The Woman Who Read Too Much: A Novel, by Bahiyyih Nakhjavani
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The Woman Who Read Too Much: A Novel, by Bahiyyih Nakhjavani
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Gossip was rife in the capital about the poetess of Qazvin. Some claimed she had been arrested for masterminding the murder of the grand Mullah, her uncle. Others echoed her words, and passed her poems from hand to hand. Everyone spoke of her beauty, and her dazzling intelligence. But most alarming to the Shah and the court was how the poetess could read. As her warnings and predictions became prophecies fulfilled, about the assassination of the Shah, the hanging of the Mayor, and the murder of the Grand Vazir, many wondered whether she was not only reading history but writing it as well. Was she herself guilty of the crimes she was foretelling?Set in the world of the Qajar monarchs, mayors, ministers, and mullahs, this book explores the dangerous and at the same time luminous legacy left by a remarkable person. Bahiyyih Nakhjavani offers a gripping tale that is at once a compelling history of a pioneering woman, a story of nineteenth century Iran told from the street level up, and a work that is universally relevant to our times.
The Woman Who Read Too Much: A Novel, by Bahiyyih Nakhjavani- Amazon Sales Rank: #420447 in eBooks
- Published on: 2015-03-25
- Released on: 2015-03-25
- Format: Kindle eBook
Review "Nakhjavani's treatment of the historical figure is not so much to paint her as an eloquent proponent of the nascent faith but to apply her considerable narrative dexterity to an imaginative novel portraying the life and times of a woman with a strong voice in mid-nineteenth-century Iran who dared remove her veil in public and engage men in religious polemic. It is an engrossing story; to this day, Iranian society has not resolved publicly the social and political rights of women, nor has it clarified the status of religious and ethnic minorities."—Gayatri Devi, World Literature Today"'History is filled with screams that are best ignored,' Bahiyyih Nakhjavani writes in The Woman Who Read Too Much. Yet this mordant and seethingly intelligent story of palace intrigue in late 19th-century Persia echoes with the cries of the forgotten dead - and good luck ignoring them."—Sam Sacks, Wall Street Journal"Bahiyyih Nakhjavani's . . . visual storytelling is so enticing that it allows your imagination to shape, plot, and cast the narrative like episodes from a modern-day "House of Cards." . . . This book chronicles the haunting, rebellious lives of Qajar women . . . [and] reminds us all that whether Tudor, Qajar, or Clinton, behind every throne is a queen mother, wife, and sister who runs the show."—Davar Ardalan, Washington Independent Review"Bahiyyih Nakhjavani has chosen to construct, around the figure of Táhirih, a complex fragmented portrait that brings to literary life not only the remarkable personality of someone little known in the west, but also the convoluted Persia of the 19th century, treacherous and bloodthirsty . . . In a beautifully unobtrusive and graceful style, Nakhjavani succeeds in portraying these currents and countercurrents, and the many conflicting characters, in a narrative that is breathtaking in its scope and wonderfully illuminating. Above all, the figure of Táhirih . . . becomes one of the most powerfully convincing characters in recent historical fiction."—Alberto Manguel, The Guardian"Although set in the Victorian era, Nakhjavani's portrait is as contemporary as anything making headlines today, filled with issues ranging from women's subjugation and gender inequality to political violence and religious fundamentalism. Internationally acclaimed for her fiction and her nonfiction about religion and education, Nakjavani offers a philosophically complex yet lyrically wrought examination of the eternal struggle for women's rights."—Carol Haggas, Booklist"A mid-19th-century Persian poetess clashes against old-world gender expectations, religious orthodoxy, and politics in this exquisite tale, based on the actual life of poet and theologian Tahirih Qurratu'l-Ayn . . . Nakhjavani deftly transforms an incomplete history into legend. An ambitious effort produces an expertly crafted epic."—Kirkus ReviewsPraise for The Saddlebag and Paper:"Nakhjavani displays a love of storytelling almost for its own sake."—Literary Review"Nakhjavani's anachronistic style sets the novel apart from the bulk of contemporary literary fiction and adds immensely to its charm."—Publishers Weekly"Bahiyyih Nakhjavani is best—really very effective—when she writes of the sandstorms and delusions of our own imperfect Earth."—The Washington Post"Nakhjavani's language has a subtly wrought simplicity that serves to emphasize her themes, and her argument for the sanctity of the written word is tightly woven into a vivid tapestry of characters and situations."—Times Literary Supplement"Nakhjavani throws into her tale such a mixture of humor, exotic sensuousness and lofty omniscience that I was left spellbound like Scheherezade's sultan."—Tablet"Nakhjavani's rich, poetic narrative . . . is a delight to read and her words just dance across the page, dazzling even the casual reader . . . A remarkable first novel that expands like the overlapping petals of a flower."—The Big Issue "A first novel of astonishing power and originality . . . [T]his is both a thriller and a meditation on the ultimate goal of human existence and most of all it is a celebration of storytelling."—The Good Book Guide
About the Author Bahiyyih Nakhjavani grew up in Uganda, was educated in the United Kingdom and the United States, and now lives in France. She is the author of The Saddlebag and Paper as well as non-fiction works about fundamentalism and education. Her novels have been published in French, Italian, Spanish, German, Dutch, Greek, Turkish, Hebrew, Russian, and Korean. She was praised in the Times Literary Supplement as a "superb Persian novelist," and the French translation of The Woman Who Read Too Much was identified, in 2007, as "one of the best three books" of the year.
