Author: Arash Zeini

  • Two Memoirs

    I am reposting this from Bibliographia Iranica.

    Iranian Studies, the subject matter of this bibliographic blog, is not an easily defined field. It seems to me that we often mean the study of Zoroastrianism or ancient Iran, when we post about Iranian Studies. But even if we limit the scope of our work to what we might intellectually call the study of pre-Islamic Iran—due to the historical break in the transmission of Iranian religions—a workable definition still eludes us, as a vast number of pre-Islamic Iranian texts and concepts are only known to us through their Islamic garb. It becomes even more complex to define the field of our activities when we include neighbouring fields. I am painfully aware that it becomes still more complicated, if we consider publications that fall slightly outside of the academic genre. However, my approach was from the start a pragmatic one, as I wanted to be able to continue our work for as long as we could and without too much pressure. I know that we often miss publications by our colleagues from neighbouring disciplines; so, here I want to address one shortcoming that is close to my own interests and heart: two memoirs by eminent scholars of the other late antiquity (bold and provocative claim). One by the well-known Peter Brown (Princeton University), whom I have not had the pleasure to meet, and one by the equally well-known and wonderful Averil Cameron (University of Oxford), whom I have.

    Brown, Peter. 2023. Journeys of the mind: A life in history. Princeton: Princeton University Press.

    The end of the ancient world was long regarded by historians as a time of decadence, decline, and fall. In his career-long engagement with this era, the widely acclaimed and pathbreaking historian Peter Brown has shown, however, that the “neglected half-millennium” now known as late antiquity was in fact crucial to the development of modern Europe and the Middle East. In Journeys of the Mind, Brown recounts his life and work, describing his efforts to recapture the spirit of an age. As he and other scholars opened up the history of the classical world in its last centuries to the wider world of Eurasia and northern Africa, they discovered previously overlooked areas of religious and cultural creativity as well as foundational institution-building. A respect for diversity and outreach to the non-European world, relatively recent concerns in other fields, have been a matter of course for decades among the leading scholars of late antiquity.

    Overview

    Cameron, Averil. 2024. Transitions: A historian’s memoir (Studi e Testi Tardoantichi 25). Turnhout: Brepols Publishers.

    The transitions of the title are those in the life and intellectual development of one of the leading historians of late antiquity and Byzantium. Averil Cameron recounts her working-class origins in North Staffordshire and how she came to read Classics at Oxford and start her research at Glasgow University before moving to London and teaching at King’s College London. Later she was the head of Keble College Oxford at a time of change in the University and its colleges. She played a leading role in projects and organisations even as the flow of books and articles continued, in an array of publications that have been fundamental in shaping the disciplines of late antiquity and Byzantine studies in the twentieth and twenty-first centuries.

    Summary
  • Hölderlin

    Wer bloß an meiner Pflanze riecht, der kennt sie nicht, und wer sie pflückt, bloß, um daran zu lernen, kennt sie auch nicht.

  • ‘Aliss at the Fire’

    In November 2023, shortly after Jon Fosse had been awarded the Nobel Prize in Literature, I read A Shining, a 48-page story. I expected a contemplative experience, but found the repetitive language lifeless and without character. It tested my patience, and the religiosity on display felt crude, irrelevant and simplistic. The 48 pages turned out to be a very slow read, but that was just the beginning.

    An image of 'A Shining' a book by Jon Fosse.

    I had started noticing Fosse’s work before he was awarded the prestigious prize, mainly by reading reviews. Intrigued by commentary on Septology and its radical departure from the norms of punctuation, I put together a small collection and was eager to get started on his work. I began by reading A Shining. It left me stunned and dazed. I needed a pause and turned to other books. In September of this year, I felt I should read Aliss at the Fire, as I was keen to explore more of Fosse’s work. The 74-page length suggested I could finish it in a weekend. It took me nearly three, and I struggled through the book.

    Compared to A Shining, Aliss at the Fire has something akin to a storyline. The former has a very simple story: a man drives aimlessly until his car gets stuck at the end of a forest road. He gets out, walks into the dark forest, is lost and has a vision. The latter tells the story of a family, and their pain and losses across generations. Their ‘old house’, the fjord, the darkness, the cold and the rain are as present as the characters, in what, as in A Shining, is a non-story. But do not let reviews tell you that the writing is meditative, reflective, or some other fancy way of storytelling. The writing is excessively repetitive and unimaginative. A passage should illustrate my point:

    and as though he was carrying Asle to his baptism Kristoffer goes into the old house where they live and Brita stays standing and then Brita runs her hand through her hair so that it falls back from her forehead and her face is there like an empty sky and then Brita goes home into the old house, where she lives herself, into the old house where she has lived with him for years and years now, into her house, Brita goes into the house that became her own house, she thinks, she is going in to where she is, in her strange clothes and with her long thick black hair Brita is going into her house, into the old house that’s hers and his, she thinks, and so, if someone else has gone into her house, if someone else lives in the old house, then she herself probably can’t go in? if it’s not her house any more? and so can she go inside it?

