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For many years, heartache prevented Nahid Rachlin from turning her sharp novelist's eye inward: to tell the story of how her own life diverged from that of her closest confidante and beloved sister, Pari. Growing up in Iran, both refused to accept traditional Muslim mores, and dreamed of careers in literature and on the stage. Their lives changed abruptly when Pari was coerced by their father into marrying a wealthy and cruel suitor. Nahid narrowly avoided a similar fate, and instead negotiated with him to pursue her studies in America. When Nahid received the unsettling and mysterious news that Pari had died after falling down a flight of stairs, she traveled back to Iran--now under the Islamic regime--to find out what happened to her truest friend, confront her past, and evaluate what the future holds for the heartbroken in a tale of crushing sorrow, sisterhood, and ultimately, hope.
Under its placid surface in 1978, Iran was a simmering sea of religious animosity and social resentment, which was shortly to boil over into the world's first Islamic revolution: the overthrow of the country's autocratic ruler, the Shah; and his replacement with a charismatic religious leader, Ayatollah Khomeni. My Persian Girl is an account of the impact the violent turmoil of the 1979 Iranian revolution has on three people: Shahnaz, a young Iranian woman; her husband Raman, who is an ambitious officer in Iran's secret police; and a naive young Englishman, James Harding. All these characters must make difficult decisions as Iran gradually slides towards the revolution, which threatens their personal safety. My Persian Girl is more than a love story set within a political thriller - it is a story of courage and hope in the face of momentous events, which have global resonance today.
This book presents a portrait of Paris in the fifties and also gives an astute depiction of the confrontation between the East and the West. It also presents an account of the pain of exile.
Maryam Rostampour and Marziyeh Amirizadeh knew they were putting their lives on the line. Islamic laws in Iran forbade them from sharing their Christian beliefs, but in three years, they’d covertly put New Testaments into the hands of twenty thousand of their countrymen and started two secret house churches. In 2009, they were finally arrested and held in the notorious Evin Prison in Tehran, a place where inmates are routinely tortured and executions are commonplace. In the face of ruthless interrogations, persecution, and a death sentence, Maryam and Marziyeh chose to take the radical—and dangerous—step of sharing their faith inside the very walls of the government stronghold that was meant to silence them. In Captive in Iran, two courageous Iranian women recount how God used their 259 days in Evin Prison to shine His light into one of the world’s darkest places, giving hope to those who had lost everything and showing love to those in despair.
For centuries, Persian was the language of power and learning across Central, South, and West Asia, and Persians received a particular basic education through which they understood and engaged with the world. Not everyone who lived in the land of Iran was Persian, and Persians lived in many other lands as well. Thus to be Persian was to be embedded in a set of connections with people we today consider members of different groups. Persianate selfhood encompassed a broader range of possibilities than contemporary nationalist claims to place and origin allow. We cannot grasp these older connections without historicizing our conceptions of difference and affiliation. Mana Kia sketches the contours of a larger Persianate world, historicizing place, origin, and selfhood through its tradition of proper form: adab. In this shared culture, proximities and similarities constituted a logic that distinguished between people while simultaneously accommodating plurality. Adab was the basis of cohesion for self and community over the turbulent eighteenth century, as populations dispersed and centers of power shifted, disrupting the circulations that linked Persianate regions. Challenging the bases of protonationalist community, Persianate Selves seeks to make sense of an earlier transregional Persianate culture outside the anachronistic shadow of nationalisms.
In recent years bitter controversies have erupted across Europe and the Middle East about women’s veiling, and especially their wearing of the face-veil or niqab. Yet the deeper issues contained within these controversies – secularism versus religious belief, individual freedom versus social or family coercion, identity versus integration – are not new but are strikingly prefigured by earlier conflicts. This book examines the state-sponsored anti-veiling campaigns which swept across wide swathes of the Muslim world in the interwar period, especially in Turkey and the Balkans, Iran, Afghanistan and the Soviet republics of the Caucasus and Central Asia. It shows how veiling was officially discouraged and ridiculed as backward and, although it was rarely banned, veiling was politicized and turned into a rallying-point for a wider opposition. Asking a number of questions about this earlier anti-veiling discourse and the policies flowing from it, and the reactions which it provoked, the book illuminates and contextualizes contemporary debates about gender, Islam and modernism.
Persian Pop Priestess and Spiritual Gangsta Asa Soltan shares seven sacred rituals on beauty, love, career, family, and friendships—providing you with the tools to find confidence, empowerment, and channel your inner priestess. Asa was eight years old when her family fled their war-torn country of Iran to seek refuge in Germany. To say she experienced culture shock after arriving is an understatement. She had never seen anyone that looked and acted so different from her, and she didn’t speak a word of German or English. She felt completely cast off from her land, her culture, and her people. Feeling a need to connect to her culture and herself, she created rituals that she practiced every day. At first they were a simple way to create a sacred space for herself so she could look within and remember who she really was. But when she became a refugee for the second time moving from Germany to Los Angeles, those rituals kept her deeply connected to her Inner Priestess—the authentic version of herself that existed without ego, baggage, or attachments to material things. In Golden Asa shares how you can connect to your Inner Priestess with seven rituals she’s developed throughout her life—rituals that will help you clean out your body, your environment, and your emotional life so you can live without negativity and fear. Within each chapter are fun, lighthearted tips based on Asa’s own personal journey to find peace and acceptance, as well as stories and photos from her childhood to illustrate the impact these rituals can have. Whether you choose to focus on one ritual separately or all of them at once, Golden can guide you to a state of glamorous, gorgeous mindfulness and a chance to live the life of your dreams.
The 1979 Revolution in Iran caused the migration of millions of Iranians, many of whom wrote, and are still writing, of their experiences. Formed at the junctions of Iranian culture, English language and Western cultures, this body of work has not only formed a unique literary space, offering an insightful reflection of Iranian diasporic experiences and its shifting nature, but it has also been making a unique and understudied contribution to World Literatures in English as significant as Indian, African and Asian writing in English. Sanaz Fotouhi here traces the origins of the emerging body of diasporic Iranian literature in English, and uses these origins to examine the socio-political position and historical context from which they have emerged. Fotouhi brings together, introduces and analyses, for the first time, a significant range of diasporic Iranian writers alongside each other and alongside other diasporic literatures in English. While situating this body of work through existing theories such as postcolonialism, Fotouhi sheds new light on the role of Iranian literature and culture in Western literature by showing that these writings distinctively reflect experiences unique to the Iranian diaspora. Analysing the relationship between Iranians and their new surroundings, by drawing on theories of migration, narration and identity, Fotouhi examines how the literature borne out of the Iranian diaspora reconstructs, maintains and negotiates their Individual and communal identities and reflects today's socio-political realities. This book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those interested in the cultural history of the Middle East.