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"Iranian Americans Fiction."
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Jasmine Zumideh needs a win
After lying on her college admissions, seventeen-year-old Jasmine needs to win her senior class election, but the Iran Hostage Crisis explodes across the nightly news and her opponent begins to stir up anti-Iranian hysteria at school causing Jasmine to reconcile with her identity in way she never has before.
Book
Martyrdom Street
Set during the Iranian Revolution of 1979 and the ensuing Iran-Iraq War of 1980–1988, the novel Martyrdom Street chronicles the lives of three Iranian women, Fatemeh, Nasrin, and Yasaman. These ordinary women tell their intimate stories of love, loss, betrayal, and hope in intertwining narratives that unfurl simultaneously in America and Iran. Kashani-Sabet’s characters endure both the familiar struggles of family relationships and searing political upheavals. A mother and daughter come to terms with the burdens of separation imposed by politics and exile. A young woman grapples with the haunting memories of an assassination. The poignant confessions of these skillfully wrought characters give voice to the travails of two generations of Iranians and Iranian Americans.
eBook
It Ain’t So Awful, Falafel by Firoozeh Dumas (review)
Good luck with that, since her parents keep her on a short leash, rising middle school friendships seem to have already been solidified, and her one potential pal from the summer throws her over as school opens. Geopolitics upsets this happy trajectory, though, when Iran’s shah is deposed, an Islamic regime comes into power, and American hostages are held in the embassy in Iran; back in the U.S., Cindy’s father is suddenly out of work and the family regarded as pariahs by some of the community.
Journal Article
Code of honor
When Iranian-American Kamran Smith learns that his big brother, Darius, has been labelled a terrorist, he sets out to piece together the codes and clues that will save his brother's life and his country from a deadly terrorist attack.
Book
After the Revolution to the War on Terror: Iranian Jewish American Literature in the United States
The essay examines the sometimes synchronistic relationships in Iranian Jewish American literature between reading practices, aesthetics, and politics from the Iran hostage crisis to the War on Terror. As such, Mirakhor describes key features of this canon (its articulations of an imaginary homeland, struggles with assimilation, and belonging neither here nor there as Iranian Jews), as well as its relationship to the larger canons of Middle Eastern/Arab diasporic literatures and American literatures. Examining the works of writers such as Gina Nahai and Roya Hakakian, as well as the Bravo TV series The Shahs of Sunset, Mirakhor critiques the political and ideological dangers of neo-Orientalist and neoliberal rhetorical practices, as well as revealing some of the untethered possibilities in creating more multifaceted, nuanced articulations of “Iranian” and “Jewish” in the United States in the twenty-first century.
Journal Article
I miss you, I hate this
Best friends Parisa Naficy and Gabriela Gonzales grapple with the complexities of their relationship even while they spend their senior year apart due to a pandemic that disproportionately affects young people.
Book
The Disappearing Body: Poe and the Logics of Iranian Horror Films
The originator of the crime thriller in Iranian cinema, Samuel Khachikian, an Iranian Armenian, experimented with horror techniques developing and incorporating strategic lighting and editing much to the shock and awe of his audiences.1 For the first time in Persian and at the hands of an Iranian filmmaker, Iranian audiences could be thrilled by crime tales meant to invoke fear, intrigue, and suspense. [...]Khachikian centered female characters as leads within his films during a period of commercial filmmaking that positioned women as secondary characters serving the male characters' goals and sexual ambitions. Hamid Naficy mentions the 1986 Dariush Farhang gothic horror feature Telesm (The Spell) within his discussion of the higher quality films governmental bodies produced following the 1979 Revolution.3 In delving into the supernatural horror film Khābgāh-e Dokhtarān (Girls' Dormitory, Mohammad Hossein Latifi, 2004), Pedram Partovi highlights the novelty of horror films in Iranian cinema, along with the rarity of female lead characters in Iranian cinema history in general.4 Along with twenty-first-century diaspora productions,5 both these post-Revolution films demonstrate how Iranian cinema scholarship has attended to specific interpretations of the ways horror should be defined: supernatural components, whether hauntings or possessions, are presented in combination with religiously-inflected influences. In particular, the article, through a close scene reading of a selection of Khachikian's films, looks to the perceived presence or absence of a corpse as a critical device inciting the horror logic that hinges on the centralization and devolution of female characters in Poe's gothic tales and Khachikian's crime thrillers. [...]the inexplicability of many of his stories highlights Poe's fascination with the mystifying elements of the psychological that intensify the horror all the more.
Journal Article
A good country : a novel
\"Laguna Beach, California, 2009. Alireza Courdee, a fourteen-year-old straight-A student and chemistry whiz, takes his first hit of pot. In as long as it takes to inhale and exhale, he is transformed from the high-achieving son of Iranian immigrants into a happy-go-lucky stoner. He loses his virginity, takes up surfing, and sneaks away to all-night raves. For the first time, Reza--now Rez--feels like an American teen. Life is smooth; even lying to his strict father comes easily. But then he changes again, falling out with the bad boy surfers and in with a group of kids more awake to the world around them, who share his background, and whose ideas fill him with a very different sense of purpose\"-- Provided by publisher.
Book
AUTOGRAPHICS: THE SEEING \I\ OF THE COMICS
Recently Marianne Hirsch has argued it is necessary to think anew about words and images and their expressivity in the specific cultural and historical context of the 'war on terror'. Here Marjane Satrapi's Persepolis and Art Speigelman's In the Shadow of No Towers are read in terms of 'autographics': the distinctive technology and aesthetics of life narrative that emerges in the comics. Unique mediations of cultural difference occur in the grammar of comics, which make demands on the reader to navigate across gutters and frames, and shuttle between words and images, in an active process of imaginative engagement with others.
Journal Article