I am delighted and honoured to be the recipient of the inaugural AIS Book Prize for Ancient Iranian Studies for my book, Zoroastrian Scholasticism in Late Antiquity: The Pahlavi version of the Yasna Haptaŋhāiti. The prize was announced at the 13th Biennial Iranian Studies Conference, which took place in Salamanca, Spain. As I have said before, I am grateful to the Edinburgh University Press for their support, Prof. Lloyd Llewellyn-Jones, the series editor, for giving this book a home early on, and to all publishing staff for putting up with my XeLaTeX shenanigans so patiently. I look forward to my forthcoming projects with the EUP.
با کمال خوشحالی به اطلاع دوستان میرسانم که کتابم، با عنوان “اسکولاستیک زرتشتی در دوره پساباستان”، در سیزدهمین کنفرانس دوسالانهی ایران شناسی در سالامانکای اسپانیا موفق به دریافت اولین «جایزه کتاب AIS برای مطالعات ایران باستان» گردید. از حمایتهای انتشارات دانشگاه ادینبورگ و ویراستار محترم، پروفسور لوید لولین جونز برای پذیریش زودهنگام کتاب و دیگر همکاران انتشارات بهسبب تحمل شیطنتهای XeLaTeX من قدردانی می کنم و مشتاقانه منتظر پروژه های بعدی خود با EUP هستم.
This question is being discussed on Twitter, and I was tagged to respond. I honestly don’t know how to do it in a meaningful way on Twitter, as embedded responses are often lost and not seen. I stay away from sub-tweets and believe this topic is too hot to be touched on Twitter anyway :) Below is my simple view:
Reading ‘The Hobbit’ has not been as rewarding as I expected. I was hoping for an epic journey, one that I can read and reread, one that will make me restless, but it has not felt right. Maybe it’s an age thing.
Still, maybe it has had an effect, for I’ve been thinking about mountains again and feel a hiking trip coming up. I often pretend that I can find beauty in the ‘small things and every day deeds’ and thought I had found one here, on this very earth, but it turned out to be an illusion, nothing but a beautiful dream. In heights, where the air can be thin, we tend to hallucinate and imagine things. But for some reason those seem more meaningful than the delusions of the lowlands.
I have been thinking about leaving Twitter for a while now. Not for one, but for many reasons which are not important. I joined Twitter in 2013 and a couple of years later deleted my Facebook account. I have never regretted that decision and feel the time has come to make a soft exit on Twitter. My Twitter app has been under focus mode and timer restrictions, so called digital well-being, for a long time, so that I could reduce my interaction with the platform. I will not delete my account, but have now logged out of the app. I will continue to share the BiblioIranica posts on my profile and might share any post that I write here on my Twitter. But I will not engage with the timeline and will not read direct messages.
If you like to get in touch, please do so on e-mail. I love to hear from you, but social media are not really for me.
The paperback of my book is here! You can order a copy from the Edinburgh University Press. I am grateful to the series editor, Lloyd Llewellyn-Jones, for giving this book a home and to the editors at the EUP for guiding me through the publication process.
I list the reviews of my book here, and wrote for the EUP a blog about the content of the book and my approach which you can read here.
The debate about privilege and representing others in writing fascinates me. Who gets to be whose voice? How do you represent others and what role do publishers play in these debates? Does art need to node to the vagaries of social media? Can art provoke? If so, what are the limits, who defines them and what constitutes privilege and/or racism, othering etc? Following up on the Clanchy controversy, the Guardian has a nuanced piece discussing some of these questions.
The idea that writers who tackle difficult subjects cannot necessarily rely on their publishers’ backing in a storm clearly alarms some. One literary agent was approached recently by a white writer, asking if it was still acceptable to write a mixed-race character. “I said, ‘Yes, you’re a novelist – of course you can, but what you do have to prove is that you’ve done proper research, that you’re not just objectifying that character,’” she says. “That’s what fiction is for. It’s to do with looking through other people’s eyes.” But in nonfiction, she concedes, a more permanent shift may be under way. “Maybe we’ve too easily thought that we can tell anybody’s story without any deep understanding.”
Today we had Kristina Richardson, @krisrich, speak to us at the @invisible_east. She delivered a fascinating lecture based on her recent book, which has opened my eyes to a large set of theoretical questions to be asked in the study of ancient and late antique history of any geography.
<news>A first and hopefully usable draft of my #TEI template is finally ready! I have created this template for our @invisible_east corpus that will host a range of documents in Middle Persian, Bactrian, Sogdian, Khotanese, Arabic and New Persian.</news>
اولین پیشنویس الگو TEI که برای اسناد فارسی میانه، بلخی، سغدی، ختنی، فارس و عربی نوشتم، آماده شده. ببینیم کی سیستم دیجیتال رو میتونم راهاندازی کنم.
I’ve been thinking about writing a blog on Zoroastrianism in popular culture, keeping my eyes open for connections. But these days, as I follow the news, I feel I can constantly quote Jarmusch’s entire ‘The Dead Don’t Die’. Here is one dialogue from a scene when the characters try to make sense of the events and the impending apocalypse:
– It’s strange! – What can I say? The world is kinda strange lately. – Yeah, it sure is. You ask me, this whole thing is gonna end badly.