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    Censoring an Iranian Love Story
    Unavailable
    Censoring an Iranian Love Story
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    Censoring an Iranian Love Story
    Audiobook13 hours

    Censoring an Iranian Love Story

    Written by Shahriar Mandanipour

    Narrated by Sunil Malhotra and Naila Azad

    4/5

    ()

    Currently unavailable

    Currently unavailable

    About this audiobook

    From one of Iran's most acclaimed and controversial contemporary writers, his first novel to appear in English-a dazzlingly inventive work of fiction that opens a revelatory window onto what it's like to live, to love, and to be an artist in today's Iran.

    The novel entwines two equally powerful narratives. A writer named Shahriar-the author's fictional alter ego-has struggled for years against the all-powerful censor at the Ministry of Culture and Islamic Guidance. Now, on the threshold of fifty, tired of writing dark and bitter stories, he has come to realize that the "world around us has enough death and destruction and sorrow." He sets out instead to write a bewitching love story, one set in present-day Iran. It may be his greatest challenge yet.

    Beautiful black-haired Sara and fiercely proud Dara fall in love in the dusty stacks of the library, where they pass secret messages to each other encoded in the pages of their favorite books. But Iran's Campaign Against Social Corruption forbids their being alone together. Defying the state and their disapproving parents, they meet in secret amid the bustling streets, Internet cafés, and lush private gardens of Tehran.

    Yet writing freely of Sara and Dara's encounters, their desires, would put Shahriar in as much peril as his lovers. Thus we read not just the scenes Shahriar has written but also the sentences and words he's crossed out or merely imagined, knowing they can never be published.

    Laced with surprising humor and irony, at once provocative and deeply moving, Censoring an Iranian Love Story takes us unforgettably to the heart of one of the world's most alluring yet least understood cultures. It is an ingenious, wholly original novel-a literary tour de force that is a triumph of art and spirit.


    From the Hardcover edition.
    LanguageEnglish
    PublisherPenguin Random House Audio
    Release dateMay 5, 2009
    ISBN9780739384282
    Unavailable
    Censoring an Iranian Love Story

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    Reviews for Censoring an Iranian Love Story

