Every good traveler plans his or her itinerary carefully to use time well and benefit as much as possible from the trip. I did not have an agenda, however. I wanted to travel Middle Eastern style, that is, with no prior planning. It would have been a nuisance to stick to a set timetable in a country that was, except for the language, entirely alien to me. I had decided to spend five weeks in Iran and had certain ideas as to what and whom I wanted to see, but my choices had to be la carte one bite at a time. I wanted to feel the pulse of the country by meeting and talking to as many people as possible. I knew that as a man traveling alone in a Moslem country I faced certain limitations. My quest had to be limited to interacting with men, with little exposure to women and their concerns.
The adventures of Samak, a trickster-warrior hero of Persia’s thousand-year-old oral storytelling tradition, are beloved in Iran. Samak is an ayyar, a warrior who comes from the common people and embodies the ideals of loyalty, selflessness, and honor—a figure that recalls samurai, ronin, and knights yet is distinctive to Persian legend. His exploits—set against an epic background of palace intrigue, battlefield heroics, and star-crossed romance between a noble prince and princess—are as deeply rooted in Persian culture as are the stories of Robin Hood and King Arthur in the West. However, this majestic tale has remained little known outside Iran. Translated from the original Persian by Freydoon Rassouli and adapted by Prince of Persia creator Jordan Mechner, this timeless masterwork can now be enjoyed by English-speaking readers. A thrilling and suspenseful saga, Samak the Ayyar also offers a vivid portrait of Persia a thousand years ago. Within an epic quest narrative teeming with action and supernatural forces, it sheds light on the lives of ordinary people and their social worlds. This is the first complete English-language version of a treasure of world culture. The translation is grounded in the twelfth-century Persian text while paying homage to the dynamic culture of storytelling from which it arose.
At the height of the Cold War a young American teaches in provincial Iran, near the Russian border. His students reveal their inner selves, their struggles to be modern, while still caught in ancient Persian traditions. Hailed as a travel book in the great tradition, the Chicago Tribune called it "a delicious rarity that one is sorry to finish but happy to recommend," and the London Sunday Telegraph: "Observant and often poignant, it is profound in its questions." The New York Times Book Review: "An urbane and well-written account . Mr. Harnack has eminently succeeded."
Alamut takes place in 11th Century Persia, in the fortress of Alamut, where self-proclaimed prophet Hasan ibn Sabbah is setting up his mad but brilliant plan to rule the region with a handful of elite fighters who are to become his "living daggers." By creating a virtual paradise at Alamut, filled with beautiful women, lush gardens, wine and hashish, Sabbah is able to convince his young fighters that they can reach paradise if they follow his commands. With parallels to Osama bin Laden, Alamut tells the story of how Sabbah was able to instill fear into the ruling class by creating a small army of devotees who were willing to kill, and be killed, in order to achieve paradise. Believing in the supreme Ismaili motto “Nothing is true, everything is permitted,” Sabbah wanted to “experiment” with how far he could manipulate religious devotion for his own political gain through appealing to what he called the stupidity and gullibility of people and their passion for pleasure and selfish desires. The novel focuses on Sabbah as he unveils his plan to his inner circle, and on two of his young followers — the beautiful slave girl Halima, who has come to Alamut to join Sabbah's paradise on earth, and young ibn Tahir, Sabbah's most gifted fighter. As both Halima and ibn Tahir become disillusioned with Sabbah's vision, their lives take unexpected turns. Alamut was originally written in 1938 as an allegory to Mussolini's fascist state. In the 1960's it became a cult favorite throughout Tito's Yugoslavia, and in the 1990s, during the Balkan's War, it was read as an allegory of the region's strife and became a bestseller in Germany, France and Spain. Following the attacks of September 11, 2001, the book once again took on a new life, selling more than 20,000 copies in a new Slovenian edition, and being translated around the world in more than 19 languages. This edition, translated by Michael Biggins, in the first-ever English translation.
