Monday, January 18, 2010
Rooftops of Tehran
Thursday, December 17, 2009
Your World
Wednesday, December 16, 2009
Rick Steves: Iran, Yesterday And Today
For Your Enjoyment
Tuesday, December 15, 2009
In Related News...
Corrective (?) Lenses
I'd like to take a moment to discuss something about the literature we've been reading. We're all here trying to get an idea of other cultures through literature. But I think we're facing a little bit of a wall. I have enjoyed almost all of what we have read and watched, I think that it is all valid and useful. I am glad to have read and seen all that I have.
I do, however, sometimes feel as if we are leaving out of our conversation voices that are even more underrepresented in our culture than those we have been reading. Indeed, voices which are underrepresented in their own cultures.
For instance, we read an excerpt from Fatemeh Keshavarz's Jasmine and Stars: Reading More Than Lolita in Tehran. We should remember that Keshavarz left Iran in 1979, before the Islamic leadership and laws began. She was educated in the West, she lives and works in the United States. She claims to be an average Iranian, but seems to be upper-middle class. Even just middle class puts her far above most people.
We read Marjane Satrapi's wonderful Persepolis. While the book is engaging, well written, and only talks about Satrapi's personal experience, much of it - her formative teenage years - occurs outside of Iran. Even the end of the book tells us that she will again leave her homeland and live abroad. Today she lives in Paris, France. Persepolis makes it clear that its author was raised in a relatively privileged way. Her parents had money (they can afford to send her to a French school, send her abroad, continuously bail her out of jail, they have a maid).
We never see the perspective of the poor or of those who agree with the Islamic government in Iran.
Rooftops of Tehran, by Mahbod Seraji, is another wonderful book. It takes place in the mid 1970s, when its author was indeed living in Iran. But Seraji was educated and has lived in the United States since 1976. He has since visited Iran, but has not lived there. His memories of the culture and people are decades along.
I would like to read something written in, say, the 1980s or 1990s by someone living in Iran. Fiction or nonfiction, I think the representation would be vastly different.
Likewise, both of the books I read for Iraq were written by U.S. authors. While the books were engaging, especially for high school students, the perspective is uniquely American. Sunrise Over Fallujah discussed its protagonist's feelings on the Iraqi people (that they're really just like Americans, that all people are really mostly the same: good and bad, loving and proud). But I didn't get any perspective of real Iraqi people. Nothing to tell me first hand what life in Iraq is like, how war affects families, what dinnertime is like.
My goal here is not to lampoon the work we've done and the books we've read. It's simply to ask us all to keep searching and always remember that our perspectives are shaped by the information we choose to take in. We have discussed how we are somewhat beholden to publishers and their translation choices. Remember that people in other countries know of us what their publishers choose to translate.
Oppression In The Time Of Freedom
Sunday, December 13, 2009
The Complete Persepolis
A Mouthful
Thursday, November 12, 2009
The White Castle
Wednesday, November 11, 2009
The Bus Driver Who Wanted To Be God
Time of Favor/Paradise Now
Beaufort
A Lake Beyond The Wind, by Yahya Yakhlif
Wednesday, November 4, 2009
Justice Richard Goldstone
The video (part I) is just over 21 minutes long. It's a two parter, and part II is available by link at the top of the page and by link just below part I.
At the beginning of the video, when Moyers is talking about all the things Goldstone has done, I thought of Etgar Keret's story "Good Intentions." I don't know any more about Justice Goldstone than is presented in the interview, but just the notion of a person spending all those years trying to find a way to even come remotely close to finding justice for such a number of atrocities makes me wonder how much weight he feels.
This is really a great interview. If you've got the time you should at least watch part of the interview.
Wednesday, October 14, 2009
The Goldstone Report
The Goldstone Report (it's 575 pages long).
A pro-Israeli response (also worth the read). A few of the arguments are made without proof or with flawed logic. One refers to the HRC Resolution and indicates that conclusions regarding crimes against humanity had already been made before Goldstone's information gathering mission even took place. This is a correct contention, but the Resolution talks about crimes going all the way back to 1967, ones that had already been documented; it calls for further investigation and a recommendation on how to handle the present issues. The site also questions the validity of having the crimes investigated by both Israelis and Palestinians. "How can Goldstone imply that Hamas or the Palestinian Authority operates a legal system that comes close to anything resembling that of a western democracy," the site asks. As if any other legal system is incapable of determining whether or not a crime has been committed.
Leaflets the above site mentions.
A Palestinian view about the leaflets and general situation they address.
Another perspective.
Tuesday, October 13, 2009
Power(less) Struggle
Rooftops of Tehran
Paradise Now
"With Guns In Their Hands And God On Their Side"
Sunrise Over Fallujah is Walter Dean Myers's 88th publication of 91 (one of which is a 12 book series, so that's really 102 publications). To see the entire list, use the link above, go to the "Bibliography" section, and click on the link on the bottom of that page. It's really impressive.