    4/5

    71 ratings11 reviews

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    • 5/5
      This was hands down the best piece of metafiction I’ve ever read. Not only do you get into the head of the author, but the characters he creates are also complex and interesting. On top of that he tackles the problems of writing in Iran currently, in an interesting and witty manner. There’s a censorship character, Porfiry Petrovich[yeap, Dostoyevsky's], and we see the narrator anticipating what Petrovich would cross out, as he himself crosses sections and words out. The basic plot is the author trying to publish a love story in Iran, and it includes an interior love story. Throughout the second half of the novel though things begin to get twisted with some magical realism, and the characters developing their own wills. This book was also a lovely reminder of how important intellectual freedom is.I greatly enjoyed this piece for its aesthetics, plot, and eye-opening commentary on life and writing in Iran.I recommend this book to everyone.
    • 4/5
      A sharp, witty tour de force. The novel is at least in part a reflection of Iranian culture and society, with its immense gulf between the public and the private and where people are adept at not saying what they really mean and not meaning all that they say. Clever, funny and depressing - all at the same time.
    • 4/5
      Censoring an Iranian Love Story is just that – as the author tries to tell a love story set in modern-day Iran, he continually has to edit it, crossing out unacceptable bits, changing the plot and mulling over what euphemisms to use. His story follows Sara and Dara (whose names are something like Dick and Jane) as they uneasily meet and get to know each other. They’re opposed by societal strictures forbidding strange men and women from getting together and restricted family lives. The past of both, especially Dara, is one of repression and frustration. The changing fortunes of their friends and family are also related. The author frequently alludes to Persian classics, Western literature and pop culture – he’s clearly writing for a Western audience and often explains various references. In the metafictional, unbolded story, the author thinks about his difficult career, muses on how to write his story and tangles with the censor Mr. Petrovich, named after the detective in Crime and Punishment. The writing flows well, there are a number of humorous and ironic bits and the metafictional concept is interesting but somehow it failed to fully cohere for me. I really enjoy metafictional novels but while individual parts were engrossing, I didn’t have the usual desire to pick it up.
    • 5/5
      This was hands down the best piece of metafiction I’ve ever read. Not only do you get into the head of the author, but the characters he creates are also complex and interesting. On top of that he tackles the problems of writing in Iran currently, in an interesting and witty manner. There’s a censorship character, Porfiry Petrovich[yeap, Dostoyevsky's], and we see the narrator anticipating what Petrovich would cross out, as he himself crosses sections and words out. The basic plot is the author trying to publish a love story in Iran, and it includes an interior love story. Throughout the second half of the novel though things begin to get twisted with some magical realism, and the characters developing their own wills. This book was also a lovely reminder of how important intellectual freedom is.I greatly enjoyed this piece for its aesthetics, plot, and eye-opening commentary on life and writing in Iran.I recommend this book to everyone.
    • 4/5
      Here’s a good novel of an Iranian novelist whose careful writing of a love story must pass inspection from the powerful censor at the Ministry of culture and Islamic Guidance. This novel has an original, playful style. The author addresses his characters directly, but sometimes they have a will of their own. The love story-within-a-story doesn’t amount to much, but it’s clear from this novel’s viewpoint that how could it? Every possible scene of the man and woman trying to get to know each other must be carefully scrutinized and watered down. It’s fun to read the actual assorted typeface in this novel, especially to read through the author’s strikethroughs in his story to see how truly beautiful the story could be if given the chance. The (real) author notes state that Mandanipour, now a visiting professor at Harvard, has himself been unable to publish his books in Iran due to censorship. What I found most interesting was the plight of modern Iranians in the oppressive Islamic state. Quite a fascinating read.
    • 4/5
      Novels that tackle important subjects often score more highly for worthiness than pleasure, but in this book Mandanipour makes ample use of humour to highlight the absurdity of the constraints under which Iranians have lived since the revolution of 1979. In bold text are the words of a love story involving a young couple in Tehran. Some of the words and sentences are crossed out to indicate sections removed by the author. Meanwhile, in normal weight text there is a running commentary from the author of this story, spelling out the reasons behind his changes, speculating on what he or his characters will do next, or explaining things that might not be understood by readers outside Iran. It was a relief for once to find a novel within a novel appearing in bold font, instead of the old and often annoying practice of using italics to distinguish between one and the other.Reading this book was both educational and entertaining. I knew very little about Iran before I read it, now I have a much better idea of its contemporary situation, even if only from one viewpoint.
    • 5/5
      I’m fascinated by Censoring an Iranian Love Story. There’s an inflection, a way in which the narrator structures his sentences, which I love. Mandanipour’s writing style is distinctively Middle Eastern (in contrast to a Western author writing about the Middle East). There’s a poetic formality to his phrasing, yet at the same time a lightness to his overall prose that keeps the novel from becoming too dense. Shahriar Mandanipour describes his country as only a hometown boy does – with understanding, a tinge of sadness and a hefty dose of irony.The novel’s premise, and the goal of the book’s narrator – Mandanipour’s thinly veiled alter ego – is to write a love story and see it published in Iran. " …for reasons that like other writers I will probably discover later, I, with all my being, want to write a love story. The love story of a girl who has never seen the man who has been in love with her for a year and whom she loves very much. A story with an ending that is a gateway to light. A story that, although it does not have a happy ending like romantic Hollywood movies, still has an ending that will not make my reader afraid of falling in love. And, of course, a story that cannot be labeled as political. My dilemma is that I want to publish my love story in my homeland… Unlike in many countries around the world, writing and publishing a love story in my beloved Iran are not easy tasks."To accomplish these tasks he needs to get past the Ministry of Culture and Islamic Guidance, the embodiment of which is the character of Mr. Petrovich. And so a large part of the narrative is taken up by the author examining and second guessing his characters’ actions; deciding what can be said openly and what should be implied. His hope is that though he will need to compromise, it will not be