Bøger udgivet af L'Aleph

After Arvand's death, Sayeh (Atrisa) sells the country house and moves to Arvand's small flat in one of the western parts of Stockholm. Sayeh's love for his wife does not end with her death. On the contrary, it appears that death is the beginning of thinking and reflection, the beginning of being freed from oneself and from one's intellectual cocoons. In other words, Sayeh's love for his wife is one of his inner levers, which poetically expresses all his hopes and disappointments and becomes the cause of his movement and dynamism.Sayeh's simplistic view of poetry and poets, which was evident in the long story "Out of the Circle," loses its color here. Poets are no longer prophetic beings who send visionary and poetic messages to their readers from the sky of poetry. On the other hand, the passing of time and its small and large results is a pure fact. When time passes, not only the skin, veins, and bones take grooves, but also the soul. Desperation and confusion drag Sayeh into the virtual world. In this false world, people turn themselves into invisible sphinxes. Borrowing traits from a metaphorical lion and two eagle-like wings, they want to embody the sun, just like the legendary giant of Egypt once did. However, behind the virtual curtains, only false stories and anecdotes bear fruit."Chistan-e Abolhol" is the second volume of a trilogy that deals with the role of the cyber world in the literary society, the relations of poets and writers within and outside the country's borders. The first volume was published under the title "Out of the Circle" in 2020.

'fluchtwärts' ist eine Sammlung von 39 Gedichte des Deutsch-Iranischen Dichters, Publizist und Übersetzer, Sam Vaseghi. Die Gedichte stellen 'kompakte' lyrische Reflexionen dar, die sich aus realen Gesprächen und Korrespondenzen mit Iranischen und syrischen Flüchtlingen, u. a. Schriftsteller und Wissenschaftler, auf ihrem Weg nach West-Europa über einen Zeitraum von 2006 bis 2017 ergaben. "Die Flucht kann für den Menschen zur Folter werden, die Sprache die sie zum Ausdruck bringt, wird dann zu einer Sprache der Folter, mit jedem Wort das man wählt, jede Konstruktion oder Dekonstruktion in ihren Details: es gibt kein Vorwärts und kein Rückwärts, und letzten Endes herrscht nur der Wunsch nach Befreiung aus dem Schmerz der Erinnerung. So habe ich es mit ihnen empfunden, erlebt, und in 'fluchtwärts' weitergegeben."

"Auf Eigenen Spuren" ist eine lyrisch metaphorische Reise durch Ort und Zeit: in die Tiefen des eigene "Ich" eines Dichters, der auch repräsentativ für eine Generation steht. Der Iranische Schriftsteller, Poet und Journalist Fereydoun Gilani, ein Freiheitskämpfer vom Schlage des Griechen Alexandros Panagoulis, bekennt sich mit seinem monumentalen lyrischen Werk in einer bald metaphorischen bald surrealen Sprache zu seinem Volk und zu sich: "Lyrik ist nicht Philosophie. Lyrik ist nicht politische Proklamation. Lyrik ist keine Erzählung. Lyrik ist nicht "formgebunden". Auch Luna Tscharsky, der in seiner trockenen Beschreibung der "Poésie Engagée" den "Poète Engagé" vor stumpfsinnigen Aufgaben und Pflichten stellt, verleiht der Lyrik nur eine antipoetische Form und Definition. Somit wird die Poesie ihrem eigenen weiten Horizont entfremdet. Lyrik ist kein Mittel: Weder zur Propaganda noch zur Verbreitung einer bestimmten Ideologie. Die Lyrik ist in ihrer Unendlichkeit, in ihrer Strömung, weder durch Theoretisierungen, Interpretationen und rein subjektiven Aufnahmen einer soziologischen Gesetzmäßigkeit noch einer bestimmten Kunstauffassung zu unterwerfen! Das würde eine Bindung zwischen Leser und Gedicht zerstören. Lyrik ist nichts als "Lyrik", und Lyrik ist - unvermeidbar - alles!" Zum Autor: Der Iranische Schriftsteller, Poet und Journalist Fereydoun Gilani, lebt seit 21 Jahren im Deutschen Exil. Er verbrachte Zeit seines Lebens in den Gefängnissen Irans vor der Revolution sowie nach der Revolution. Vom Deutschen Exil aus setzt er sich immer noch für die Menschenrechte in Iran ein. Von ihm sind bis jetzt über hunderte Artikel und Bücher in Farsi und Englisch erschienen.