    Aliss at the Fire, p. 60
    An image of the book 'Aliss at the Fire' by Jon Fosse.

    I understand that the writing aims at an effect, that it reflects the mood and that it can be analysed. At times it adds intensity and immediacy, allowing the reader to become part of the scene and the experience. But when executed mechanically over 74 pages, with themes repeated over and over again, it left me numb, angry and disillusioned. Fosse does not seem to develop stories he wants to tell. In a video on the Booker Prize website, Fosse says:

    The writing itself is that which inspires me. I don’t get inspired by this or that outside of writing. When I’m writing, I concentrate completely, more or less, on what I’m working on. One page takes the next in a flow. If I get into that kind of flow, it writes itself more or less.

    Jon Fosse in a video.

    Fosse writes out the interior of his characters, hoping the reader will become involved and take part in their emotions. The devices he uses are not the common literary devices of narration, suspense, and omniscience. He wants us to be participants in the inner lives of his characters. Therefore, Fosse writes, if this were possible, not as an author, but acts as one of the characters—someone present at the scene, relating to the suffering. Fosse tries to grant the reader the power of insight and hallucinatory vision, just like each character in Aliss at the Fire witnesses the pain and story of the past inhabitants of the ‘old house’ in real visions. I feel the pain of the characters—the boredom, the ageing and the bleakness of their lives. But Fosse’s language is uninspired, uninspiring, dull and cold. I know what you are thinking: this is Fosse’s aim—mission accomplished. As admirable as this might be as a literary endeavour, it fails to capture my attention. If Aliss at the Fire were a book compiled from the diaries of a real-life Asle, Signe, Aliss, Brita, Kristoffer, and the other Asle, it might have been a great read. The author, or the storyteller, are, in my view, absent in Aliss at the Fire. I recognise that this might be Fosse’s definition of a literary author, but that is not enough to encourage me to read more of his work. I say this for a reason: an author is present in these books. Crude as it may feel, someone is compiling these stories, adding the symbolism of the shining light or the fire to the narrative, making connections, and taking us—or attempting to take us—towards an ending, which is my biggest issue with the book under review.

    On the final page, one of the female characters—by this point I had given up identifying which one, but presumably it is Signe—seems to lie down to masturbate and sees some of the other characters in the ‘old house’. I am unsure whether she continues to masturbate while watching the others in a vision, or if she stops. The book ends a couple of paragraphs later:

    and she looks at him and then she looks away from him into the emptiness and then she lays both her hands on her stomach and she folds her hands and I hear Signe say
    Dear Jesus, help me, you have to help me, you

    Aliss at the Fire, p. 74

    I will not try to analyse and understand the last page of the book. Suffice it to say that I find it in poor taste.

    I understand why Fosse has been awarded various prizes, and why he is important to the literary scene. It is encouraging to see alternative manners of writing published and recognised. However, I perceive Fosse’s writing, insofar as I have read it, mostly as a kind of lazy writing, one where the author hopes that the reader might experience the same things as the characters, or maybe as the author!

  • Book Pahlavi typeface

    Amir Mahdi Moslehi speaks to Khatt Chronicles about designing Iranian typefaces, including a font for Middle Persian, on which I had the pleasure of advising him.

    If you listen to the conversation, I am happy to announce that we seem to be really close to an encoding of Pahlavi in Unicode, mostly due to the work of people like Roozbeh Pournader and Anshuman Pandey.

  • Non-Mainstream Religion in the Middle East

    This forthcoming series published by Brill, entitled ‘Non-Mainstream Religion in the Middle East’, is great news. It’s about time we have more studies on contemporary, lived and living religions.

    The peer-reviewed series Non-Mainstream Religion in the Middle East aims to bring out scholarly monographs, handbooks, and edited volumes on historical, social, comparative, textual, and cultural aspects of the study of groups that are often described as “religious minorities,” in and from the Middle East. The term “non-mainstream” is intended to cover both non-orthodox, self-confessed Muslim traditions (e.g. Ismaili groups from Syria to Tajikistan, Syrian Alawites, and Shiʿite groups in Afghanistan; the Rawshaniya movement among Pashtuns); those whose status as Islamic groups is disputed either by themselves or by the outside world (such as the Yaresan or Ahl-e Ḥaqq of Iran and Iraq, and the Alevis from Turkey); and those who live in mainly Islamic societies without belonging to the mainstream by any definition (e.g. Zoroastrians, Yezidis, Druzes, Mandaeans, Jews outside Israel, and Christian minorities). The diaspora communities of the traditions in question, as well as critical editions and translations of their religious texts, are intended to be part of the remit of the Series.

  • TISS-Parzor Academic Programme

    ‘Parzor is delighted to announce its long awaited TISS-Parzor Online Academic Programme on Culture & Heritage Studies’. As part of this programme, you can ‘learn, gain credits, explore exciting issues of environment and sociology, craft, art, literature, theatre, cuisine as well as business and philanthropy’.

