In the first anthology of its kind, Lila Azam Zanganeh argues that although Iran looms large in the American imagination, it is grossly misunderstood-seen either as the third pillar of Bush's infamous "axis of evil" or as a nation teeming with youths clamoring for revolution. This collection showcases the real scope and complexity of Iran through the work of a stellar group of contributors-including Azar Nafisi and with original art by Marjane Satrapi. Their collective goal is to counter the many existing cultural and political clichés about Iran. Some of the pieces concern feminism, sexuality, or eroticism under the Islamic Republic; others are unorthodox political testimonies or about race and religion. Almost all these contributors have broken artistic and cultural taboos in their work. Journalist Reza Aslan, author of No God But God, explains why Iran is not a theocracy but, rather, a "mullahcracy." Mehrangiz Kar, a lawyer and human rights activist who was jailed in Iran and is currently a fellow at Harvard's Kennedy School of Government, argues that the Iranian Revolution actually engendered the birth of feminism in Iran. Journalist Azadeh Moaveni reveals the underground parties and sex culture in Tehran, while Gelareh Asayesh, author of Saffron Sky, writes poignantly on why Iranians are not considered white in America, even though they think they are. Poet and writer Naghmeh Zarbafian expounds on the surreal experience of reading censored books in Iran, while Roya Hakakian, author of Journey from the Land of No: A Girlhood Caught in Revolutionary Iran, recalls the happy days of Iranian Jews. With a sharp, incisive introduction by Lila Azam Zanganeh, this diverse collection will alter what you thought you knew about Iran. "My Sister, Guard Your Veil; My Brother, Guard Your Eyes aims to corrode fixed ideas and turns cultural and political clichés on their heads . . . Iranians themselves live in a complex and schizophrenic reality, at a surreal crossroads between political Islam and satellite television, massive national oil revenues, and searing social inequalities."--From the Introduction by Lila Azam Zanganeh Contributors include: Azar Nafisi, author of the best-selling Reading Lolita in Tehran, Marjane Satrapi, author of Persepolis, Shirin Neshat, internationally acclaimed visual artist, Abbas Kiarostami, award-winning filmmaker of Taste of Cherry, Shohreh Aghdashloo, Oscar nominee for House of Sand and Fog, Azadeh Moaveni, author of Lipstick Jihad

This is an innovative and wide-ranging edited collection which brings women clearly into view, reflecting their disproportionately high numbers within migrating populations. Spanning four centuries, its contents are culturally diverse but address some important common themes and questions. Beginning with a useful survey of women in migration studies in early modern Europe, subsequent chapters explore the following topics: the exile experiences in Europe, firstly of English Brigittine nuns, and secondly of Catholic Gentlewomen displaced by the English Reformation; the dual national identities of a French woman moving to America during the revolutionary period; the lives of two women preachers moving to an American city with a large migrant population in the mid 20th century; and finally, autobiographical narratives of Islamic women exiled in body and/or mind from their countries of origin in the late twentieth century. The authors and editors consider the significance of spirituality amongst women migrants, address the difficulties of generalising from individual experiences and consider issues raised by a particular focus on elite women. The focus on personal narratives crosses disciplinary boundaries making it a valuable resource for students and researchers interested in migration history, autobiography, personal narratives, social history and gender and women’s studies.

The most populous Islamic country in the Middle East, Iran is rife with contradictions, in many ways caught between the culture and governments of the Western--more dominant and arguably imperalist--world and the ideology of conservative fundamentalist Islam. This book explores the present-day writings of authors who explore these oppositional forces, often finding a middle course between the often brutal and demonizing rhetoric from both sides. To combat how the West has falsely generalized and stereotyped Iran, and how Iran has falsely generalized and stereotyped the West, Iranian and diasporic writers deconstruct Western caricatures of Iran and Iranian caricatures of the West. In so doing, they provide especially valuable insights into life in Iran today and into life in the West for diasporic Iranians.

At first sight, tattoos, nudity, and veils do not seem to have much in common except for the fact that all three have become more frequent, more visible, and more dominant in connection with aesthetic presentations of women over the past thirty years. No longer restricted to biker and sailor culture, tattoos have been sanctioned by the mainstream of liberal societies. Nudity has become more visible than ever on European beaches or on the internet. The increased use of the veil by women in Muslim and non-Muslim countries has developed in parallel with the aforementioned phenomena and is just as striking. Through the means of conceptual analysis, Veils, Nudity, and Tattoos: The New Feminine Aesthetics reveals that these three phenomena can be both private and public, humiliating and empowering, and backward and progressive. This unorthodox approach is traced by the three’s similar social and psychological patterns, and by doing so, Veils, Nudity, and Tattoos hopes to sketch the image of a woman who is not only sexually emancipated and confident, but also more and more aware of her cultural heritage.

