Tehran Quotes

You get a strange feeling when you're about to leave a place, I told him, like you'll not only miss the people you love but you'll miss the person you are now at this time and this place, because you'll never be this way ever again.

Do not, under any circumstances, belittle a work of fiction by trying to turn it into a carbon copy of real life; what we search for in fiction is not so much reality but the epiphany of truth.

You don't read Gatsby, I said, to learn whether adultery is good or bad but to learn about how complicated issues such as adultery and fidelity and marriage are. A great novel heightens your senses and sensitivity to the complexities of life and of individuals, and prevents you from the self-righteousness that sees morality in fixed formulas about good and evil.

It takes courage to die for a cause, but also to live for one.

Memories have ways of becoming independent of the reality they evoke. They can soften us against those we were deeply hurt by or they can make us resent those we once accepted and loved unconditionally.

None of us can avoid being contaminated by the world's evils; it's all a matter of what attitude you take towards them.

Empathy lies at the heart of Gatsby, like so many other great novels--the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence.

Living in the Islamic Republic is like having sex with someone you loathe.

Reality has become so intolerable, she said, so bleak, that all I can paint now are the colors of my dreams.

Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies.

A great novel heightens your senses and sensitivity to the complexities of life and of individuals, and prevents you from the self-righteousness that sees morality in fixed formulas about good and evil.

Art is as useful as bread.

[A] novel is not moral in the usual sense of the word. It can be called moral when it shakes us out of our stupor and makes us confront the absolutes we believe in.

The worst crime committed by totalitarian mind-sets is that they force their citizens, including their victims, to become complicit in their crimes. Dancing with your jailer, participating in your own execution, that is an act of utmost brutality.

تمنيت لو كان العالم مكاناً بسيطاً كل الناس فيه اما أخيار أو أشرار.

It is only through literature that one can put oneself in someone else’s shoes and understand the other’s different and contradictory sides and refrain from becoming too ruthless. Outside the sphere of literature only one aspect of individuals is revealed. But if you understand their different dimensions you cannot easily murder them. . .

Imagine you are walking down a leafy path…The sun is receding, and you are walking alone, caressed by the breezy light of the late afternoon. Then suddenly, you feel a large drop on your right arm. Is it raining? You look up. The sky is still deceptively sunny…seconds later another drop. Then, with the sun still perched in the sky, you are drenched in a shower of rain. This is how memories invade me, abruptly and unexpectedly…

We in ancient countries have our past—we obsess over the past. They, the Americans, have a dream: they feel nostalgia about the promise of the future.

It's frightening to be free, to have to take responsibility for your decisions.

I am suddenly left alone again on the sunny path, with a memory of the rain.

Don't take life too serriously; you'll never get out of it alive!

You get a strange feeling when you're about to leave a place...like you'll not only miss the people you love but you'll miss the person you are now at this time and this place, because you'll never be this way ever again.

With fear come the lies and the justifications that, no matter how convincing, lower our self-esteem.

If I turned towards books, it was because they were the only sanctuary I knew, one I needed in order to survive, to protect some aspect of myself that was now in constant retreat.

I'm a perfectly equipped failure.

Once evil is individualized, becoming part of everyday life, the way of resisting it also becomes individual. How does the soul survive? is the essential question. And the response is: through love and imagination.

I told them this novel was an American classic, in many ways the quintessential American novel. There were other contenders: The Adventures of Huckleberry Finn, Moby-Dick, The Scarlet Letter. Some cite its subject matter, the American Dream, to justify this distinction. We in ancient countries have our past--we obsess over the past. They, the Americans, have a dream: they feel nostalgia about the promise of the future.

I eat my heart out alone.

Poshlust, Nabokov explains, "is not only the obviously trashy but mainly the falsely important, the falsely beautiful, the falsely clever, the falsely attractive.

those who judge must take all aspects of an individual's personality into account.

The more we die, the stronger we will become

Trust me. A storm is brewing inside this cool cat now. She'll gradually break down and you'll see what's behind the clouds.

She resented the fact that her veil, which to her was a symbol of scared relationship to god, had now become an instrument of power, turning the women who wore them into political signs and symbols.

سوف تقدرينه عندما تكبرين. عندما تكونين بحاجة للبكاء دون أن يعلم أحد أنك تبكين، يمكنك تقطيع البصل.

This is Tehran for me: its absences were more real than its presences

The novels were an escape from reality in the sense that we could marvel at their beauty and perfection. Curiously, the novels we escaped into led us finally to question and prod our own realities, about which we felt so helplessly speechless.

The reason I am so popular is that I give others back what they need to find in themselves. You need me not because I tell you what I want you to do but because I articulate and justify what you want to do.

