Fatemeh Keshavarz – författare

Jalal al-Din Rumi, a towering figure in the Persian speaking world, is currently the most widely published poet in English translation. Yet despite the popularity of his verse, the majority of scholarship on his work focuses not on Rumi's poetry but on his contributions as a mystic. Keshavarz's pioneering study is the first extensive critical examination of this vast, dynamic body of literature. Through close readings of the Divan, his collection of more than 35,000 lyric verses, she explores Rumi's extraordinary popular and critical literary success.

This imaginative and accessible study of the lyrical, humorous, social and educational aspects of classical Persian poetry focuses on the works of the master medieval poet Sa‘di of Shiraz (d. 1291), one of the funniest, most influential and lyrical figures in classical Persian poetry. Sa’di, a prominent ethicist and a devout teacher of virtues, stands out for his worldliness, his practical teachings, and his love for living a wholesome life, as well as for his signature elegance and artistry that has compelled critics to call his lyrics perfectly polished diamonds.In a language deliberately free of technical jargon, Keshavarz argues for the versatility of Sa‘di’s poetic voice and portrays his notion of love as open to multiple perspectives including homoerotic aesthetics. She brings to life the worldly wisdom that kept the lyrical, adventurous, and ethical legacy of Sa’di fresh and effective through the passage of time.

In a direct, frank, and intimate exploration of Iranian literature and society, scholar, teacher, and poet Fatemeh Keshavarz challenges popular perceptions of Iran as a society bereft of vitality and joy. Her fresh perspective on present day Iran provides a rare insight into this rich culture alive with artistic expression but virtually unknown to most Americans. She warns against the rise of what she calls the 'New Orientalist narrative', which thrives on stereotype and prejudice and is often tied to current geopolitical conflict rather than an understanding of Iran.Keshavarz offers a lively critique of the best-seller ""Reading Lolita in Tehran"", which she says epitomizes this New Orientalist attitude. Blending in firsthand glimpses of her own life, Keshavarz paints a portrait of Iran depicting both cultural depth and intellectual complexity.

In a direct, frank, and intimate exploration of Iranian literature and society, scholar, teacher, and poet Fatemeh Keshavarz challenges popular perceptions of Iran as a society bereft of vitality and joy. Her fresh perspective on present-day Iran provides a rare insight into this rich culture alive with artistic expression but virtually unknown to most Americans.Keshavarz introduces readers to two modern Iranian women writers whose strong and articulate voices belie the stereotypical perception of Iranian women as voiceless victims in a country of villains. She follows with a lively critique of the recent best-seller Reading Lolita in Tehran: A Memoir in Books, which epitomizes what Keshavarz calls the “New Orientalist narrative,” a view marred by stereotype and prejudice more often tied to current geopolitical conflicts than to an understanding of Iran.Blending in firsthand glimpses of her own life — from childhood memories in 1960s Shiraz to her present life as a professor in America — Keshavarz paints a portrait of Iran depicting both cultural depth and intellectual complexity. With a scholar’s expertise and a poet’s hand, she helps amplify the powerful voices of contemporary Iranians and leads readers toward a deeper understanding of the country’s past and present.

In this collection, Fatemeh Keshavarz and Ahmet T. Karamustafa bring together leading researchers from comparative literature, history, literary criticism and religious studies to explore the major authors and genres of medieval Persian mystical literature. Breaking out of the all-inclusive literary history framework, the contributors write on topics that have energised their scholarship over time and address areas where the literary and the mystical have mingled and led to paradigmatic creations. How can you interpret the climactic conclusion to the framing narrative of The Speech of the Birds of 'Attar of Nishapur? How did 'Aziz Nasafi understand the concept of religion? What do Rumi's conversations with the Divine tell us about his teachings and his poetry? How do medieval Persian Sufi commentators add to our understanding the Qur'an? How can we utilise Sufi manuals, life stories and utterances? All of these explorations and more bring the depth and eloquence of Persian mystical literature to life in this volume.

In this collection, Fatemeh Keshavarz and Ahmet T. Karamustafa bring together leading researchers from comparative literature, history, literary criticism and religious studies to explore the major authors and genres of medieval Persian mystical literature. Breaking out of the all-inclusive literary history framework, the contributors write on topics that have energised their scholarship over time and address areas where the literary and the mystical have mingled and led to paradigmatic creations. How can you interpret the climactic conclusion to the framing narrative of The Speech of the Birds of ‘Attar of Nishapur? How did ‘Aziz Nasafi understand the concept of religion? What do Rumi’s conversations with the Divine tell us about his teachings and his poetry? How do medieval Persian Sufi commentators add to our understanding the Qur’an? How can we utilise Sufi manuals, life stories and utterances? All of these explorations and more bring the depth and eloquence of Persian mystical literature to life in this volume.

This imaginative and accessible study of the lyrical, humorous, social and educational aspects of classical Persian poetry focuses on the works of the master medieval poet Sa‘di of Shiraz (d. 1291), one of the funniest, most influential and lyrical figures in classical Persian poetry. Sa’di, a prominent ethicist and a devout teacher of virtues, stands out for his worldliness, his practical teachings, and his love for living a wholesome life, as well as for his signature elegance and artistry that has compelled critics to call his lyrics perfectly polished diamonds.In a language deliberately free of technical jargon, Keshavarz argues for the versatility of Sa‘di’s poetic voice and portrays his notion of love as open to multiple perspectives including homoerotic aesthetics. She brings to life the worldly wisdom that kept the lyrical, adventurous, and ethical legacy of Sa’di fresh and effective through the passage of time.

Recite in the Name of the Red Rose introduces Western readers to constructions of the sacred in twentieth-century Iranian poetry. Sifting through the lives and writings of modern and classical poets, Fatemeh Keshavarz provides a systematic examination of the array of religious impulses in recent Persian verse. Viewing poetry as the site of the emergence of the self and the sacred, she confirms that sanctification is not static in its forms but continuously in flux and that the poetic modes used to articulate the sanctified are equally fluid. Keshevarz begins by introducing the core concepts that define and detach religion and secularity in contemporary Iranian society. By thoroughly discussing the nature of classical Persian poetry she makes clear that expressions of the sacred in verse have been open to negotiation and change even in the premodern period. However, in Iran's modern poetic landscape Keshavarz uncovers many new patterns of expressing the sacred. In individual chapters on the writings of Forugh Farrokhzad (1935-1967), Sohrab Sepehri (1928-1981), and Ahmad Shamlu (1925-2000), she discusses the paradigmatic ways prominent poets of the twentieth century have related to the sacred in a nation forging its vision of modernity. While most scholars perceive current Iranian culture to be sharply divided between literalist conservatives and secular progressives, Keshavarz identifies provocative shades of spiritual expression less rigidly defined and hence neglected by the established critical tradition. Bringing such expression to the fore of scholarly attention, her study invites a more nuanced appreciation of the crosscurrents of religion and literature in recent Middle Eastern culture.