    For admissions and programme details, visit the TISS Website.

  • Yoko Tawada and Paul Celan

    Susan Bernofsky’s (@translationista) biography of Robert Walser, ‘Clairvoyant of the Small’, is a true masterpiece. She has also translated Yoko Tawada’s Celan-based novel into English: ‘Paul Celan und der chinesische Engel’. Listen to her talk about her work.

    Susan Bernofsky on Yoko Tawada and Paul Celan
  • Philosophie der Arbeit

    Die Debatte um „Die Zukunft der Arbeit“ ist ein guter Anlass dieses wunderbare Bändchen, „Philosophie der Arbeit“, herausgegeben von Suhrkamp Verlag noch einmal ins Visier zu nehmen, vor allem die Beiträge über den Müßiggang. Es seien erwähnt „Das Recht auf Faulheit“ von Paul Lafargue, oder „Lob des Müßiggangs“ von Bertrand Russell.

  • Beauty of languages

    I suggest German, not necessarily as a language of poetry, although it does well there too, but as a language of extraordinarily poetic prose. Yes. Nietzsche and Walter Benjamin are two general favourites, of course, and here a couple of epigraphs from Benjamin’s writings:

    Bedenkt das Dunkel und die große Kälte
    In diesem Tale, das von Jammer schallt.

    Bertolt Brecht, Die Dreigroschenoper

    Mein Flügel ist zum Schwung bereit
    ich kehrte gern zurück
    denn blieb’ ich auch lebendige Zeit
    ich hätte wenig Glück.

    Gershom Scholem, Gruß von Angelus

    I’ve the 20 vol. of Kraus’s collected writings just because of this one:

    … und den Geräuschen des Tages zu lauschen, als wären es die Akkorde der Ewigkeit.

    -Karl Kraus-

    And I submit the roughly 600 pages of Paul Celan‘s poetry as evidence for German as beautiful language for poetry. Here one example:

    Wie sich die Zeit verzweigt,
    das weiß die Welt nicht mehr.
    Wo sie den Sommer geigt,
    vereist ein Meer.

    Woraus die Herzen sind,
    weiß die Vergessenheit.
    In Truhe, Schrein und Spind
    wächst wahr die Zeit.

    Sie wirkt ein schönes Wort
    von großer Kümmernis.
    An dem und jenem Ort
    ists dir gewiß.

    Paul Celan
  • Mohsen Zakeri (1954-2024)

    آخرین بار در بوخوم دیدمش. با اینکه ناخوش بود، لطف کرد و اومد برای سخنرانی‌ام. بعدش هم برای پروژه کتاب بعدیش پیشنهاد همکاری داد. حیف که دیگر فرصت گفت‌وگویی نخواهیم داشت. دانشمند قهاری بود و دانش زیادی داشت که خیلی زود با خودش برد. جایش خالی خواهد بود.

  • گیلاس و انجیر

    دو هفته پیش پسر همسایه اجازه گرفت و چند تا گیلاس از درخت ما چید. امروز برام گوجه آورد که از پارک کنده بود.‌ قرار شد وقتی انجیرهای درخت ما رسیدند دوباره با نردبونش برگرده.

  • Stray Dog

    I love dogs and often meditate on this photo. Something in those eyes, in the captured moment that seems so human. This one is the embodiment of the rōnin, but not because this is a Japanese stray. It’s in the eyes, in that gaze. It encapsulates survival, suffering, pain, courage and compassion all at the same time. Daidō Moriyama is a master.

  • Im Dickicht der Zeichen

    Mir scheint es, die Zeiten haben sich geändert. In ihrem Buch, ‘Im Dickicht der Zeichen’, beschreibt Aleida Assmann ihr Studium in den 60er Jahren:

    1966 war das Jahr, in dem ich Abitur gemacht habe und mein Studium begann. Die Studienjahre in Heidelberg und Tübingen fielen in die bewegte Zeit der K-Gruppen und Vollversammlungen, der Marx-Lektüre in kleinen Gruppen sowie der Protestaktionen, Transparente und Demonstrationen auf Straßen und öffentlichen Plätzen. Man rebellierte gegen den Staat, den man als faschistisch erkannte, und demaskierte die braunen Biographien der Eltern und Professoren.

    Im Dickicht der Zeichen
  • The Sūdgar Nask

    Last month, we celebrated the publication of Yuhan’s books at a launch event at Wolfson College (@WolfsonCollege), wonderfully organised and convened by Christian Sahner (@ccsahner). I really enjoyed doing this with Elizabeth Tucker and Christian. It seemed to us that Yuhan enjoyed it, which is perhaps the main point.

  • »Zur Kritik der Gewalt«

    Die Aufgabe einer Kritik der Gewalt läßt sich als die Darstellung ihres Verhältnisses zu Recht und Gerechtigkeit umschreiben.

    Walter Benjamin