the war effort, serving as journalists, paramedics, combatants, intelligence officers, medical instructors, and propagandists. Behind the frontlines, women were drivers, surgeons, fundraisers, and community organizers. The war provided women of all social classes the opportunity to assert their role in society, and in doing so, they refused to be marginalized. Despite their significant contributions, women are largely absent from studies on the war. Drawing upon primary sources such as memoirs, wills, interviews, print media coverage, and oral histories, Farzaneh chronicles in copious detail women’s participation on the battlefield, in the household, and everywhere in between.