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Tahirih's poems are well known among Persian Baha'is, but until now there has been no suitable translation of her work that would give English-speaking readers a sense of her genius. Now Amin Banani, Professor Emeritus at UCLA in Persian history and literature; Jascha Kessler, Professor of English at UCLA; and Anthony A. Lee, historian and award-winning poet, have teamed to produce this translation of her work. The poems are brilliant in emotional impact and prophetic in their themes. They should become familiar parts of Baha'i Feasts, Holy Day celebrations, and devotional gatherings. These poems are a monument to this remarkable woman.
Drawing on extensive research and steeped in the culture of daily life in nineteenth-century Persia, this is the definitive account of the life of Tahiriha renowned poetess and one of the leading feminists of her time. She spent her life denouncing the second-class status of women, and was eventually martyred for her outspokenness and courage in the face of the male governing establishment in Persia.
“Breathtaking in its scope and wonderfully illuminating. . . . one of the most powerfully convincing characters in recent historical fiction.” —Alberto Manguel, The Guardian Gossip was rife in the capital about the poetess of Qazvin. Some claimed she had been arrested for masterminding the murder of the grand Mullah, her uncle. Others echoed her words, and passed her poems from hand to hand. Everyone spoke of her beauty, and her dazzling intelligence. But most alarming to the Shah and the court was how the poetess could read. As her warnings and predictions became prophecies fulfilled, about the assassination of the Shah, the hanging of the Mayor, and the murder of the Grand Vazir, many wondered whether she was not only reading history but writing it as well. Was she herself guilty of the crimes she was foretelling? Set in the world of the Qajar monarchs, mayors, ministers, and mullahs, this book explores the dangerous yet luminous legacy left by a remarkable person. Bahiyyih Nakhjavani offers a gripping tale that is at once a compelling history of a pioneering woman, a story of nineteenth century Iran told from the street level up, and a work that is universally relevant to our times. “Mordant and seethingly intelligent.” —Sam Sacks, Wall Street Journal “An engrossing story.” —Gayatri Devi, World Literature Today “Haunting . . . reminds us all that whether Tudor, Qajar, or Clinton, behind every throne is a queen mother, wife, and sister who runs the show.” —Davar Ardalan, Washington Independent Review “Nakjavani offers a philosophically complex yet lyrically wrought examination of the eternal struggle for women’s rights.” —Carol Haggas, Booklist “Nakhjavani deftly transforms an incomplete history into legend. . . . An expertly crafted epic.” —Kirkus Reviews
Tahirah Thealogy rips the veil off the premise by most world religions that Messengerhood is a bonding of a male God with a male Manifestation.
The authors present a unique collection of the poetry of Thirih: scholar, poet, and the only woman Letter of the Living. The original Persian texts and annotated English translations are set in their historical context and explained.
A woman not only needs a room of her own, as Virginia Woolf wrote, but also the freedom to leave it and return to it at will; for a room without that right becomes a prison cell. The privilege of self-directed movement, the power to pick up and go as one pleases, has not been a traditional "right" of Iranian women. This prerogative has been denied them in the name of piety, anatomy, chastity, class, safety, and even beauty. It is only during the last 160 years that the spell has been broken and Iranian women have emerged as a moderating, modernizing force. Women writers have been at the forefront of this desegregating movement and renegotiation of boundaries. Words, Not Swords explores the legacy of sex segregation and its manifestations in Iranian literature and film and in notions of beauty and the erotics of passivity. Milani expands her argument beyond Iranian culture, arguing that freedom of movement is a theme that crosses frontiers and dissolves conventional distinctions of geography, history, and religion. She makes bold connections between veiling and foot binding, between Cinderella and Barbie, between the figures of the female Gypsy and the witch. In so doing, she challenges cultural hierarchies that divert attention from key issues in the control of women across the globe.