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Reading Lolita in Tehran: A Memoir in Books, by Azar Nafisi

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Review

“Resonant and deeply affecting . . . an eloquent brief on the transformativepowers of fiction–on the refuge from ideology that art canoffer to those living under tyranny, and art’s affirmative and subversivefaith in the voice of the individual.”–MICHIKO KAKUTANI, The New York Times“[A] vividly braided memoir . . . Anguished and glorious.”–CYNTHIA OZICK, The New Republic“Certain books by our most talented essayists . . . carry inside their coversthe heat and struggle of a life’s central choice being made and theprice being paid, while the writer tells us about other matters, andleaves behind a path of sadness and sparkling loss. Reading Lolita inTehran is such a book.” –MONA SIMPSON, The Atlantic Monthly“A poignant, searing tale about the secret ways Iranian women defy theregime. . . . [Nafisi] makes you want to rush back to all these books toexperience the hidden aspects she’s elucidated.” –Salon“A quietly magnificent book . . . [Nafisi’s] passion is irresistible.”–LA Weekly“Azar Nafisi’s memoir makes a good case for reading the classics ofWestern literature no matter where you are. . . . [Her] perspective onher students’ plight, the ongoing struggle of Iranian citizens, and hercountry’s violent transformation into an Islamic state will providevaluable insights to anyone interested in current international events.”–HEATHER HEWETT, The Christian Science Monitor“An intimate memoir of life under a repressive regime and a celebrationof the vitality of literature . . . as rich and profound as the novelsNafisi teaches.” –The Miami Herald“An inspiring account of an insatiable desire for intellectual freedom.”–USA Today“Transcends categorization as memoir, literary criticism or social history,though it is superb as all three . . . Nafisi has produced an originalwork on the relationship between life and literature.”–Publishers Weekly (starred review)“Nafisi’s passion for books is infectious, and her description of theeffect of the revolution on its people is unforgettable.”–Rocky Mountain News“[A] sparkling memoir . . . a spirited tribute both to the classics ofworld literature and to resistance against oppression.”–Kirkus Reviews (starred review)“Nafisi artfully intertwines her own coming-of-age in pre-RevolutionaryTehran with the daily frustrations of her pupils. . . . [She] relates hergirls’ moving stories with great sympathy.” –Entertainment Weekly“[Nafisi] reminds us why we read in the first place.” –Newsday“As timely as it is well-written . . . As the world seems to further divideitself into them and us, Nafisi reminds her readers of the folly ofthinking in black and white.” –Cleveland Plain Dealer“Readers will have a new appreciation for the worn Nabokov and Jamestitles on their bookshelves after reading Nafisi’s engaging memoir.”–Minneapolis Star Tribune“Nafisi’s writing has painterly qualities. . . . She is able to capture amoment and describe it with ease and melancholy. . . . Reading Lolita inTehran is much more than a literary memoir; it becomes a tool forteaching us how to construe literature in a new, more meaningfulway.” –Library Journal“Brilliant . . . So much is right with this book, if not with this world.”–The Boston Globe“I was enthralled and moved by Azar Nafisi’s account of how she defied,and helped others to defy, radical Islam’s war against women.Her memoir contains important and properly complex reflectionsabout the ravages of theocracy, about thoughtfulness, and about theordeals of freedom–as well as a stirring account of the pleasures anddeepening of consciousness that result from an encounter with greatliterature and with an inspired teacher.” –SUSAN SONTAG“A memoir about teaching Western literature in revolutionary Iran,with profound and fascinating insights into both. A masterpiece.”–BERNARD LEWIS, author of What Went Wrong?“Anyone who has ever belonged to a book group must read this book.Azar Nafisi takes us into the vivid lives of eight women who mustmeet in secret to explore the forbidden fiction of the west. It is at oncea celebration of the power of the novel and a cry of outrage at the realityin which these women are trapped. The ayatollahs don’t know it,but Nafisi is one of the heroes of the Islamic Republic.”–GERALDINE BROOKS, author of Nine Partsof Desire and Year of Wonders“When I first saw Azar Nafisi teach, she was standing in a universityclassroom in Tehran, holding a bunch of red fake poppies in one handand a bouquet of daffodils in the other, and asking, what is kitsch?Now, mesmerizingly, she reveals the shimmering worlds she createdin those classrooms, inside a revolution that was an apogee of kitschand cruelty. Here, people think for themselves because James andFitzgerald and Nabokov sing out against authoritarianism and repression.You will be taken inside a culture, and on a journey, that you willnever forget.” –JACKI LYDEN, author of Daughter of theQueen of Sheba