الانسحاب الى احلامنا قد يكون خطراً

You yourself told us that in the final analysis we are our own betrayers, playing Judas to our own Christ

When I am surrounded by books, I feel most at peace.

Other people's sorrows and joys have a way of reminding us of our own; we partly empathize with them because we ask ourselves: What about me? What does that say about my life, my pains, my anguish?

A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic - not that it advocates democracy but that by nature it is so. Empathy lies at the heart of Gatsby, like so many other great novels - the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence.

If Tehran insists on combining the Persian imperial tradition with contemporary Islamic fervor, then a collision with America — and, indeed, with its negotiating partners of the Six — is unavoidable. Iran simply cannot be permitted to fulfill a dream of imperial rule in a region of such importance to the rest of the world.

We all had to pay, but not for the crimes we were accused of. There were other scores to settle.

يشجعوننا على إظهار مشاعر حبنا للإمام بأقصى أشكال التعبير مغالاة، بينما يحرّمون علينا أن نظهر أي تعبير علني عن مشاعرنا الشخصية، وأعني الحب بشكل خاص

On the misty window of her room, she let her finger trace a broken line. She was that line.

i could have told him to learn from Gatsby. from the lonely, isolated Gatsby, who also tried to retrieve his past and give flash and blood to a fancy, a dream that was never meant to be more than a dream.

The only way to leave the circle, to stop dancing with the jailer, is to find a way to preserve one's individuality, that unique which evades description but differentiates one human being from the other.

Loving is a laborious and complex business.

الحزن أمر غريب! إنه يتخذ أشكالاً وألواناً متعددة. تساءلت دوماً هل تمكن أحد من تحديدها كلها وإعطائها أسماءً وهمية.

A novel is not an allegory, I said as the period was about to come to an end. It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.

Why doesn't anyone ask me anything about the last two years?" I asked her. "The answer is very simple. We're afraid to ask because we're afraid of knowing... Maybe if we don't talk about it, and maybe if we pretend it never happened, it will be forgotten.

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 action became meaningless.

Religion was dangerous, anti-intellectual, a crutch for the masses, and a game for the foolish, the poor, and the hypocrites. (Jacques Miroux)

We envy people like you, and we want to be you; we can't, so we destroy you.

عجبا! كيف يمكن للحظة انفتاح يتيمة أن تتحول إلى حرية هائلة؟

I went on and on, and as I continued, I became more righteous in my indignation. It was the sort of anger one gets high on, the kind one takes home to show off to family and friends.

Hope for some means its loss for others; when the hopeless regain some hope, those in power--the ones who had taken it away--become afraid, more protective of their endangered interests, more repressive.

I wish wish I could steal the intricacies of language. But give my kids a break—remember, most of them were fed on Steinbeck’s The Pearl.

I always had a hankering for the security of impossible dreams.

How do you tell someone she has to learn to love herself and her own body before she can be loved or love?

This is how you read a novel: you inhale the experience. So start breathing.

اساءت الثورة الاسلامية للاسلام أكثر من أي غريب كان يمكن ان يسيء، وذلك باستخدام الإسلام وسيلة للايستبداد والجو

Seventeen's not a good age. That's when you realize that you have a heart. That's when feelings get in the way of thinking.

Her favorite color is blue. She says that blue is associated with vastness; the skies are blue, the oceans are blue.

Now that I was lying safely in my bed, it had become much easier to be brave.

كانت مستاءة جداً من فكرة أن حجابها، الذي هو بمثابة رمز للعلاقة المقدسة بينها وبين الله، كان قد أصبح في ذلك الوقت أداة بيد السلطة، جاعلين من النسوة اللواتي ارتدينه رموزاً وشعارات سياسية

The truth has become a secret, a rare and dangerous commodity, highly prized and to be handled with great care.

فكلّ منا يضمُر في داخله يهوذا لمسيحه الخاص

Living in the Islamic Republic is like having sex with a man you loathe.

و لكننا في ذلك الوقت لم نكن قد وعينا بعدُ إلى أي مدى كنا نخونُ أحلامنا.

In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. This affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabbiness of the subject matter.

People do amazing things for love. Books are full of wonderful stories about this kind of stuff, and stories aren’t just fantasies, you know. They’re so much a part of the people who write them that they practically teach their readers invaluable lessons about life.

It is not accidental that the most unsympathetic characters in Austen's novels are those who are incapable of genuine dialogue with others. They rant. They lecture. They scold. This incapacity for true dialogue implies an incapacity for tolerance, self-reflection and empathy.

This is a massive world, I think, and in each centimeter of it, a different drama unfolds every second of the day. But we live on as if the next moment in our lives will be no different than the last. How foolish we all are.