Thursday, October 1, 2009
Pride of Baghdad
For this week's (and next week's) presentation on Iraq, I've read Pride of Baghdad by Brian K. Vaughan.
This book is a beautifully illustrated graphic novel that you'll find in the adult section of the library. There's definitely some no-holds-barred violence (not just war, personal violence) and even sexual violence in the book. The novel itself is based on the true story of four lions who "escaped" the Baghdad Zoo (escaped death) during the Invasion (that's right, capital I, for the lions).
As the story progressed, I began to view each character as representative of the mindsets of people from specific moments in time.
Noor: the young lioness who craves freedom and is trying to strike a deal with the monkeys and the antelope to gain that freedom. She is suspicious of humans and sees herself as a prisoner. She has no real memory of freedom for comparison.
Safa: the old, partially blind lioness who remembers freedom as a time of violence. For her, the safety of the zoo and the fact that meals are provided outweigh a desire to run free.
Zill: the alpha male. He seems young, Noor's age. He barely remembers freedom, and while he longs to have it back, he doesn't hate the zoo. I don't see him as a terribly strong character, but he does "prove himself."
Ali: Noor's young cub. He was born in the zoo and is in awe of what is going on around him. He has a special affinity for Safa. Ali doesn't really understand the difference between free and not free.
I wish I had more background on the area to round out and provide more context for the way I view the characters (especially Safa's violent history and Noor's strong feeling of imprisonment (which I feel must allude to something more than that she's a lion in a zoo)).
The destruction of the zoo is both liberating and confusing for the lions. Safa would rather stay in the ruins than leave with the other three. Interestingly, when the four step outside the boundary of the zoo (yes, Safa leaves the bombed-out zoo) they are surprised to see that they'd been lied to. The zoo keepers had always said it was just desert for miles and miles, but the lions find a forest beyond the zoo's gates. I see this reflection in our perception of Iraq. We talk about the war being fought in a desert ("the sandbox") and see pictures of dirt roads and dust-covered bodies. Do we allow ourselves to have keepers?
Ali and Safa meet a turtle (my favorite character), who tries to explain to them what has happened. In doing so, he reminds us of Desert Storm and of oil. But the lions don't get it and the crabby turtle can't explain.
While I think the middle part of the book calls in some gender roles (perhaps unintentionally), it's the end that I find most telling. No, I won't ruin it (although that may happen in class). I just find the soldier's statement so open ended. Was he lying or delusional?
Two Women
Two Women was released in 1998 and was written and directed by Tahmineh Milani, who is also responsible for several other films. The movie takes place in the late 1970s and 1980s (a 13 year span is covered).
Two Women has several important characters:
At the film's outset we see Roya, a woman who owns an architecture firm with her husband. Roya is confident and has the respect of her workers. Her relationship with her husband is shown to be one of mutual respect, one that represents a partnership in life.
We then flash back to Roya's university days in Tehran. She meets a classmate named Fereshteh, who is very smart and tutors Roya. The two women become very good friends. While both women are independent (think for themselves, live alone, attend university, come and go as they please), we begin to see Fereshteh as the more bold of the friends. When something dangerous happens at the university she wants to stop and see what it is. When she is confronted by Hassan, her stalker, she goes up to him and yells at him even though she is scared and knows he is dangerous. She refuses to stay in her apartment and hide from Hassan.
This is where Milani's portrayal of men begins to play a larger role. Hassan follows Fereshteh everywhere she goes and gets on the bus with her multiple times. In Tehran, when Fereshteh and Roya (who are on the bus together) tell the driver they are being harassed, the driver and other men help them. The driver throws Hassan off the bus, calls him names, and tells him to leave the girls alone. As Fereshteh looks out the window, she sees Hassan holding a knife and looking at her. Hassan's terrorization of Fereshteh continues in Tehran until he disfigures her male cousin with acid. (See Marie's post for more details.)
In the hospital (after the acid), Fereshteh's uncle and father (brothers) are both present. Fereshteh's father blames her and says that she has dishonored her family. Fereshteh's uncle tries to tell his brother that it is not Fereshteh's fault and that she needs help and comfort. This exchange highlights how two different regions in Iran may be predisposed to thinking of women. These two brothers, presumably raised together, have different views. Fereshteh's uncle, living in Tehran, allows his son to be tutored by a woman and understands, even through his grief, that she is not to blame for the tragedy that befell his son. Fereshteh's father, who still lives in a small town, blames his daughter as if she threw the acid herself, he feels that she is directly responsible for this, that she has dishonored and embarrassed her family, and that she has had too much freedom and must come home.
Back home, Fereshteh is sad but feels safe. Until she uses a public phone and sees Hassan watching her. She gets in her car and a chase ensues in which a little boy dies. Fereshteh's father is again upset and blames her. At the trial, Hassan blames Fereshteh for everything he's being charged with (stalking, acid throwing, killing the little boy). He says it's all her fault because she didn't love him and she made him feel foolish for being in love with her, that he still loves her (you didn't miss anything, these two never date, he just sees her and wants her) and that she mocks him by denying him. He is sentenced to 13 years in prison. He says, as he being hauled away, that he'll find Fereshteh.