Seen and Unseen teases out and explores how visual mediums construct visual cultures that often create limited perspectives of certain issues and groups. This volume focuses in particular on the representation of Islam and Muslims. It deals with fixed and stereotypical visual representations and explores alternative and challenging visual representations that reconstruct and dismantle existing belief systems. It approaches the topic from a vantage point of diverse multiple perspectives. Covering issues from Brunei, Iran, Egypt, and England and cyberspace, the essays in this volume examine the visual cultures of how Islam and Muslims are understood, misunderstood, misrepresented, or even embraced visually. Scholars in this volume draw on historical paintings, books and their covers, photography, and news to demonstrate the diversity and sometimes contradictory visual cultures that construct and adhere meaning to how Islam and Muslim people are seen. Contributors: Hoda Afshar, Jared Ahmed, Syed Farid Alatas, Sanaz Fotouhi, Christiane Gruber, Layla Hendow, Raihana M.M., Bruno Starrs and Esmaeil Zeiny.

#1 NEW YORK TIMES BESTSELLER • We all have dreams—things we fantasize about doing and generally never get around to. This is the story of Azar Nafisi’s dream and of the nightmare that made it come true. For two years before she left Iran in 1997, Nafisi gathered seven young women at her house every Thursday morning to read and discuss forbidden works of Western literature. They were all former students whom she had taught at university. Some came from conservative and religious families, others were progressive and secular; several had spent time in jail. They were shy and uncomfortable at first, unaccustomed to being asked to speak their minds, but soon they began to open up and to speak more freely, not only about the novels they were reading but also about themselves, their dreams and disappointments. Their stories intertwined with those they were reading—Pride and Prejudice, Washington Square, Daisy Miller and Lolita—their Lolita, as they imagined her in Tehran. Nafisi’s account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl of protests and demonstrations. In those frenetic days, the students took control of the university, expelled faculty members and purged the curriculum. When a radical Islamist in Nafisi’s class questioned her decision to teach The Great Gatsby, which he saw as an immoral work that preached falsehoods of “the Great Satan,” she decided to let him put Gatsby on trial and stood as the sole witness for the defense. Azar Nafisi’s luminous tale offers a fascinating portrait of the Iran-Iraq war viewed from Tehran and gives us a rare glimpse, from the inside, of women’s lives in revolutionary Iran. It is a work of great passion and poetic beauty, written with a startlingly original voice. Praise for Reading Lolita in Tehran “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 must meet in secret to explore the forbidden fiction of the West. It is at once a celebration of the power of the novel and a cry of outrage at the reality in 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 Parts of Desire

American liberalism today is in a state of confusion and disarray, with the "L word" widely considered a term of derision. By examining both the historical past and the fractious present, Liberalism for a New Century restores a proud political tradition and carves out a formidable defense of its philosophical tenets. This manifesto for a New Liberalism issues an urgent and cogent call for the most important rethinking of its values since the late 1960s, when conservatives reenergized themselves after Barry Goldwater’s infamous loss. The essays in this volume, most of them never before published, are written by a leading group of historians, journalists, and public intellectuals. Some of the nation’s most highly respected liberal minds explore such topics as the classical liberal tradition, postmodernism’s challenge to the American "Enlightenment," the civil rights era, the influence of twentieth-century radicals on American liberalism, the 1950s, tolerance, the cold war, and whether liberalism should have a large and aggressive vision. One essay considers liberalism in Iran and what American liberals might learn from this movement. Fast-paced and encompassing such hot-button issues as the family and religion, here are ringside-seat arguments between people who don’t often get to engage with one another: right-leaning liberals like Peter Berkowitz and John Patrick Diggins, and leftier liberals like Michael Tomasky and Mona Harrington. The result is a lively and stimulating collection that articulates a clear-minded alternative to the conservative ascendancy in American history and offers a timely and essential contribution to the growing national debate.

This book discusses what it means to “perform the State,” what this action means in relation to the country of Iran and how these various performances are represented. The concept of the “State” as a modern phenomenon has had a powerful impact on the formation of the individual and collective, as well as on determining how political entities are perceived in their interactions with one another in the current global arena.

To what extent do women accept, adjust and challenge the intersecting and shifting relations of cultural, political and religious discourses that organize their (sexual) lives? Seeking to expand the focus on changing gender roles and construction of diasporic femininities and sexualities in migration studies, Farahani presents an original analysis of first generation Iranian immigrant women in Sweden. Certainly, highlighting the hybrid experiences of Swedish Iranians, Farahani explores the tensions that develop between the process of (self)disciplining women’s bodies and the coping tactics that women employ. Subsequently, Gender, Sexuality, and Diaspora demonstrates how migratory experiences impact sexuality and, conversely, how sexuality is constitutive of migratory processes. A timely book rich with empirical and theoretical insights on the subject of gender, diaspora and sexuality, it will appeal to scholars and undergraduate and postgraduate students of gender studies, anthropology, sociology, sexuality studies, diaspora, postcolonial and Middle Eastern studies.