Women writers occupy prominent positions in late 20th century Iranian literature, despite the increased legal and cultural restrictions placed upon women since the 1978-1979 Islamic Revolution. One of these writers is Moniru Ravanipur, author of the critically acclaimed The Drowned and Heart of Steel.
Satan's Stones is the first English translation of her 1991 short story collection Sangha-ye Sheytan. Often set in the remote regions of Iran, these stories explore many facets of contemporary Iranian life, particularly the ever-shifting relations between women and men. Their bold literary experimentation marks a new style in Persian fiction akin to "magical realism."
Reports from Iran indicated that Satan's Stones had been banned there by government authorities. While its frank explorations of Iranian society may have offended Islamic leaders, they offer Western readers fresh perspectives on Iranian culture from one of the country's most distinguished writers.
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M. R. Ghanoonparvar is Professor of Persian and Comparative Literature at the University of Texas at Austin.
Set against a background of desert landscapes and often in the remote regions of Iran, these stories explore many facets of contemporary Iranian life, particularly the ever-shifting relations between women and men. Their bold literary experimentation marks a new style in Persian fiction akin to 'magical realism.'
These stories set in rural Iranian towns are most interesting for their settings and the details of the daily existence of Iranian women. A slim introduction by M.R. Ghanoonparvar concentrates on the importance of the author and where she fits in the spectrum of Iranian writing and explains that Ravanipur's own hometown--a fishing village on the Persian Gulf--was immortalized in her early books before being swallowed by encroaching modernization. In the title story, a woman returns to a village set in the desert with Satan's stones nearby. "No one knew in what distant time or with what enormous power Satan had thrown them into the desert." The narrator of "Love's Tragic Tale" is racing to get down the story of her romantic advances and hoping not to find herself in trouble. In a collective voice, a group of poets claims "We Only Fear the Future" and keeps obsessive watch over a female artist. A woman on a ski vacation thinks of her son, "Haros" (which means "hero" in Armenian), and returns to a town engulfed in war. "Another Version" of a woman's life refers to her throughout as "the newborn": e.g., "The newborn, apparently after finishing the bachelor's degree, reached the doctoral stage." Simple translations accentuate Ravanipur's spare style.
Copyright 1996 Cahners Business Information, Inc.
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