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STRANGE TIMES, MY DEAR

THE PEN ANTHOLOGY OF CONTEMPORARY IRANIAN LITERATURE

A diverse sampling of contemporary Iranian letters, and a welcome tool for anyone seeking to understand a complex culture...

“They smell your breath lest you have said ‘I love you.’ ”

For many reasons, world audiences have had little opportunity to examine the work of Iranian poets, novelists, essayists and playwrights since the 1979 revolution. For one, writers under the Islamic theocracy are closely monitored; while, strangely, filmmakers have been able to introduce all manner of metaphor and allegory into their work, the censors parse literary work much more exactly, even if some surprising bits of subversion sneak through. For another, competent translations have been few. And for yet another, since they’re denied opportunities for cultural exchange, Iranian writers have been kept apart from world literary trends. The work contained in this ambitious anthology tends, in that regard, to a certain flat realism, almost reportage. (An exception is the exiled writer Shahrnush Parsipur, whom editor Mozaffari calls “a proponent of an Iranian magical realism.”) And there are plenty of real matters to record: Hushang Golshiri’s memorable story “The Victory Chronicle of the Magi,” for instance, touches on religious repression, public executions, corruption and resistance in the space of a few pages. (“Revolution?” one of his characters remarks. “This is more like vomiting one’s guts. Like taking a knife and sticking it into your own belly, then pulling out your innards and crying out, ‘Come and see.’ ”) Similarly, Mahmud Dowlatabadi’s evocative story “The Mirror,” in which a man seeks to replace a long-lost identity card and sheds the last of his own identity in the process, is an unveiled piece of political criticism, though foremost a work of art. The fine poet Ahmad Shamlu, from whose work the collection takes its title, writes, “The man who knocks at your door in the noon of the night / has come to kill the light. / Let’s hide light in the larder.” It seems remarkable that these writers have escaped the wrath of the authorities, given their candor.

A diverse sampling of contemporary Iranian letters, and a welcome tool for anyone seeking to understand a complex culture that has long been explained away as The Enemy.

Pub Date: May 1, 2005

ISBN: 1-55970-765-8

Page Count: 504

Publisher: Arcade

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: March 15, 2005

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CARRIE

King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these...

Figuratively and literally shattering moments of hoRRRRRipilication in Chamberlain, Maine where stones fly from the sky rather than from the hands of the villagers (as they did in "The Lottery," although the latter are equal to other forms of persecution).

All beginning when Carrie White discovers a gift with telekinetic powers (later established as a genetic fact), after she menstruates in full ignorance of the process and thinks she is bleeding to death while the other monsters in the high school locker room bait and bully her mercilessly. Carrie is the only child of a fundamentalist freak mother who has brought her up with a concept of sin which no blood of the Lamb can wash clean. In addition to a sympathetic principal and gym teacher, there's one girl who wishes to atone and turns her date for the spring ball over to Carrie who for the first time is happy, beautiful and acknowledged as such. But there will be hell to pay for this success—not only her mother but two youngsters who douse her in buckets of fresh-killed pig blood so that Carrie once again uses her "wild talent," flexes her mind and a complete catastrophe (explosion and an uncontrolled fire) virtually destroys the town.

King handles his first novel with considerable accomplishment and very little hokum—it's only too easy to believe that these youngsters who once ate peanut butter now scrawl "Carrie White eats shit." But as they still say around here, "Sit a spell and collect yourself."

Pub Date: April 8, 1974

ISBN: 0385086954

Page Count: 216

Publisher: Doubleday

Review Posted Online: Sept. 26, 2011

Kirkus Reviews Issue: April 1, 1974

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TO KILL A MOCKINGBIRD

A first novel, this is also a first person account of Scout's (Jean Louise) recall of the years that led to the ending of a mystery, the breaking of her brother Jem's elbow, the death of her father's enemy — and the close of childhood years. A widower, Atticus raises his children with legal dispassion and paternal intelligence, and is ably abetted by Calpurnia, the colored cook, while the Alabama town of Maycomb, in the 1930's, remains aloof to their divergence from its tribal patterns. Scout and Jem, with their summer-time companion, Dill, find their paths free from interference — but not from dangers; their curiosity about the imprisoned Boo, whose miserable past is incorporated in their play, results in a tentative friendliness; their fears of Atticus' lack of distinction is dissipated when he shoots a mad dog; his defense of a Negro accused of raping a white girl, Mayella Ewell, is followed with avid interest and turns the rabble whites against him. Scout is the means of averting an attack on Atticus but when he loses the case it is Boo who saves Jem and Scout by killing Mayella's father when he attempts to murder them. The shadows of a beginning for black-white understanding, the persistent fight that Scout carries on against school, Jem's emergence into adulthood, Calpurnia's quiet power, and all the incidents touching on the children's "growing outward" have an attractive starchiness that keeps this southern picture pert and provocative. There is much advance interest in this book; it has been selected by the Literary Guild and Reader's Digest; it should win many friends.

Pub Date: July 11, 1960

ISBN: 0060935464

Page Count: 323

Publisher: Lippincott

Review Posted Online: Oct. 7, 2011

Kirkus Reviews Issue: July 1, 1960

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