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This open mic, kitchen party style is complete with biscuits and jam. The party begins at 8 pm.

Daneshvar's Playhouse: A Collection of Stories

This murder mystery all the trappings of a perfect comedic farce—suitable for the whole family. Murder Inn plays at pm from July 10 to August The Haunted Georgetown walk features stories and fascinating and eerie facts about the capital of Kings county.

Tours start at pm on Thursdays. The evening is accompanied with a meal of fishcakes, beans and demon rum cake prepare by The Wheelhouse in Georgetown. Rate This. Episode Guide. Star: Robert Breen. Added to Watchlist Add to Watchlist.

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Our Favorite Trailers of the Week. Photos Add Image Add an image Do you have any images for this title? Edit Cast Credited cast: Robert Breen Genres: Drama. Language: English. Runtime: 30 min. Sound Mix: Mono. Color: Black and White. Add the first question. Edit page. Add episode. When such precise vocabulary exists in English, a more faithful translation is possible without footnotes. In these instances, it would have been advisable to use the Persian noun and explain its fuller significance to the work.

There are other errors of a simpler nature which mainly point to a misunderstanding of the literal meaning of the Persian text or a mistake in finding parallel words in English.


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Questions of translation aside, the reader expects Mafi to explain the basis of her selection of stories in the Afterword, but she does not provide one. She speaks of the different works written by Daneshvar, but leaves unmentioned why she has selected these six stories and the monograph. Is this the primary criterion for the selection of these particular stories? One is left to speculate. It is not clear what the relationship is between the pictures of the female figurines and the stories selected for this book, other than the fact that both the writer and the translator are female and, as mentioned before, gender seems to be an issue here.

It carries with it the sanctification of the author. Among contemporary writers of Iran, the majority of whom are men, one woman stands out: Simin Daneshvar. Daneshvar, like most contemporary Iranian writers, came from a middle-class family. Born in in Shiraz, she was educated in a missionary school and became fluent in English. She began her writing career as early as , when she was still an eighth-grader. She entered Tehran University and majored in Persian literature.

In acute need of money, she even wrote articles on cooking. Eventually, her fluency in English enabled her to become assistant director of foreign news. But she soon became dissatisfied with the routine nature of this job and left Radio Tehran for a newspaper called Iran, for which she wrote articles and did translations. The relaxed social and political environment of the forties, marked by some degree of democracy and freedom of speech, prompted Daneshvar to choose journalism as a potential career.

The Book of Pooh: A Story Without a Tail

During her year at Iran , she decided to try her hand at fiction writing. Later, without prior knowledge of story-writing technique, she wrote Atash-e Khamoush The Quenched Fire in , at the age of twenty-seven. Although seven out of sixteen stories are O. Henry inspired, and Daneshvar had the book published in first draft form, the major elements of her style are evident. Daneshvar had become familiar with O.

Henry as a student, and like him she deals with the basic issues of life, death, love and self sacrifice. Typical of writers of the s, Daneshvar dwells on issues within Iranian society. She juxtaposes the opposing values of right and wrong—such as poverty versus wealth, or the carefree life of the rich versus the sorrow of the poor—and for moral reasons condemns one while praising the other. Her lifelong concern with women and their place in society is apparent in her narrative as early as The Quenched Fire.

However, at this early stage, Daneshvar does not analyze the socio-economic dependence of women; rather, she is concerned with the general position of women in society. Dual narration in some of her stories made them technically weak. The Quenched Fire, however, was well received, despite its shortcomings—perhaps because it was the first collection of short stories published by an Iranian woman.


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Later, Daneshvar refused to have the book reprinted, stating that she would never again turn in a first draft to a publisher. Subsequently, she became acquainted with Jalal Al-e Ahmad, the famous contemporary writer and social critic, during a trip from Isfahan to Tehran. They were married in Two years later, Daneshvar received a Fulbright scholarship and left for Stanford University for two years. During this time, she published two short stories in English in The Pacific Spectator.

Upon her return to Iran, she joined Tehran University as an associate professor of art history, a post she held for twenty years. Daneshvar was never granted a professorship—not for the lack of credentials, but due to the influence of SAVAK, the secret police, as she would learn later from the president of the university.

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She had always been an outspoken and articulate lecturer who believed that her primary responsibility was to her students. Meanwhile, her translations of Chekhov, Shaw, Hawthorne, Schnitzler and Saroyan had become a valuable addition to the collection of foreign works available in Persian.

Instead she had developed a short, clear and concise sen- tence structure. It was from this time onward that she tried to bring her writing closer to cinematographic realism. It is only in The Playhouse, the last story, that she finally succeeded in freeing her prose of this distracting element. Her other preoccupation, which began at this stage, is with the concept of time. Here she no longer dwells on the general characteristics of women; rather, she assumes a neutral position and avoids passing judgement on them; she merely portrays the women and their lives as she saw them.

Her characters are able to speak for themselves and demonstrate where their major strengths and weaknesses lie. She is also quite successful in creating the real, as well as the imaginary, worlds of her characters. In Bibi Shahr Banu, Daneshvar cleverly depicts the actual lives of her characters, juxtaposed against the lives they wished they could have had.

In her portrayal of the girl as a victim of society and of her own ignorance, Daneshvar surpasses all of her prior stories. Al-e Ahmad had begun writing in and by had published seven novels and short story collections, establishing himself as a notable writer and critic.

The book has been reprinted sixteen times and to this date remains the single most widely read Persian novel. In Savushun there are no longer traces of weak technique, structure, or style. To do so would result in the starvation of his own peasants. He pays for his stubbornness with his life.

However, government troops disperse the demonstrators, leaving his body to be carried by his brother and Zari. This scene is among the most moving and well written passages in Persian literature. In Savushun , Daneshvar integrates social events, traditional customs, and beliefs, creating a beautifully narrated story. In her understated yet resolute way, she provided moral support for intellectuals and dissidents opposing the Pahlavi regime.