Der im Schwedischen Exil lebende Deutsch-Iranische Schriftsteller Sam Vaseghi stellt mit seinem neuen Werk "Eine Biopsie der Literarischen Gefährlichkeit" eine literarisch beeindruckende "Installation", poetisch-prosaisch gestaltet und zugleich dokumentarisch manifestiert. Das Thema der Literatur ist hier die Literatur selbst, eine spannende Komposition sozialpolitischer Realität, schwankend zwischen den Extremen des Schmerzes und der Groteske. Eine Komposition, die eigene strukturelle Regeln für Form und Sinn aufstellt . Ein literarischer Impuls, das sich mit all dem aus dem modernen "Schriftgebrauch" ausrüstet was er braucht um zu sagen was zu sagen ist: die Gefährlichkeit der Literatur in Iran, mit Iran und um Iran. "So gefährdet fühlen wir uns... so fühlen wir uns stets gefährdet..." sagt der Autor über sein Buch.

In "Deepthroat Kissing" präsentiert der Deutsch-Iranische Poet und Übersetzer, Sam Vaseghi, eine einzigartig seltene Sammlung moderner Poesie aus dem Iran. Die Anthologie umfasst über zwanzig Gedichte von über achtzehn Dichtern, meisterhaft übertragen ins Deutsche. Eine poetische Auswahl von extremer Ästhetik, reich in Sprache und Bild; zugleich eine literarische Rebellion mit kraftvollem lyrischen Impuls. "Eine literarisch exotische Expedition, schön und schockierend zugleich, sollte es werden", sagt der Übersetzer. ich bin stärker als die Schere wenn die Katzen sich bewegen ich spüre ein wichtigeres Bedürfnis fürs Fühlen, für die Hand, für die Haut, fürs Schreiben ich nehme die Quadrate und lege sie frei in der Luft um sicher zu gehen dass nichts mich bedeckt. - Pegâh Àhmàdi

Esta edición, a cargo de Sam Vaseghi, incluye los libros de poemas editados en vida de la autora.Antonio Machado Ruiz (1875-1939) fue un poeta español, el más joven representante de la generación del 98. Su obra inicial, de corte modernista (como la de su hermano Manuel), evolucionó hacia un intimismo simbolista con rasgos románticos, que maduró en una poesía de compromiso humano, de una parte, y de contemplación casi taoísta de la existencia, por otra; una síntesis que en la voz de Machado se hace eco de la sabiduría popular más ancestral. Dicho en palabras de Gerardo Diego, hablaba en verso y vivía en poesía. Fue uno de los alumnos distinguidos de la Institución Libre de Enseñanza (ILE), con cuyos idearios estuvo siempre comprometido. Murió en el exilio en la agonía de la Segunda República Española.ÍNDICE:PRIMERAS POESÍASSOLEDADESDEL CAMINOCANCIONESHUMORISMOS, FANTASÍAS, APUNTESGALERÍASVARIACAMPOS DE CASTILLAELOGIOSNUEVAS CANCIONESDE UN CANCIONERO APÓCRIFOCANCIONERO APÓCRIFOLOS COMPLEMENTARIOSLA GUERRASONETOS ESCRITOS EN UNANOCHE DE BOMBARDE