The highest form of morality is not to feel at home in ones own home." Most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

...do not, under any circumstances, belittle a work of fiction by trying to turn it into a carbon copy of real life; what we search for in fiction is not so much reality but the epiphany of truth.

You ask me what it means to be irrelevant? The feeling is akin to visiting your old house as a wandering ghost with unfinished business. Imagine going back: the structure is familiar ,but the door is now metal instead of wood,the walls have been painted a garish pink ,the easy chair you loved so much is gone .Your office is now the family room and your beloved bookcases have been replaced by a brand-new television set . This is your house,and it is not. And you are no longer relevant to this house , to its walls and doors and floors ; you are not seen .

Again and again as we discussed Lolita in that class, our discussions were colored by my students' hidden personal sorrows and joys. Like tearstains on a letter, these forays into the hidden and the personal shaded all our discussions of Nabokov. And more and more I thought of that butterfly; what linked us so closely was this perverse intimacy of victim and jailer.

One cancels the other, and yet without one, the other is incomplete. In the first photograph, standing there in our black robes and scarves, we are as we had been shaped by someone else’s dreams. In the second, we appear as we imagined ourselves. In neither could we feel completely at home.

She resented the fact that her veil, which to her was a symbol of her sacred relationship to God, had now become an instrument of power, turning the women who wore them into political signs and symbols. Where do your loyalties lie, Mr. Bahri, with Islam or the state?

There was something, both in fiction and in his life (Nabokov), that we instinctively related to and grasped, the possibility of a boundless freedom when all options are taken away. I could invent violin or be devoured by the void.

There are different forms of seduction, and the kind I have witnessed in Persian dancers is so unique, such a mixture of subtlety and brazenness, I cannot find a Western equivalent to compare it to. I have seen women of vastly different backgrounds take on that same expression: a hazy, lazy, flirtatious look in their eyes. . . . This sort of seduction is elusive; it is sinewy and tactile. It twists, twirls, winds and unwinds. Hands curl and uncurl while the waist seems to coil and recoil. . . . It is openly seductive but not surrendering.

When the day comes that Tehran can announce its nuclear capability, every shred of international law will have been discarded. The mullahs have publicly sworn—to the United Nations and the European Union and the International Atomic Energy Agency—that they are not cheating. As they unmask their batteries, they will be jeering at the very idea of an 'international community.' How strange it is that those who usually fetishize the United Nations and its inspectors do not feel this shame more keenly.

You don't understand their mentality. They won't accept your resignation because they don't think you have the right to quit. They are the ones who decide how long you should stay and when you should be dispensed with. More than anything else, it was this arbitrariness that had become unbearable.

I was reminded of a painter friend who had started her career by depicting scenes from life, mainly deserted rooms, abandoned houses and discarded photographs of women. Gradually, her work became more abstract, and in her last exhibition, her paintings were splashes of rebellious color, like the two in my living room, dark patches with little droplets of blue. I asked about her progress from modern realism to abstraction. Reality has become so intolerable, she said, so bleak, that all I can paint now are the colors of my dreams.

It wasn't courage that motivated this casual, impersonal manner of treating so much pain; it was a special brand of cowardice, a destructive defense mechanism, forcing others to listen to the most horrendous experiences and yet denying them the moment of empathy: don't feel sorry for me; nothing is too big for me to handle. This is nothing, nothing really.

Modern fiction brings out the evil in domestic lives, ordinary relations, people like you and me -- Reader! Bruder! as Humbert said. Evil in Austen, as in most great fiction, lies in the inability to "see" others, hence to empathize with them. What is frightening is that this blindness can exist in the best of us (Eliza Bennet) as well as the worst (Humbert). We are all capable of becoming the blind censor, or imposing our visions and desires on others.

It was one of those rare nights when I was kept awake not by my nightmares and anxieties but by something exciting and exhilarating. Most nights I lay awake waiting for some unexpected disaster…I think I somehow felt that as long as I was conscious, nothing bad could happen…

I have a recurring fantasy that one more article has been added to the Bill of Rights: the right to free access to imagination. I have come to believe that genuine democracy cannot exist without the freedom to imagine and the right to use imaginative works without any restrictions. To have a whole life, one must have the possibility of publicly shaping and expressing private worlds, dreams, thoughts and desires, of constantly having access to a dialogue between the public and private worlds. How else do we know that we have existed, felt, desired, hated, feared?

We speak of facts, yet facts exist only partially to us if they are not repeated and re-created through emotions, thoughts and feelings. To me it seemed as if we had not really existed, or only half existed, because we could not imaginatively realize ourselves and communicate to the world, because we had used works of imagination to serve as handmaidens to some political ploy.