at the expense of artistic integrity. Our narrator believes, naively, that he will be able to reason with the Ministry. The love story, about an Iranian couple named Dara & Sara, is printed in bold text. It is constantly interrupted by the author’s explanations, protests, insertions of himself into the narrative action and self-censorship. Entire passages are crossed out with black lines (but are still legible for the sake of the reader). Censoring an Iranian Love Story, visually, has a very Tristram Shandy feel to it. And while the love story is poignant: star-crossed lovers separated by government, economics and class; a more complicated metafiction is told over and around it.One of the things I found unusual about Censoring an Iranian Love Story is the playful way in which Mandanipour deals with what could easily become pretty depressing subject matter. At no point did I doubt the accuracy of his descriptions – I’ve read other books and so I was prepared me for the culture shock of Iran. But this is where irony plays a key role: much like families will tell funny anecdotes about crazy uncles and disastrous vacations, Mandanipour’s narrator describes his homeland with both humor and affection. And while there are obvious fantastical asides, some embroidery of the facts, the novel captures the essence of a country and city that simultaneously inspires and infuriates. Shahriar Mandanipour’s love story is not just about the relationship between his hero and heroine. It is about his love affair with Iran.Unfortunately, these two love stories seem destined to only end badly. I read that because of this novel Shahriar Mandanipour cannot return to Iran. The obstacles that Dara, Sara and scores of Iranian youth face appear insurmountable. But, despite a gloomy outlook, for two hundred and ninety-five pages the reader is treated to a magical story inhabited by One Thousand and One Nights, flying carpets, a hunchbacked midget, alchemists and ghosts. Again and again Mandanipour’s narrator invites us to “Ask so that I can explain…”And the explanations are beautiful. There is a delicate intricacy to Censoring an Iranian Love Story which, combined with the tone of the writing and the psychologically complex characters at the novel’s center, will not fail to enchant.Due out in paperback, from Vintage, on June 1stFor the full review, please visit my blog at Booksexy.wordpress.com
    • 3/5
      sjmccreary provided an excellent review with a great plot summary, (going chronologically, see the review just before mine), so I'll just add a few more points. "Censoring an Iranian Love Story" is very much a book about how writers pursue their craft -- how they develop characters, how they decide what situations to put their characters in, and how they decide the fate of those characters.But author Shariar Mandanipour is writing in Iran, a country in which one isn't able to speak freely without fear of censorship or reprisal. So his exploration isn't simply of the writing process, but how people are forced to function under a repressive government.This makes "Censoring an Iranian Love Story" an intriguing look at the subterfuge exercised by ordinary Iranians struggling to have meaningful lives, but also means the novel isn't a rich plunge into the emotions of two would-be lovers. The novel is satisfying and enlightening on an intellectual level; it vividly conjures the sensation of always looking over your shoulder for the thought police and how that cripples the soul, not just of artists, but of everyone. And it gives a chilling take on the nature of government repression. But be forewarned, any reader looking for a traditional tale of love and loss will find this novel frustrating.
    • 4/5
      An interesting book that works on more levels than I am able to understand. On the surface, it is the narrative of an author in Shiraz, Iran who is trying to write a love story. However, in Iran, all books must be approved by state censors before being published, so our author is constantly vigilant about what the censor, Mr Petrovich, will allow or disallow. The author, unnamed, talks about the history of the censorship of literature, the history of Iranian literature in general, and the different ways that life for Iranians has changed since the 1979 revolution. These comments are interspersed with the actual story being written by him. The story is about Dara and Sara - generic names that were borrowed from the early readers that school children in Iran used to use before the revolution, comparable to Dick and Jane in the US. Their story is presented to us as it is being written, complete with strikeouts made by the author to remove portions that would not pass censorship and the subsequent re-writes. Dara is a 30-something house painter in Tehran who completed the coursework for a degree in cinema studies at Tehran University but whose student records were expunged after being arrested and imprisoned as a political dissident for distributing forbidden films. It didn't help him that his father is a communist. Sara is current student at Tehran University studying Iranian Literature. Her parents are in the process of arranging a marriage for her to Sinbad, a relatively powerful former government official whose influence would be very beneficial to the family.The author's intention is to write a very nice love story between these 2 nice young people. However, somewhere in the middle of the book, things become muddled. Dara and Sara don't behave as expected. Mr Petrovich becomes aware of the story as it is being written, and he and the author begin stepping into the story, and Dara and Sara into "real life". This is where things are said and done that I didn't fully understand. Especially the part about the hunchback midget.Overall, I liked the book. Very different than the stuff I normally read. An fascinating insight into Iranian life and customs. This would be a great discussion book, and a good choice for someone who likes to read "books about books or writing".
    • 5/5
      I highly recommend this one. The book uses a very creative and original (to me anyway) method to tell the story of life in present day Iran, particularly for a writer attempting to write a love story that can be published in Iran. The government reviews all publications. The Ministry of Culture and Islamic Guidance must issue a permit for any work of literature to be published there. The book switches back and forth between the story being written by the author, with the objectionable portions being shown struck-through, but still legible, to show the censorship that is required, and other portions where the author is speaking directly to the reader about the censoring process and discussing Iranian history and other contextual matters. Then the story he is writing bleeds into the other portion, in part by the author writing for us what he would want to write but dares not to even show to the government's censor. Also, the story begins later in the book to take on a life of its own, with events occurring that are not within the author's control and the characters taking on a life of their own.
    • 5/5
      This book is about a fictional writer who is attempting to write a love story within the confines of Iranian censorship. This story combines elements of past & present, social, political, and moral issues with humor, intelligence, and heart. I loved the way the author found ways to incorporate references to movies & other literature. I couldn't put it down. It is such a beautiful & amazing novel. Definitely a must read.