"These memoirs of a founder of Middle Eastern studies at U.S. institutions reveal more than the events of a life spent in intimate contact with many peoples of Eurasia. Although mainly concerned with "Greater Iran" (Iran/Persia, Afghanistan and Tajikistan), Richard Nelson Frye, Aga Khan professor of Iranian emeritus at Harvard University, describes changes which he witnessed there and elsewhere, making observations that are timely to understanding present-day relationships in the region. One of the first Western scholars to visit Central Asia after the death of Joseph Stalin, his knowledge of many languages enabled Frye to report on conditions in that hitherto little known region. In the course of subsequent trips to the USSR, the friendships he formed gave him unique insights about Soviet intellectuals concerned with the greater Iranian world. Life in Afghanistan and Persia (Iran) before the great changes that have transformed the area since the 1970s form a major part of this book. A much traveled Orientalist of the "old school," Frye's interaction with Dr. Mohammad Mossadegh, Sadruddin Aga Khan, Bobojon Gafurov, Fikri Seljuki, Roman Ghirshman, Henry Corbin, as well as Nathan Pusey of Harvard, and various shapers of US policy toward Iran and Iranian Studies, are especially noteworthy. Personal matters are not forgotten, since some readers will wish to know how a boy from a small Midwestern town became so enamored with Iran and Central Asia that he devoted his life to investigating and explaining their history and cultures. These memoirs are not only a record of the past, but also of recent visits to old haunts that have evoked comments about the future of the Middle East and Central Asia."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
Humanism has mostly considered the question “What does it mean to be human?” from a Western perspective. Dabashi asks it anew from a non-European perspective, in a groundbreaking study of 1,400 years of Persian literary humanism. He presents the unfolding of this vast tradition as the creative and subversive subconscious of Islamic civilization.
The Shahnameh is Iran's national epic. It is a compendium of Iranian myths, legends, and history. Unlike other Indo-European epics, it is not about a war, like the Iliad, or an individual, like the Odyssey, Beowulf, or the Ramayana. The central character of the Shahnameh is Iran, which it glorifies both as subject and hero. Unlike other classical Indo-European epics, the Shahnameh is not in a dead language. It is intelligible to every speaker of Persian in Iran, Afghanistan, and Central Asia.
The definitive translation by Dick Davis of the great national epic of Iran—now newly revised and expanded to be the most complete English-language edition A Penguin Classic Dick Davis—“our pre-eminent translator from the Persian” (The Washington Post)—has revised and expanded his acclaimed translation of Ferdowsi’s masterpiece, adding more than 100 pages of newly translated text. Davis’s elegant combination of prose and verse allows the poetry of the Shahnameh to sing its own tales directly, interspersed sparingly with clearly marked explanations to ease along modern readers. Originally composed for the Samanid princes of Khorasan in the tenth century, the Shahnameh is among the greatest works of world literature. This prodigious narrative tells the story of pre-Islamic Persia, from the mythical creation of the world and the dawn of Persian civilization through the seventh-century Arab conquest. The stories of the Shahnameh are deeply embedded in Persian culture and beyond, as attested by their appearance in such works as The Kite Runner and the love poems of Rumi and Hafez. For more than sixty-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,500 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The Epic of Kings, Hero Tales of Ancient Persia Firdausi - The Epic of Kings, Hero Tales of Ancient Persia (The Shahnameh) is an epic poem by the Persian poet Firdausi, written between 966 and 1010 AD. Telling the past of the Persian empire, using a mix of the mythical and historical, it is regarded as a literary masterpiece. Not only important to the Persian culture, it is also important to modern day followers of the Zoroastrianism religion. It is said that the poem was Firdausi's efforts to preserve the memory of Persia's golden days, following the fall of the Sassanid empire. The poem contains, among others, mentions of the romance of Zal and Rudba, Alexander the Great, the wars with Afrsyb, and the romance of Bijan and Manijeh.
