Reading Lolita in Tehran
Reading Lolita in Tehran
Contents
Plot
The book consists of a memoir of the author's experiences about returning to Iran during the revolution (1978–1981) and living under the Islamic Republic of Iran government until her departure in 1997. It narrates her teaching at the University of Tehran after 1979, her refusal to submit to the rule to wear the veil and her subsequent expulsion from the University, life during the Iran–Iraq War, her return to teaching at the University of Allameh Tabatabei (1981), her resignation (1987), the formation of her book club (1995–97), and her decision to emigrate. Events are interlaced with the stories of book club members consisting of seven of her female students who met weekly at Nafisi's house to discuss works of Western literature,[2] including the controversial Lolita, and the texts are interpreted through the books they read.Structure
The book is divided into four sections: "Lolita", "Gatsby", "James", and "Austen"."Lolita" deals with Nafisi as she resigns from The University of Allameh Tabatabei and starts her private literature class with students Mahshid, Yassi, Mitra, Nassrin, Azin, Sanaz and Manna. They talk not just about Lolita, but One Thousand and One Nights and Invitation to a Beheading. The main themes are oppression, jailers as revolutionary guards try to assert their authority through certain events such as a vacation gone awry and a runaway convict.
"Gatsby" is set about eleven years before "Lolita" just as the Iranian revolution starts. The reader learns how some Iranians' dreams, including the author's, became shattered through the government's imposition of new rules. Nafisi's student Mr. Nyazi puts the novel on trial, claiming that it condones adultery. Chronologically this is the first part of Nafisi's story. The Great Gatsby and Mike Gold's works are discussed in this part. The reader meets Nassrin.
Nafisi states that the Gatsby chapter is about the American dream, the Iranian dream of revolution and the way it was shattered for her; the James chapter is about uncertainty and the way totalitarian mindsets hate uncertainty; and Austen is about the choice of women, a woman at the center of the novel saying no to the authority of her parents, society, and welcoming a life of dire poverty in order to make her own choice.
"James" takes place right after "Gatsby", when the Iran–Iraq War begins and Nafisi is expelled from the University of Tehran along with a few other professors. The veil becomes mandatory and she states that the government wants to control the liberal-minded professors. Nafisi meets the man she calls her "magician", seemingly a literary academician who had retired from public life at the time of the revolution. Daisy Miller and Washington Square are the main texts. Nassrin reappears after spending several years in prison.
"Austen" succeeds "Lolita" as Nafisi plans to leave Iran and the girls discuss the issue of marriages, men and sex. The only real flashback (not counting historical background) is into how the girls and Nafisi toyed with the idea of creating a Dear Jane society. While Azin deals with an abusive husband and Nassrin plans to leave for England, Nafisi's magician reminds her not to blame all of her problems on the Islamic Republic. Pride and Prejudice, while the main focus, is used more to reinforce themes about blindness and empathy.
Throughout the whole novel Nafisi tackles the question of what is a hero and a villain in literature. Each independent section of the book examines notions of heroism and villainy by connecting characters from books such as Invitation to a Beheading or The Great Gatsby to others. The basis of her definition of heroism and villainy is the connection between characters who are "blind to other's problems" [3] such as Humbert Humbert in Lolita and characters who can empathize. This theme is intertwined with that of oppression and blindness.
Title
The title refers to Vladimir Nabokov's novel, Lolita, a story about a middle aged man who has a sexual relationship with a 12-year-old pubescent girl. The book Lolita is used by the author as a metaphor for life in the Islamic Republic of Iran. Although the book states that the metaphor is not allegorical (p. 35) Nafisi does want to draw parallels between "victim and jailer" (p. 37). The author implies that, like the principal character in Lolita, the regime in Iran imposes their "dream upon our reality, turning us into his figments of imagination."[4] In both cases, the protagonist commits the "crime of solipsizing another person's life."[4]
Ferdowsi Statue in Front of Literature Faculty, University of Tehran
Background
Nafisi's account flashes back to the early days of the revolution, when she first started teaching at the University of Tehran amid the swirl of protests and demonstrations. In 1980, Nafisi claims she was dismissed from the University of Tehran for refusing to wear a veil; she subsequently pursued an independent writing career, bore two children, and, after a long hiatus from teaching, took a full-time job at Allameh Tabatabaii University where she resumed the teaching of fiction.[5]The book also discusses issues concerning the politics of Iran during and after the Iranian revolution, the Iran–Iraq War, and the Iranian people in general. In one instance, for example, Nafisi's students ridicule Iranian soldiers who served and died during Iran–Iraq War. She writes: "[The students] were making fun of the dead student and laughing. They joked that his death was a marriage made in heaven – didn't he and his comrades say that their only beloved was God?"
Nafisi also describes how her freedom was restricted and why she had to leave Tehran University in 1981: "I told her I did not want to wear the veil in the classroom. Did I not wear the veil, she asked, when ever I went out? Did I not wear it in the grocery store and walking down the street? It seemed I constantly had to remind people that the university was not a grocery store." Later making a compromise and accepting the veil, Nafisi came back to academia and resumed her career in Iranian universities until 1995.[5]
The issue of the headscarf in Iranian society is a running theme in the book.[6] In Nafisi's words: "My constant obsession with the veil had made me buy a very wide black robe with kimonolike sleeves, wide and long. I had gotten to the habit of withdrawing my hands into the sleeves and pretending that I had no hands." Ayatollah Khomeini decreed Iranian women must follow the Islamic dress code on March 7, 1979. In Nafisi's view, the headscarf was the icon of oppression in the aftermath of the revolution.[citation needed] In referring to Khomeini's funeral, she writes that "[t]he day women did not wear the scarf in public would be the real day of his death and the end of his revolution." The Ayatollah Khomeini had established the new regime after a referendum on March 30 and 31, 1979, in which more than 98% of the Iranian people voted for the creation of the republic.[7] Before this revolution, Iranian women had not been obliged to wear a veil for almost 60 years;[8] contrarily, women who did wear headscarves had been banned from most universities and could not work as government employees.
Although Nafisi criticizes the Iranian government, she also calls for self-criticism. In her speech at the 2004 National Book Festival, she declared that "[i]t is wrong to put all the blame on the Islamic regime or ... on the Islamic fundamentalists. It is important to probe and see what ... you [did] wrong to create this situation."[9]
To The New York Times, Nafisi stated that "[p]eople from my country have said the book was successful because of a Zionist conspiracy and U.S. imperialism, and others have criticized me for washing our dirty laundry in front of the enemy."[10]
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