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About the Author

AZAR NAFISI is a visiting professor and the director of the Dialogue Project at the Foreign Policy Institute of Johns Hopkins University. She has taught Western literature at the University of Tehran, the Free Islamic University, and the University of Allameh Tabatabai in Iran. In 1981 she was expelled from the University of Tehran after refusing to wear the veil. In 1994 she won a teaching fellowship from Oxford University, and in 1997 she and her family left Iran for America. She has written for The New York Times, The Washington Post, The Wall Street Journal, and The New Republic and has appeared on countless radio and television programs. She lives in Washington, D.C., with her husband and two children.

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Product details

Paperback: 400 pages

Publisher: Random House Trade Paperbacks; Reissue edition (November 4, 2008)

Language: English

ISBN-10: 0812979303

ISBN-13: 978-0812979305

Product Dimensions:

5.6 x 1 x 8.2 inches

Shipping Weight: 14.4 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

657 customer reviews

Amazon Best Sellers Rank:

#45,194 in Books (See Top 100 in Books)

Nafisi has written not an autobiography, but a story of her love affair with certain books and authors. She divides her life into four important phases, and the four books or authors that influenced her during that time in her life. It is a mix of personal memories, important moments in Iranian history, what she was reading at the time and how it colored her impressions.She begins with what would be the next-to-the-last sequentially, the start of her home class and the reading of Lolita. That Nafisi is an excellent literature professor shines through from the beginning. She doesn't merely mention the books, she discusses them, as though with a class, discussing plot, characters, details, meaning. I, who had never been interested in Lolita or Nabokov, became convinced of his worth solely due to her enthusiasm and passion for his works.She follows with the Iranian revolution and the subsequent "trial" of Gatsby in her classroom. Henry James accompanies the times following the revolution, the war with Iraq, her feelings of uselessness and her return to teaching. She ends with Jane Austen, more about her home class, how she ended up in America and where all her "girls" are now.Though this could have easily been a depressing book, about life in Iran, it is not. Instead, Nafisi has written about the beauty and hope of the novel, how it affected her and how she wanted it to affect her students.Nafisi is a kindred spirit to all us ardent bibliophiles. She expresses in words the passion, exhilaration and transfiguration I often feel during and after reading a novel and has lit a fire in me to re-read several classics she mentioned. This is definitely a five star book!

I thoroughly enjoyed reading this memoir. Sadly I had not read Nabokov's Lolita at the time I read Nafisi's book. (I have since corrected that status.) Reading Nafisi's book inspired me, not only to read Lolita for the first time, but to add several new titles to my To Read List. (Coming from a science background, my exposure to great literature is a bit deficient.) Nafisi clearly has a passion for great literature.. and she introduced me to some titles of which I was previously unaware. Additionally, and importantly, the book offers a look into the chaos of civilian life during the Iranian Revolution (1979 and through 1980s). One can only feel empathy for Iranians under those circumstances... and particularly for females who were targeted for especially harsh treatment under the regime. In the end, I found myself wishing that I had been able to sit in on Dr. Nafisi's informal classes conducted in the living room of her Tehran home. What great fun-- and what a great learning experience -- that would have been..

