Fereshteh Ahmadi
Narrative literature of Iran is doubtful both in the country and in the world. It means the main issue is not the reason why others neglected contemporary literature of Iran, but the issue is that how much the product of today’s literature can be supplied in Iran. How much the mirror of contemporary society and social unevenness have impact on the subconscious of the texts and whether this impact is worth studying or keeps providing images full of judgments and impurities due to being vague. The stance of Iranian writer is uncertain that’s why the stories he/she produces suffer a kind of obscurity; they are neither completely recognized nor they are completely forbidden, so they suffer shyness and unevenness. They are on a border that determines the right of their existence or non-existence. Nothing is mentioned in the official media regarding Iranian story. It is passed among the reader, producer, critic and the journalist and few books come out of this circle for common people. Iranian movies were also supposed to be like this or basically every product taking a close look at Iranian people and life should have the same condition, however, movies are less likely to be in the demanding and contradictory condition of showing people’s appearance and inner side because their representative tool is image or people’s appearance. Stories with theatrical and external point of view are less likely to be afflicted by contradiction. In the recent decades, carvers and carver forms don’t match the taste of many people in Iran, but making remarks and expressing oneself are borderlines that seem doubtful. There are lots of limitations in showing, but at least one can be satisfied of showing whatever it is, it is possible to show outside as it is without geƫng aware of what is going on inside the houses like KiaRostami, because in showing inside one has no choice but externalizing that to be displayable and being displayable means
presenting an unreal image. The aim of this text is not simply censorship and its impact on literature but I’m trying to explain that we turned into beings that are neither turned their back to the world nor faced that, we communicate with people from the corner of our eyes and this incomplete method makes communication demanding. We have half relationship with the world, environment, outside home and outside country, this half relationship leads to creation of wrong images from us. There is also an unwriten rule; Medias with low audiences can act more freely in showing people’s inside and outside with fewer contradiction, but a popular media like TV denies contradictions altogether; an Iranian woman goes to bed with a scarf, never touches her husband, the family still have dinner together without fighting, say good night to each other. Generation gap is reduced which is solved immediately. In the face of everyday show of this hypocrite life, dumb literature is also not able to show realities; it grumbles trying to present an intermediate image which is still bogus and useless. This kind of literature seems superficial for Iranian readers who are in contact with real life and for the rest of people around the world who are not aware of our dual life the images are distorted, but with a closer and psychoanalytical look we will find out that each stuter implies a deep covert truth. Along with all these issues, story writing is the serious obsession of some people who deal with the following questions: Who are our real interlocutors? How can I write honestly? What if Persian language prevents us from being seen by the other communities? In Iran, Is paying atention to political issues more interesting than literature? However, before paying atention to a global audience, all of us need to find a way of thinking to write stories honestly without anger, hypocrisy and concern. It is necessary to turn our full face to the outside world un-obstructively. To find ourselves we need a mutual relationship. Move from that side. We are here; look at us through multiple screens and high-distorted mirrors. We are trying to make you hear the clearest sounds by being aware of our situation, sharpen your ears so that you can reach us by eliminating annoying noises and passing through the subconscious labyrinth of text. I was born in 1972. I was graduated from the Faculty of Fine Arts, Tehran University in architecture and started my professional job in the field of narrative literature anonymously (Bi Esm) by publishing children’s stories. I published the following books: Everyone’s Saray (Saray-e-Hameh), the novel of The Fairy of Amnesia (Pariy-e-Faramoshi),, the novel of Cheese Jungle (Jangal-e-Panir), two romantic novels in Nazo Niaz from rewriting ancient Iranian stories and finally, the story of Heatstroke (Garma zadegi). In addition to story writing, I have been interested in writing about literary works, creators of literature and the effect of literature in our life, presently, I’m writing another novel and story collection.
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