Fereshteh, too was on trial. A man named Ahmad paid her expenses in exchange for her hand in marriage (for more details see Marie's post on this). Though her family tried to guilt her into marriage, though she felt she owed Ahmad, Fereshteh chose to marry Ahmad. No one forced her to do so.
After their marriage, we see Ahmad become controlling and jealous of Fereshteh. He won't let anyone see her, he locks up the phone, he forbids her to leave the house, he will not allow her to go back to university. Fereshteh tries to deal with this at first, tries to reason with Ahmad. But the treatment escalates to the point that Fereshteh's father even gets upset with Ahmad, telling him "I gave you a wife, not a slave."
This is the beginning of the real development of Fereshteh's father. He is seeing first hand the psychological ramifications this marriage is having on his daughter. He is beginning to understand that there are things occurring around Fereshteh for which she is not responsible.
Fereshteh convinces her father to help her get a divorce, which is not granted. That he even agreed, though, shows monumental growth on the part of Fereshteh's father.
Years later, when Hassan gets out of prison, he finds Fereshteh. When she is fleeing Ahmad, Hassan catches up with her and she begs for death. Ahmad catches up to Fereshteh and tries to stop Hassan, then Hassan stabs Ahmad.
We are then brought back to a scene with Roya and her husband. Again, we see the loving, respectful couple. When Fereshteh questions how she'll live if Ahmad dies, it is Roya's husband who tells her "you'll live."
These male characters are all representations of stereotypes and of the progression of women's lives in Iran.
Hassan, the man who would have complete control, who would disfigure and kill a woman who disobeyed him, who is psychotic and obsessive.
Ahmad, the man who does not respect his wife, who needs control and is suspicious and wears away a woman's self esteem, tries to take away the freedom she had and wants back, but never physically abuses her.
Fereshteh's uncle, who shows progress from the old way of thinking (which he probably shared with his brother) to a more liberated view where smart, independent women are not intimidating and unnatural.
Fereshteh's father, who shows that a man can change. His character's progression toward a point of view that values Fereshteh from one that blames her shows that progress does not have to happen from generation to generation, it can occur within a person.
Roya's husband, who epitomizes what is lacking in the life of the repressed who have no recourse because laws are created to keep them "in their places": mutual respect, genuine love, no contest to independence, partnership.
Milani sets this movie in the late 1970s and 1980s for a very specific reason. Not only does Milani show that there many kinds of men in Iran, just as there here in the U.S. and around the world, she shows that there are men who do not treat women poorly just because laws allow them to. She shows that there is a progression taking place (Fereshteh's father, uncle, cousin, Roya's husband). If that progression was occurring in the 1970s and continued after the Islamic Revolution of 1979, what kind of men and relationships must there now exist in Iran?
While both main female characters are strong, independent, and smart, the point of Two Women is largely about showing Iranian men, the Iranian society, as something that is not barbaric and void of respect for women. By using characters like Hassan and Ahmad, Milani shows her awareness that some change is needed, that women are not treated as equals. She makes a stellar case against the mistreatment of women. But she also does a stellar job at devillainizing Iranian men by showing that they are not all like Hassan and Ahmad and that even those who share some characteristics with them can change.
Wednesday, September 30, 2009
The History Of Palestine
(Follow this link to the video if it doesn't work for you here.)
Orientalism
Wednesday, September 23, 2009
9/11
I've noticed on a handful of our blogs mention of 9/11. I was in my sophomore year of college when that event took place. As I read your blogs and notice that some of you were in middle school or high school in 2001, I am prompted to consider an issue relative to our studies and to my future: my future students don't really remember a time that is not post-9/11.
Students who are 16 now were only 8 in 2001. Eight. It's difficult for me to recognize that people who are only a few years younger than I am aren't really cognizant of the flux our culture went through, that they may not remember the kinds of propaganda (commercials, print ads) that immediately followed those attacks, that they probably won't remember the heated debates and in some instances outrage surrounding the Patriot Act (although that's likely to remain one of the most tangible aspects of a post-9/11 U.S. culture), that they may not have a clear memory of being blatantly lied to by their President and government repeatedly over a long period of time, that they won't recognize differences in airport security, that my context for middle Eastern stereotypes - having watched them burgeon - is different than theirs will be.
It seems almost surreal to me that I'll almost certainly find myself explaining my memories to my students to provide them with a context for current events and social outlook. I suppose I just hadn't realized how sizable a gap a few years can make. But I think it is important for all of us who are becoming teachers - elementary, secondary, post-secondary - to remember the importance of context.
Sometimes we view events with different eyes than our students do not because of how or where we were brought up, not because of our moral or political leanings, but because of our memories of recent events, our proximity to them, our ability to clearly recall the social and political atmospheres surrounding those events, and our ability to clearly recall how parts of our culture were affected - our ability to see the waves directly after events like 9/11 and the ripples today.