“A lovely tribute to the courage and creativity of Iran’s musicians . . . filled with hope and sadness—and the universal human desire for freedom.” —Joe Klein, Time Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. Now, more than forty years on, both the children of the revolution and their music have come of age. Soundtrack of the Revolution offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic. Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians—a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper—each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran—about its future and identity, changing notions of religious belief, and the quest for political freedom. Music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public. “Paints a vivid portrait of the struggles over popular music in the Islamic Republic.” —Mark LeVine, author of Heavy Metal Islam
When they initiated a war on drugs in 1979, Iran developed a reputation as having some of the world’s harshest drug penalties and as an opponent of efforts to reform global drug policy. As mass incarceration failed to stem the growth of drug use, Iran shifted its policies in 1990 to introduce treatment regimens that focus on rehabilitation. While most Muslim countries and some Western states still do not espouse welfare-oriented measures, Iran has established several harm-reduction centers nationwide through the welfare system for those who use substances. In doing so, Iran moved from labeling drug users as criminals to patients. In Life on Drugs in Iran, Anaraki moves beyond these labels to explore the lived experience of those who use and have used illicit substances and the challenges they face as a result of the state’s shifting policies. Gaining remarkable access to a community that has largely been ignored by researchers, Anaraki chronicles the lives of current and former substance users in prisons, treatment centers, and NGOs. In each setting, individuals are criminalized, medicalized, and marginalized as the system attempts to "normalize" them without addressing the root cause of the problem. Drawing upon first-hand accounts, Anaraki’s groundbreaking study takes an essential step in humanizing people with substance abuse issues in Iran.
“A lovely tribute to the courage and creativity of Iran’s musicians . . . filled with hope and sadness—and the universal human desire for freedom.” —Joe Klein, Time Music was one of the first casualties of the Iranian Revolution. It was banned in 1979, but it quickly crept back into Iranian culture and politics. Now, more than forty years on, both the children of the revolution and their music have come of age. Soundtrack of the Revolution offers a striking account of Iranian culture, politics, and social change to provide an alternative history of the Islamic Republic. Drawing on over five years of research in Iran, including during the 2009 protests, Nahid Siamdoust introduces a full cast of characters, from musicians and audience members to state officials, and takes readers into concert halls and underground performances, as well as the state licensing and censorship offices. She closely follows the work of four musicians—a giant of Persian classical music, a government-supported pop star, a rebel rock-and-roller, and an underground rapper—each with markedly different political views and relations with the Iranian government. Taken together, these examinations of musicians and their music shed light on issues at the heart of debates in Iran—about its future and identity, changing notions of religious belief, and the quest for political freedom. Music will continue to offer an opening for debate and defiance. As the 2009 Green Uprising and the 1979 Revolution before it have proven, the invocation of a potent melody or musical verse can unite strangers into a powerful public. “Paints a vivid portrait of the struggles over popular music in the Islamic Republic.” —Mark LeVine, author of Heavy Metal Islam
For many years, heartache prevented Nahid Rachlin from turning her sharp novelist's eye inward: to tell the story of how her own life diverged from that of her closest confidante and beloved sister, Pari. Growing up in Iran, both refused to accept traditional Muslim mores, and dreamed of careers in literature and on the stage. Their lives changed abruptly when Pari was coerced by their father into marrying a wealthy and cruel suitor. Nahid narrowly avoided a similar fate, and instead negotiated with him to pursue her studies in America. When Nahid received the unsettling and mysterious news that Pari had died after falling down a flight of stairs, she traveled back to Iran--now under the Islamic regime--to find out what happened to her truest friend, confront her past, and evaluate what the future holds for the heartbroken in a tale of crushing sorrow, sisterhood, and ultimately, hope.
A woman's struggle for self-realization in contemporary Iran, a novel with "the clarity and spare sensuousness of Persian poetry or miniature painting."—Ruth Prawer Jhabvala When Minou Hakini marries a man of her own choosing—an intellectual and a radical—and moves to Abadan, a thriving oil town near the Iraqi border, she imagines her life will be adventurous and liberating. Before long, however, she becomes aware of her husband's suspicious liaisons and dangerous activities. Her struggle to forge her own identity as a woman in contemporary Iran is charged with passion, anger and finally a need to escape. “The ecstasies and disillusionments of first love are the stuff of great tragedies and cheap romances, but Nahid Rachlin has done something else with this familiar theme, and something more, though her style is elegantly simple . . . ”—The New York Times Book Review " . . . Rachlin (Foreigner) tells her story with economy and suspensefulness, weaving strands of unstable political life and sexual secrecy—in a small, vivid closeup of life in Iran at that fateful hour, within a society that had become its own prisoner."—Kirkus Reviews Nahid Rachlin is an Iranian-American who lives in New York and teaches at Barnard College. She is the author of Foreigner and The Heart's Desire, both novels, and Veils, a collection of short stories.
The ten stories in Veils take place in present-day Iran or in the United States where Iranian immigrants face alien ways. Teheran's ancient Ghanat Abad Avenue, with its labyrinth of narrow streets and alleys, loosely links the stories into a single narrative: some residents leave as soon as they can, others can live nowhere else. The men and women in these spare and sensuous narratives who are caught in the confusing whirl of changing cultures sometimes meet with failure but more often transcend difficult circumstances to gain deeper self-knowledge.
Jennifer Sahary, an American artist, and her husband Karim, a professor and Iranian immigrant, make an extended visit to Teheran shortly after the Iran-Iraq War, encountering unforeseen dangers and sexual temptations that change the course of their lives. When their young son is taken by his grandmother to the holy city of Qom without Jennifer’s knowledge, she sets out to find him, learning much about Iran and about herself along the way. And as Karim renews contact with his family and surveys the misery and needs of his war-torn country, he begins to question where he can best achieve his ideals. In sensuous and elegant prose, Rachlin weaves the interlinking stories of a man and a woman and their contrasting cultures with balance and sympathy. "One can learn a lot from this novel . . ."-- Publishers Weekly Nahid Rachlin is an Iranian who lives in New York City, where she teaches creative writing at Barnard College. She is author of Veils: Short Stories and Married to a Stranger (both published by City Lights) and Foreigner (W. W. Norton). She teaches at the New School University and the Unterberg Poetry Center in New York.
Nahid Rachlin has an intimate insider's knowledge of present-day everyday Iran — of people and places, houses, streets, and families — and she writes of them with a clarity of perception and style that makes them instantly recognizable and even homely and familiar to the reader." — Ruth Prawer Jhabvala "Rachlin's prose carefully understates and suggests her heroine's awakening to a pervasive atmosphere of menace and sensuality; residue of a culture she thinks she has abandoned, but which continues to claim her." — Bruce Allen, Chicago Tribune "Foreigner gently raises new as well as timeless questions about an unhappy woman's faith and freedom." — The New Yorker "Conveys the texture of extended family, the stress of modernization, the strain of Moslem rigidity as well as the harmony of nature, of dust and carpets, fruits, sweets, tea, fine rice and gossip. Always gossip." — Eden Lipson, "Special Edition," WNET/Thirteen
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