"Winner of the Greece's Eyelands International Poetry Book Award"When a visiting artist at the American Academy in Rome, Neal Hall was stopped at gunpoint by a member of the Italian special forces. His offense: being black while walking about in an affluent white district. The soldier profiled him as an illegal African alien. By chance, the colorcoded indignity fell on the Ides of March, the day Caesar was assassinated. This coincidence inspired Hall to take a deep dive into Shakespeare's Julius Caesar. Thought the first of its kind, the hybrid poetic narratives emerging from this exploration interweave Shakespearean tools with those of Hall's own craft and speak in direct, powerful new ways to universal contemporary issues of freedom and equality. The poems, by providing new prisms through which to view today's power constructs, challenge the reader to recognize the coded and decoded socio-political-economic struggles of marginalized people today and to question for whom liberty's bell truly tolls.

"Is this Heaven's cloud I sleep on is why my eyes see only white hazy shadowsAre you saints floating here?Stop your flight, fair silent beings!Come closer so that I might know your strange faces!"The customized Cessna jet aircraft Sheila Stoffel is piloting experiences technical meltdown and crashes into rocky terrain mere miles from her hometown of Soleil. Horrifically injured beyond recognizable, Sheila is airlifted to the hospital where a team of specialists gather led by reconstructive surgeon, Christophe Thomas, MD.Sheila wakens in ICU mechanically ventilated and immobile swathed in plaster casts trying to make sense of her surroundings, physical condition and state of mind as she tries to associate words spoken in conversations between the faces passing over her across the only horizon she sees; the ceiling.Four former high school friends are reunited in an event none of them could possibly have planned.The Canadian-born author was raised without television and educated back and forth across the provinces between Vancouver and Toronto in one-room school-houses and the largest city campuses by an educator-mother possessed with a wanderlust spirit. Jeanette Skirvin, BSc. RDH (Loma Linda University School of Dentistry) resides by the seaside in California.

Police are called to a dark home when neighbors spot an abandoned naked child banging his fists against the windowpane during a thunderstorm's lightning flash. The child known simply as Rollins by way of the police report is delivered to the stone fortress that is Holy Father's House of Lambs Found where he is settled into the shelter of young Sister Elizabeth's arms. The chief of police tries to reassure Monsignor Philippe the child's stay is only for the night until its parents are found and charged with child endangerment but Monsignor knows that closer to the truth is Rollins' stay will be far longer as he grows behind the walls among the orphans and salvaged abused discards until he comes of an age and is turned out...The Canadian-born author was raised without television and educated back and forth across the provinces between Vancouver and Toronto in tiny one-room schoolhouses and the largest city campuses by an educator-mother possessed with a wanderlust spirit. Jeanette Skirvin, BSc. RDH (Loma Linda University School of Dentistry) resides by the seaside in California.

Christophe's eyes behold whiteness everywhere he looks.Snowflakes falling from a white sky drift into brilliant banks covering lawn and field. Forest floors and mountain peaks slumber beneath snow deep as an eiderdown quilt. Rooftops silently uphold white bunting like royal heads bearing ermine-trimmed crowns. Smoky puffs escaping hearths' inferno billow through chimneys to find swift relief in snowfall's embrace. Frozen sidewalks winding onward escort streets lying-in-state wear their own shades of white. Even chevron tracks left by cars' winter tires differentiate contrasting high and low depths imprinted on roadways' snowy luster leaving behind impressions resembling long sterling silver chain-link necklaces winding through the frosty-white neighborhood that is Soleil.The horizon is probably white too, if I could only see it!Worldly bachelor, Hermes Thomas and his nephew, Christophe, orphan son of his brother and Madeleine (Hermes' secret obsession) are brought to vibrant new light by way of scintillating girl, Sheila whose gentle actions ravel the quiet side of Healing.The Canadian-born author was raised without television and educated across the provinces between Vancouver and Toronto in one-room schoolhouses and largest city campuses by an educator-mother possessed with a wanderlust spirit. Jeanette Skirvin, BSc. RDH resides by the seaside in California.By the same author, published by Elementá "Jaguar Ravenz King" and "Rollins of Stone House"