It is also about loss, about the perishability of dreams once they are transformed into hard reality. It is the longing, its immateriality, that makes the dream pure. What we in Iran had in common with Fitzgerald was this dream that became our obsession and took over our reality, this terrible, beautiful dream, impossible in its actualization, for which any amount of violence might be justified or forgiven. This was what we had in common, although we were not aware of it then. Dreams, Mr Nyazi, are perfect ideals, complete in themselves. How can you impose them on a constantly changing, imperfect, incomplete reality? You would become a Humbert, destroying the object of your dream; or a Gatsby, destroying yourself. When I left the class that day, I did not tell them what I myself was just beginning to discover: how similar our own fate was becoming to Gatsby's. He wanted to fulfill his dream by repeating the past, and in the end he discovered that the past was dead, the present a sham, and there was no future. Was this not similar to our revolution, which had come in the name of our collective past and had wrecked our lives in the name of a dream?

Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. The affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabiness of the subject matter. This is why we love "Madame Bovary" and cry for Emma, why we greedily read "Lolita" as our heart breaks for its small, vulgar, poetic and defiant orphaned heroine.

In his forward to the English edition of Invitation to a Beheading (1959), Nabokov reminds the reader that his novel does not offer 'tout pour tous.' Nothing of the kind. 'It is,' he claims, 'a violin in the void.' [...] There was something, both in his fiction and in his life, that we instinctively related to and grasped, the possibility of a boundless freedom when all options are taken away. I think that is what drove me to create the class. My main link with the outside world had been the university, and now that I had severed that link, there on the brink of the void, I could invent the violin or be devoured by the void.

The truth was that upsilamba was one of Nabokovs fascinating creations, possibly a word he invented. I said I associate Upsilamba with the impossible joy of a suspended leap. Yassi, who seemed excited for no particular reason, cried out that she always thought it could be a name of a dance- you know, "C'mon, baby, do the Upsilamba with me". Manna suggested that the word upsilamba evoked the image of small silver fish leaping in and out of a moonlit lake. Nima added in parentheses, Just so you won't forget me, although you have barred me from your class: an upsilamba to you too! For Azin it was a sound, a melody. Mahashid described an image of three girls jumping rope and shouting" Upsilamba" with each leap. For Sanaz, the word was a small African boy's secret magical name. Mitra wasn't sure why the word reminded her of the paradox of a blissful sigh. And for Nassrin it was a magic code that opened the door to a secret cave filled with treasures.

Imagination in these works is equated with empathy; we can't experience all that others have gone through, but we can understand even the most monstrous individuals in works of fiction. A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic—not that it advocates democracy but that by nature it is so. Empathy lies at the heart of Gatsby, like so many other great novels—the biggest sin is to be blind to others' problems and pains. Not seeing them means denying their existence.

The way I see Jesus has not changed much at all since I was a child, but my imprisonment and all that followed made me love Him even more. His being the Son of God makes sense to me, because I believe God to be loving, just, forgiving, and merciful. I also believe that He respects free will. After all, He has given it to us so that we can choose to love or hate Him, do good or evil. But is it fair for a loving God to sit on His throne in Heaven and let us struggle and suffer on our own? Would any good father abandon His children this way? It makes perfect sense to me that God decided to come among us, live like us, and die a horribly painful death after being tortured. This is a God I can love with all my heart. A God who sets an example. A God who has bled and whose heart has been broken. This is who Jesus is to me. I don't pretend that I understand the Holy Trinity. But I understand love and sacrifice. I understand faithfulness.

We can't all leave this country, Bijan had told me-this is our home. The world is a large place, my magician had said when I went to him with my woes. You can write and teach wherever you are. You will be read more and heard better, in fact, once you are over there. To go or not to go? In the long run, it's all very personal, my magician reasoned. I always admired your former colleague's honesty, he said. Which former colleague? Dr. A, the one who said his only reason for leaving was because he liked to drink beer freely. I am getting sick of people who cloak their personal flaws and desires in the guise of patriotic fervor. They stay because they have no means of living anywhere else, because if they leave, they won't be the big shots they are over here; but they talk about sacrifice for the homeland. And then those who do leave claim they've gone in order to criticize and expose the regime. Why all these justifications?

One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay.

That first day I asked my students what they thought fiction should accomplish, why one should bother to read fiction at all. It was an odd way to start, but I did succeed in getting their attention. I explained that we would in the course of the semester read and discuss many different authors, but that one thing these authors all had in common was their subversiveness. Some, like Gorky or Gold, were overtly subversive in their political aims; others, like Fitzgerald and Mark Twain, were in my opinion more subversive, if less obviously so. I told them we would come back to this term, because my understanding of it was somewhat different from its usual definition. I wrote on the board one of my favorite lines from the German thinker Theodor Adorno: “The highest form of morality is not to feel at home in one’s own home.” I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.