Bøger udgivet af Iran Open Publishing

"The Anatomy of Seasons and Cheries" is a shocking story about earthly love, defeat and humiliation. It raises questions and astonishes. In this story, Robab Moheb portrays human beings as the victims of the battle of oblivion. Love reveals its many facets: the ugly and the beautiful, the ups and downs, the peaceful silence and the storm . . . It is also a story of exile; an exile not bound by geography, but universal, spanning whole lives, from birth to death. With her masterful use of words, Moheb captures the imagination and shows us that what we believe to be illusion is in fact truth and reality. In this regard "The Anatomy of Seasons and Cheries" is an admonition of the oblivious human.

Mànpârehâ (literaly "I-in-pieces," or according to author's translation "deconstructions") is a kaleidoscope of prosaic poetry or vice versa poetic prose. Unique in its lietrary form, the author applies radical techniques of deconstructivism and structuralism for the first time in Farsi prose literature. More importantly the work is one of the very first elaborations in Farsi literature that transcribes stylistic techniques of postmodernist Iranian poetry (pàssâhàftâd) and tearing into a new, bold, and courageous prose. Postmodern critics highlighted the work as "exile of exile in literature," or "anti-poetry towards a future for Farsi literary prose." Sam Vaseghi, deconstructs not only the linguistic status quo, the semantic, syntax, grammar, or word constructs, he rather deconstructs aggressively the diligently researched and extracted societal elements of the "homo iranicus." Beyond the very powerful associative semiotics of the work pieces (mànpâreh), he not only takes the step to deconstruct his own world of prejudice, taboos ... but the fractal structures of the Iranian restorative culture and society. In Sam Vaseghi's world everything, everybody ... even a term, a word, a verb or gerund ... can get into life and turn into a character or a being as such - e.g. through anti-real characters such as Mr. Everybody-Agha or Mrs Iran-Khanom. Parallel inner monologues melt in the associative memory or the author are bound hermeneutically in the sub-consciousness of the reader. Mànpârehâ although about hundred pages is a result of over ten years of tough work, thousands of revisions, endless critical and contradictive conversations. In mànpârehâ although the author creates an own sphere of semiotics and scripture, but only for purpose of (de-/re-constructing) structures and meaning. Mànpârehâ has been due its political and social critical standpoints, censored and rejected for publication in Iran. However, beyond its value as a serious literary piece, it should encourage other writers to break out of the bounds of classic realism or even magic realism. Mànpârehâ is a commence beyond years of hurdles and challenges, it is disciplined as literature but as it must be due to its deconstructive rebellion, imperfect: A work to be continued.