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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
The power of fiction and its controversies in Azar Nafisi’s portrayals of a new compliant nationality
According to Anderson’s positions on nation and nationalism as cultural artifacts, Azar Nafisi’s literary memoirs show a controversial case study, focused on the ambiguities of the exile discourse and of the so-called «imaginative knowledge». Through the lens of a recurring celebration of Western myths of freedom, a series of stereotypes and paradoxes will be examined, in relation to the censorship experienced by the author under the Islamic Republic of Iran. Moreover, Nafisi’s juxtaposition of political and literary perspectives will be shown as an ambivalent narrative strategy, despite her search for a true self without any ideological engagement. In the end, the explored duality between oriented dissertations and pure imaginative recreations will enable to reconsider Nafisi’s memoirs as committed depictions of a Westernized national legacy.
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
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
Persian Huck: On the Reception of Huckleberry Finn in Iran
First translated into Persian in 1949, Mark Twain’s Adventures of Huckleberry Finn is among the most popular works of American fiction in Iran. Although the anti-US policy of the post-1979 political system has tried to erase the manifestations of the previous period’s American influence, Iranian interest in Huckleberry Finn has been increasing. There are more than twenty Persian translations of the novel, most of which belong to the post-1979 period. After a short survey of Twain’s early reception in Iran, the present paper focuses on two major translations of Huckleberry Finn as well as a stage adaptation of the novel. It also elaborates on the role that Huckleberry Finn no Boken (1976), the Japanese anime based on the novel broadcast on the Iranian state TV, has played in the Iranian reception of the novel, as indicated by the Iranian play’s capitalizing on the Japanese anime’s widespread popularity. The paper concludes with a note on questions of censorship, Afro-Iranians, and the nation’s dire need of its own novel on the Iranian Jim.
Journal Article