I chose to read Reading Lolita in Tehran because I am currently in the middle of reading Lolita. I am very happy that I chose to read this book, it is beautifully written and powerful. This book details the authors, Azar Nafisi’s experiences in Iran after the revolution and her move to America. The book focuses on a class she teaches in her home, during the class they read forbidden western classic books including Lolita. This class gave Azar and her students a chance to take a break from he restrictions of the Islamic State, and gives them the freedom to express their individuality and opinions. I would highly recommend this book, especially to those who value individuality, individual freedom, women's empowerment, and those who appreciate he power of fiction. Personally, I plan on rereading this book in the summer after I finish reading Lolita, so that I can better appreciate Reading Lolita in Tehran. Azar Nafisi's writing style lacked a lot of dialog, but made up for it with lots of descriptive language and powerful comparisons. The dialog that was included was appropriately placed within the memoir. Azar Nafisi is a talented story teller and while you read her book you can really envision the situations she was in and experience her feelings. A powerful composition made to compare Azars students to classic Greek characters is “Their mistakes, like the tragic flaw in a classic traded, become essential to their development and maturity.” (Nafisi 223). She uses Greek characters hamartia’s to relate to her young students. The student’s choices and mistakes help them become who they are by the end of their final class. Another great comparison was used to compare the students to some of Jane Austen's characters, “Austen’s protagonists are private individuals set in public places. Their desire for privacy and reflection is continually being adjusted to their situation within a very small community which keeps them under its constant scrutiny. The balance between the public and private is essential to this world.” (Nafisi 267). This comparison was used to show how important he class was for students to have their own private space to be themselves without strict laws getting in the way. The examples Azar uses are good for keeping the reader engaged and help them develop a clear image of Azar’s students. The most appropriate audience for this book is someone who doesn't expect a lot of intense action or dialog, but can appreciate hearing personal complex thoughts and feelings. Even though I've never been in any situations similar to Azar Nafisi I was able to feel for her and think of points in my life that I felt similar emotions to hers. For example, I can relate to her students and herself feeling trapped without a private life. Being in high school while being controlled by adults can feel like I have no private life, but this is so different and less intense compared to Azar Nafisi’s experiences, regardless she makes it easy to relate to her emotions while reading the book. Azar did an incredible job of describing her students on a very personal level. She made it easy to understand their internal and external struggles. To a degree you were able to choose who to like and dislike, but most of Nafisi’s descriptions determined who you would trust and distrust. Nafisi’s explanations of characters struggles helped me better understand the characters as a whole, like this explanation of a characters relationship with wearing her scarf and the governments mandated dress code “…the revolution that imposed the scarf on others did not relive Mahshid of her loneliness. Before the revolution, she could in a sense take pride in her isolation. At that time she had worn the scarf as a testament to her faith. Her decision was a voluntary act. When the revolution forced the scarf on others, her actions became meaningless.” (Nafisi 13).By explaining the shift in the meaning of Mahshid wearing a scarf it allows the reader to better relate to her and have sympathy for her situation. Azar did not write this book in chronical order. Instead the book jumps around in time from when she worked at a small university, to a large university, to her private class, and to moving to America, all of this is talked about but not in order of when the memories and situations happened. The way she does this doesn’t confuse the reader because she makes it clear what point in time she is describing within each chapter. This book was engaging the whole way through. Azar holds the reader’s attention by emerging them in the lives and emotional struggles of not only her students but her own life as well. Azar writes about many examples of the Islamic state restricting women’s rights and freedoms, she writes about how this effected students and herself. One student, Vida, is written about expressing her anger when she showed her rage regarding the regime’s new laws “‘The law?’ Vida interrupted him. ‘You guys came in and changed the laws. Is it the law? So was wearing the yellow star in Nazi Germany, should all the Jews have worn the star because it was the blasted law?” (Nafisi 134). By sharing Vida’s outrage with the reader they can become invested in Azar’s students’ lives. While reading this book I learned about what life was like for the people, particularly women, in Iran during the time Azar Nafisi lived there. I now have a better understanding of the restrictions the government put in place and the terrible things people unfairly suffered through. Overall I am very pleased with Reading Lolita in Tehran. I learned about Iran and how their revolution affected the country’s women. I would recommend this book to anyone, primarily to anyone interested in modern history, learning about other cultures, women’s rights, and education.

It was an unlikely place to look for them, but I think I found more kindred spirits in these Iranian women from twenty years ago than I've found in my four years at college. I finally found in print what I've been long grasping for in people: a better definition of womanhood, a verbalization of the fear that comes with being female, and a reminder of the poetry that comes hand-in-hand with our humanity. I have met some of my dearest friends in these pages, and my heart tore a little when I got to the end and realized that their stories were long past and that as much as I may know or love them, they know nothing of me. But I like to think that my knowing them was not in vain. It's as Manna says at the end, as long as I keep them in my eyes, I keep them alive in their truest, most intimate forms. My reading and remembering gives them a voice, and I suppose that's what they wanted.

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