Winner of the Canada Book AwardsThe year is 1957. Though they were from a wealthy and well-respected family, Najma’s parents decided to marry off her sister at the age of nine. While crying for her and pitying her, Najma knew little that she would be next. Six years later, eleven-year-old Najma is resentful and unforgiving because her parents married her off at age 11. But the harshest moment of her life is when she inadvertently shapes a similar destiny for her daughter Jaleh.Being a child bride, Najma suffers through all forms of abuse before she can convince her violent husband that she deserves better and would continue her education regardless of his beating. But life the way she knows it changes forever when a revolution happens and an Islamic group takes control of the Iranian government in 1979. Mass arrests and execution of the opposition frightens Najma and her husband who have to make a decision to save her ‘too-curious’ daughter from a brutal government. Climbing Over Grit follows the odyssey of Najma’s family winding through the dangerous Bousher-Shiraz roads, during the eight-year war with Iraq, recounting the story of a family that has to pay a huge price for having made a mistake while trying to protect a loved one.

Den Lilla Svarta Fisken blev ursprungligen publicerad 1968 och skriven som en metafor för en nation där det var farligt att våga vara politiskt annorlunda. Boken var förbjuden i Iran fram till revolutionen.Enkelheten i en ’barnbok’ om en fisk som vågar beblanda sig med andra sorters varelser och andra sätt att leva, erbjuder en användbar diskussion för alla åldrar om de stora frågorna i hjärtat av politisk debatt.Samtidigt kan yngre läsare engagera sig med Lilla Svarta Fiskens individuella upplevelse. Skulle de våga gå emot vad deras beskyddande mor sa åt dem? Kan det någonsin vara en bra idé? Farorna är tydliga i denna berättelse, men det är även belöningarna. Kan de föreställa sig hur det var för Lilla Svarta Fisken att se nya varelser och platser för första gången? Att bli attackerad och att få nya vänner?Det här är en berättelse som kan tolkas som drama och dans, skrift och konst.

Widely regarded as Sadegh Hedayat's masterpiece, the Blind Owl is the most important work of literature to come out of Iran in the past century. On the surface this work seems to be a tale of doomed love, but with the turning of each page basic facts become obscure and the reader soon realizes this book is much more than a love story. Although the Blind Owl has been compared to the works of the Kafka, Rilke and Poe, this work defies categorization. Lescot's French translation made the Blind Owl world-famous, while D.P. Costello's English translation made it largely accessible. Sadly, this work has yet to find its way into the English pantheon of Classics. This 75th anniversary edition, translated by award-winning writer Naveed Noori and published in conjunction with the Hedayat Foundation, aims to change this and is notable for a number of firsts: *The only translation endorsed by the Sadegh Hedayat Foundation *The first translation to use the definitive Bombay edition (Hedayat's handwritten text) *The only available English translation by a native Persian and English speaker *The preface includes a detailed textual analysis of the Blind Owl Finally, by largely preserving the spirit as well as the structure of Hedayat's writing, this edition brings the English reader into the world of the Hedayat's Blind Owl as never before. Extensive footnotes (explaining Persian words, phrases, and customs ignored in previous translations) provide deeper understanding of this work for both the causal reader and the serious student of literature..."..There are indeed marked differences between Costello's and Noori's translations. As Noori indicates, his attempt to preserve the overabundance of dashes gives the reader a more immediate sense of the narrator's agitation...The first sentence flows on in Noori's translation, piling sensation upon sensation never allowing us to pause and catch our breath or separate out the images from the sensations. In his discussion of the relationship between his translation and Costello's, Noori also draws on translation theory and sees Costello's focus on the fluidity of the text in English as a "domestication" of Hedayat's original. Noori's new English translation and his preface are a welcome addition and will no doubt draw the attention of scholars interested in Hedayat's works. The close textual and comparative analysis of the type Noori offers marks a new and long-overdue critical approach to the translation of the most celebrated work of modern Persian prose." -Professor Nasrin Rahimieh in Middle Eastern Literatures