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45 pages 1 hour read

The Septembers Of Shiraz

Fiction | Novel | Adult | Published in 2007

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Themes

Iranian History

The novel’s setting is the Islamic Revolution in Iran in the 1980s, and the story of the Amins reflects that of many families in their situation. The downfall of the rich, extravagant, and decadent Shah and the takeover of the country by Islamic fundamentalists caused a huge change in society. Class hierarchy was overturned, and the wealthy were dispossessed and persecuted.

However, the novel often refers to other periods from Persia’s long and tumultuous history. Remembering the departure of the Shah, Isaac rues “the end of the Peacock Throne and the White Revolution—those gilded decades of cultural and economic reforms” (102). Isaac is lamenting the end of Persia as a monarchy: The Peacock Throne—literally a golden throne captured from India by the Persians in 1739—is a metonym for the Persian monarchy (in the same way the White House stands for the US President); while the White Revolution was the redistribution of wealth and the industrial growth launched by Mohamed Reza Pahlavi, the Shah of Iran, in 1963.

With his White Revolution, the Shah had tried to emulate the durability of ancient Persia, putting the famed diamond Daria-i-Noor in his crown as an ostentatious homage to two great Persian Emperors: “to Cyrus, the founder of the Persian Empire, and to Darius, whose magnificent city of Persepolis had once been the symbol of the greatest civilization” (103). The era these two rulers bookend, from 550 to 330 BC, marked one glorious period in the Persian Empire, then known for its cultural and artistic wealth, multiculturalism, and religious tolerance. The novel’s characters, who benefited from the monarchic system, admire this history: Isaac’s collects swords “from as far back as the time of Cyrus and as recently as the 1920s” (44), while Isaac’s sister, brother-in-law, and the antique dealer cling to art and other objects that link them to this past. In contrast, the Iranian Revolution seeks to destroy not only material comfort, but also the country’s history as a welcoming and tolerant society.

Material Wealth

A major theme of the novel is the loss of material wealth and all that it represents to its owners. The novel’s main characters are deeply connected to their material goods, though these connections have different valences, some more positive and others negative. Isaac has spent his life moving from poverty to wealth and position, and the gemstones he trades in are the symbol of his success. He has subjugated his family life and marriage to his business. Farnaz loves her souvenirs for their memories, their beauty, and the social status they convey. The antiques dealer acknowledges his passion for his objects: “I am a slave to my relics, you see” (215). Isaac’s sister Shahla is portrayed as shallow and greedy for her attachment to wealth, property, and title. When her husband Keyvan suggests leaving for Switzerland, she cannot fathom the idea of going empty-handed: “If we leave this country without taking care of our belongings, who in Geneva or Paris or Timbuktu will understand who we once were?” (56).

The novel considers what it means for a Jewish family to be materialistic, as their interest in wealth always skirts some of the worst anti-Semitic slurs and stereotypes. In prison, resorting to bigotry to win an argument, a fellow prisoner accuses Isaac of having “no beliefs. As long as you can buy your Italian shoes and your villas by the sea, you are happy” (100). As a guard ransacks Farnaz’s belongings, he invokes the same anti-Semitic tropes: “Look at how happy a piece of silver makes you […] there is no cure for your kind” (137). Somewhat different from this is the judgment that Jewish people have for each other, which is inflected with some internalized anti-Semitism, but also features aspects of self-recognition. Farnaz has mixed feelings towards her sister-in-law: “Farnaz feels a deep pain, not just for Shahla but for the loss of what she had come to represent—shameless extravagance, which others both enjoyed and ridiculed” (234).

However, after the Islamic Revolution, the Amins, their extended families, and their friends fear losing their money, property, and possessions—the Revolution is not simply an ideological and cultural upheaval, but brings with it dispossession. When all his savings from the bank are thrown into the guards’ truck, he thinks: “There it goes, his life’s hard work, his long hours at the office, the missed school plays, the late dinners, the promise to his children that they will never know the meaning of envy, the promises to himself that he would never become like his father” (257). The transformation that Isaac goes through shifts his priorities: He grows closer to his family, but he does not lose everything he previously valued, having been to save some money outside the country as a fallback.

Sensory Experiences

All of the Amins take refuge in their memories of physical sensations: sight, sound, touch, and particularly smell, comfort them and give them hope. They frequently dwell on details of their daily lives, contrasting life before and after the Revolution.

For Isaac, contrasting sensory details juxtapose the dangers of the present with the ease of the past. As he enters the van taking him to his first interrogation, one guard “smells like cigarette smoke and rose water” (9)—an alarming combination, with the chemical odor of smoke poisoning the potentially pleasant flower scent. Later, in his lonely misery in prison, Isaac repeatedly returns to his memory of Farnaz’s orange blossom lotion—a pure floral perfume that aligns with her beauty and the safety of their home. Similarly, while Isaac frequently feels revulsion at the smell of his prison companion Mehdi’s rotting feet, to console himself during the hardest times in prison, he reminisces his way through a typical day before his arrest, invoking the sounds of his office, the smell of charcoal and kebabs, the taste of cognac.

Farnaz experiences sensory details through comparison. She likens one guard’s beard to the scourge of the Revolution, equating the strict Muslim sign of devotion to aggressive and destructive plants: “rough, dirty hair growing feverishly on chins and cheeks and necks throughout the country, like noxious weeds” (72). Later, she imagines Habibeh’s potential betrayal as a poorly constructed piece of ceramic: “Loyalty is so fragile, like porcelain. One crack, invisible at first to the naked eye, can one day shatter the cup” (159).

Shirin paints happier times and places with great attention to color, while characterizing the Amin’s current sad and worrying situation as black, white, and grey. When she a wardrobe full of “pastel coloured skirts and geometric-patterned silk scarves where perfume still lingers” (94)—she can’t help but contrast these forbidden clothes with the plain, dark, and heavy clothes that the Revolution mandates for women. When her family traveling freely and enjoying life, she saw cities full of color: “Isfahan, the blue city, Paris, the red city, Jerusalem, the ivory city” (243); now all she has is “Tehran, the black city” (243).

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