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10 of 10 people found the following review helpful. she laughed and said it was just like reading. If you only look at the word ... By W. Collins The reader will revel in the sea of eloquence in this lyrical historical novel of the reign of the Persian king Nasiri-d-Din Shah in the latter half of the nineteenth century. The central character is Tahirih Qurratu'l-'Ayn, the poetess of Qazvin. This important woman has become a sacred figure in the early history of the Bábí and Bahá'í religions, an icon of the women's movement, and a model for modern-day Iranians opposed to the clerical regime that now rules that country. In this novel, we learn about Tahirih vicariously through the thoughts and experiences of four women - the Mother, the Wife, the Sister, and the Daughter. Nakhjavani's methodology is to make her main characters into archetypes, without giving them their names. Thus Mahd-i-Ulya, the mother of the Nasiri'd-Din Shah, is simply called The Mother. The story itself moves effortlessly through time, punctuated at one end by the ill-fated attempt on the Shah's life in 1852 by a handful of misguided Bábís, and at the other end with his assassination in 1896 at the hands of a follower of one of the country's political factions. Standing at the center is the mythical figure of the poetess of Qazvin, whose prescient predictions of what was to befall the main characters plays out in the manner of a Greek tragedy: all is foreseen from the beginning, but the tragic figures move inexorably to the climax unaware of what the reader can see coming in the clear light of the words on the page. In a sense, the woman who read too much is symbolic of the struggle of women to be seen as human beings. Perhaps we are all women who read too much, because we know the fate of the characters at the same time that we read these words as though it were all new and we wait for the next turn of plot. One can taste, see, smell and feel the world Nakhjavani describes so artfully.One of the most striking passages early in the book is the description of Tahirih being taken as a prisoner to Tehran by armed escort:"After a while the soldiers swore that she could read the future as well as the most Holy book, for she saw writing scored across the desert landscape and seemed to sense the king's couriers coming towards them from distant horizons. She had a remarkable alacrity in anticipation."When they questioned her about it, she laughed and said it was just like reading. If you only look at the word that's under your noses, she answered, you'll never see the connection with what came before and what comes next. If you only see what's happening now, you'll never understand the link between yesterday and tomorrow. Let your eyes move with the wings of a bird across the page and you'll remember the future." (p. 35)Every letter, word, sentence and paragraph in this stunning novel is worth the price. Who does not want to remember the future?
7 of 7 people found the following review helpful. A Forever Book By Carson I had no premonition that opening the cover would be so impactful. Even after several segments, I was tempted to put this book aside because the disjointed plot is not easy to follow and the Persian culture requires attention. At one point I was flipping pages hoping for a chronology that would help me. I found the Chronology of Corpses but decided not to read it for fear it would reveal the plot. Before I read this incredible novel again (and I will), I will make an abbreviated list of the deceased so I can determine which is the Old King and which the Young Shah. I was actually angry with the author, but I very rarely give up on a book; and also, I stayed with the pages of small type because her narrative voice is breathtaking, lyrical, original, and delightful. I appreciate the poetic style, the spirituality, and the depiction of a strong, intelligent woman. This novel is polished, and the conclusion is satisfying. As with any book that one really cherishes, I have purchased this one in hardback. Should you be enticed to read it, I wish I had read the Afterward before I started the book. This is a forever book, a top selection from a woman who herself reads more than others think is practical.
2 of 2 people found the following review helpful. A book for the ages By EstherBradley-DeTally I exhale. What to say. Bahiyyih Nakhjavani's writings, to this reader, are beyond eloquence. The Woman Who Read Too Much caused me to stretch my literary parameters so as not to expect the linear, the clear narrative,an intensely personal voice, i.e., the language of my familiar. I didn't read the author's Afterward until the end of the book.I found her language stunning, and I adored the author's sharp, tart remarks, zingers like arrows finding their mark. I grappled with the impersonal tone, which was not impersonal on one level, as it was a highly intimate story of a noble being and a lightning bolt view of the darkness of life at the time of the Shah. People lived with madness permeating their lives. The tone is archetypal, and as I neared the ending of this novel, I realized the titles of The Mayor's Wife, the Mother of the Shah, the Poetess of Qazin worked in an organic way.Life during that time period was one of titles, and certainly required no note of the ordinary person. In the West, Wordsworth's view of poetry/prose is for or about the ordinary man, issuing a tone change in literature. Literature became democratized in Wordsworth's view; but not with the Woman Who Read Too Much. Reading this unique novel stretched me, the wondering reader, why the impersonal and why stick to reading this book?I wept at the end. I know of Tahireh. I wept at her ending, and the novel as a whole settled a white silence upon my soul. This is literature's effect.I am a writer, and down to earth, with sometimes pen on fire, and a rush of emotions and multisyllabic words. I am not the scholar whose words fit so exactly in place, bringing an astonished gasp to his reader. I am passionate about literature, good literature, and I am grateful to have read this book. It has an enduring quality.
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