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Reading Lolita in Tehran: A Memoir in Books

by

Reading Lolita in Tehran: A Memoir in Books Cover

 

 

Reading Group Guide

1. On her first day teaching at the University of Tehran, Azar Nafisi began class with some questions: “What should fiction accomplish? Why should anyone read at all?” What are your answers to these questions? How does fiction force us to question what we often take for granted?

2. Yassi adores playing with words, particularly with Nabokovs fanciful linguistic creation upsilamba (18). What does the word upsilamba mean to you?

3. In what ways had Ayatollah Khomeini “turned himself into a myth” for the people of Iran (246)? Discuss the recurrent theme of complicity in the book: the idea that the Ayatollah, the stern philosopher-king who limited freedoms and terrorized the innocent, “did to us what we allowed him to do” (28). To what extent are the supporters of a revolution responsible for its unintended results?

4. Compare attitudes toward the veil held by men, women and the government in the Islamic Republic of Iran. How was Nafisis grandmothers choice to wear the chador marred by the political significance it had gained (192)? Also, describe Mahshids conflicted feelings as a Muslim who already observed the veil but who nevertheless objected to its political enforcement.

5. In discussing the frame story of the murderous king in A Thousand and One Nights, Nafisi mentions three types of women who fell victim to his unreasonable rule (19). What is the relevance of this story for the women in Nafisis private class?

6. Explain what Nafisi means when she calls herself and her beliefs increasingly “irrelevant” in the Islamic Republic of Iran. Compare her way of dealing with this irrelevance to the self-imposed exile of the man she calls her “magician.” What can people who “lose their place in the world” do to survive, both physically and creatively?

7. During the Gatsby trial, Zarrin charges Mr. Nyazi with the inability to “distinguish fiction from reality” (128). How does Mr. Nyazis conflation of the fictional and the real compare to the actions of the blind censor, who retains the authority to suppress performances when he cannot even see? Discuss the role of censorship in both authoritarian and democratic governments. Can you think of instances in the United States when art was censored for its “dangerous” impact upon society?

8. Nafisi writes: “It was not until I had reached home that I realized the true meaning of exile” (145). How do her conceptions of home conflict with those of her husband, Bijan, who is reluctant to leave Tehran? Also, compare Mahshids feeling that she “owes” something to Tehran to Mitras and Nassrins desires for freedom and escape. Discuss how the changing and often discordant influences of memory, family, safety, freedom, opportunity and duty define our sense of home and belonging.

9. Fanatics like Mr. Ghomi, Mr. Nyazi and Mr. Bahri consistently surprised Nafisi by displaying absolute hatred for Western literature—a reaction she describes as a “venom uncalled for in relation to works of fiction” (195). What are their motivations? Do you, like Nafisi, think that people like Mr. Ghomi attack because they are afraid of what they dont understand? Why is ambiguity such a dangerous weapon to them?

10. The confiscation of ones life by another is the root of Humberts sin in Lolita. Discuss how Khomeini likewise acted as a “solipsizer,” robbing individuals of their identities to promote total allegiance. What does Nafisi mean when she says that Sanaz, Nassrin, Azin and the rest of her girls are part of a “generation with no past” (76)?

11. Nafisi teaches that the novel is a sensual experience of another world, that it appeals to the readers capacity for compassion. Do you agree that “empathy is at the heart of the novel”? How has this book affected your understanding of the impact of the novel?

12. Nafisis account of life in the Islamic Republic transcends national and geographical boundaries. Discuss how the experience of censorship, fundamentalism and human rights, as well as the enjoyment of works of imagination and the desire for individual freedoms, may be similar in totalitarian societies and in democracies such as ours.

Product Details

ISBN:
9780812979305
Author:
Nafisi, Azar
Publisher:
Random House Trade
Subject:
Ethnic Cultures - General
Subject:
Women
Subject:
Nafisi, Azar
Subject:
English teachers - Iran
Subject:
Biography-Ethnic Cultures
Subject:
Biography-Women
Subject:
memoir;iran;non-fiction;women;literature;islam;middle east;biography;autobiography;feminism;books about books;fiction;women s studies;censorship;politics;literary criticism;education;religion;tehran;culture;history;iranian;gender;21st century;english lite
Subject:
memoir;iran;non-fiction;women;literature;islam;middle east;biography;autobiography;feminism;books about books;fiction;women s studies;censorship;politics;literary criticism;education;religion;tehran;culture;history;iranian;gender;21st century;english lite
Subject:
memoir;iran;non-fiction;women;literature;islam;middle east;biography;autobiography;feminism;books about books;fiction;women s studies;censorship;politics;literary criticism;education;religion;tehran;culture;history;iranian;gender;21st century;english lite
Copyright:
Edition Description:
Trade paper
Publication Date:
20081131
Binding:
TRADE PAPER
Grade Level:
General/trade
Language:
English
Pages:
400
Dimensions:
8.24 x 5.63 x 1 in 0.9 lb

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Related Subjects

Biography » General
Biography » Women
Fiction and Poetry » Literature » A to Z
History and Social Science » Feminist Studies » World Feminism
History and Social Science » Gender Studies » Womens Studies
History and Social Science » Middle East » Women and Gender
History and Social Science » World History » Middle East
Humanities » Literary Criticism » General
Humanities » Philosophy » General

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