April 7–10, 2011

New Brunswick, NJ – Hyatt New Brunswick
Host Institution:  Rutgers University
Keynote Speaker:  Junot Diaz

This panel welcomes papers on any aspect of Persian/Iranian literature, of any time period, defined to include not only work written in Iran and works in translation, but also work written in Persian by Iranian writers in exile, in English by Iranian American writers, in French (Marjane Satrapi) and/or in any other language in which people of Iranian descent choose to write. Please submit 250–300 word proposals to Richard Jeffrey Newman at richard.newman@ncc.edu

Deadline:  September 30, 2010

Please include with your abstract:
Name and Affiliation
Email address
Postal address
Telephone number
A/V requirements (if any; $10 handling fee with registration)

The 42nd Annual Convention will feature approximately 360 sessions, as well as pre-conference workshops, dynamic speakers and cultural events.  Details and the complete Call for Papers for the 2011 Convention will be posted in June: www.nemla.org.

Interested participants may submit abstracts to more than one NeMLA session; however panelists can only present one paper (panel or seminar).  Convention participants may present a paper at a panel and also present at a creative session or participate in a roundtable.  Do not accept a slot if you may cancel to present on another session

Kiana Firouz, 27 years old, actress and lesbian activist from Teheran, Iran, has long been engaged in the battle against the discrimination and persecution of homosexuals by the Ahmadinejad regime. After photograms of her video documentary on the condition of lesbians and gays fell into the hands of the Iranian intelligence, agents began to follow and intimidate her. Concerned about her safety, Kiana left Teheran and sought refuge in the U.K., where she could continue her work and studies.

She filed for asylum but her application was rejected by the Home Office even though the Ministry recognized her being persecuted for her sexual orientation and despite the fact that the Ministry is well aware that under Islamic law homosexuality is considered a heinous crime punishable by hanging and that gays and lesbians are enemies of Allah. In Iran, punishment for an adult consenting lesbian of healthy mind and is 100 whippings. If the act is repeated three times and punished each time, the death sentence is applied the fourth time (Art. 127, 129, 130).

Hat tip: thefbomb

If you have a mind to, please sign the petition.

More recently, to take another example, it could not have been an accident that the scenes of protestors carrying green banners through the streets in the weeks following Iran’s contested presidential elections in 2009 bore such a striking resemblance to the scene near the beginning of the Shahnameh in which the blacksmith Kaveh marches through the streets carrying a banner and calling the Persian people to rise up against the evil Arab king Zahhak. Kaveh is an unapologetic revolutionary, intent on overthrowing the despot who has killed all but one of his eighteen sons, but he is also a Persian calling for the overthrow of his people’s Arab monarch, which makes it very tempting to read Ferdowsi as more seditious than he really was, as if his purpose in writing the Shahnameh had been to foment a revolution against Islam. Nothing, however, could be further from the truth. Just as the protestors in Iran sought to have their votes counted in the context of the government they already had, not to overthrow that government, Ferdowsi, who was a practicing Muslim, wanted to preserve and transmit Iran’s cultural heritage within an Islamic context, not present that cultural heritage as a replacement for Islam.

In this purpose, Ferdowsi was not alone. He may have been a practicing Muslim, but he was also a proud dehqan, a member of Iran’s landed gentry, a group Shahbazi calls “the backbone” of Iranian society, powerful enough that Arab commanders sometimes felt it necessary to negotiate peace treaties with them, and a group that saw itself as duty bound to preserve the “memories of the golden days of [the Persian] empire and the heroic traditions and cultural heritage of [their nation]” (20–21). After three hundred years of Muslim Arab rule, the dehqan had reason to be concerned. Not only had Arabic replaced Persian as the language of law, literature, philosophy and science, but there was also a growing acceptance among Muslim Iranians that it might be possible to rebuild Iran’s imperial structure within an Islamic context. Indeed, revisionist histories of Iran, such as Tabari’s Tarikh, which is contemporaneous with the Shahnameh, were written in support of this idea. In Tarikh, Tabari incorporates Iran’s origins into the creation story as told in the Koran. His goal is to demonstrate that the reigns of the Persian monarchs fit into Koranic chronology, placing Iran’s legendary kings and heros into the world inhabited by, and ultimately subordinating those kings and heros to, characters like Adam and Nuh (Noah), who are far more important to Islam’s overall narrative than Iran could ever be.

In the eyes of the dehqan, this was an unacceptable diminution of Iran’s cultural heritage, and so when Ferdowsi wrote of the beginning of the world in the Shahnameh, he placed Iran squarely at the center of the narrative, and when he told the stories of Iran’s mythical monarchs, he told the stories in their own terms, without trying to justify their existence within the dominant cultural, political and spiritual context of Islam (Davis 14). Yet it would be a mistake to understand the Shahnameh purely as a historical or political text, of interest primarily not for its literary worth, but for its role as a repository of ancient Iranian legends. To do so would be to ignore not only Ferdowsi’s literary intent–he was, very self-consciously, writing a poem–but also the fact that, as any of the apocryphal stories told about him illustrate, both in their content and by the fact of their existence, it was as a poet, not a historian, that Ferdowsi made his reputation. In one tale, that reputation was preordained. Ferdowsi’s father, this story goes, had a vision of his recently-born son climbing a roof and calling out loudly towards each of the four corners of the earth. Each time the child called out, a strong voice answered him. Najm-al-Din, who was a dream-interperter, explained to the boy’s father that the vision foretold Ferdowsi’s achievements. “Your son will be a genius, a poet whose name will be known to the four quarters of the world and whose songs will be learned and revered everywhere” (Shahbazi 39, n. 1).

In another story, Ferdowsi travels from his home in Nishapour to Ghazna, the capital city of Sultan Mahmoud, who was a great patron of the arts and about whom I will have more to say later. Upon entering the city, Ferdowsi encounters three of Mahmoud’s court poets, Ansari, Asjadi and Farrukhi, who did not want to be disturbed by someone whose manner of dress so clearly marked him as provincial. Thinking to have some fun at Ferdowsi’s expense, and to make sure he did not bother them again, they issued him a challenge. “We are the king’s poets,” Ansari, who was the most senior, said, “and only a true poet can keep company with us. So, to test your ability, each of us will compose one line of a quatrain using a single rhyme. If you can provide the fourth, we will allow you to join us.” Ferdowsi, confident in his skill as a poet, agreed.

The rhyming word Ansari chose was roshan (bright) and, at least according to Edward G. Browne, in whose Literary History of Persia I first read this tale (129–30), he chose that word because he was sure there were only two other words in Persian that would rhyme with it: golshan (rose garden), with which Asjadi ended his line, and joshan (cuirass), with which Farrukhi ended his. The difficulty of reproducing Persian rhymes in English forces Browne to offer two translations. The first, in the main body of Browne’s text, preserves the rhyming challenge–though the rhyme he chooses is hardly challenging in English–while losing both the meaning and, because he has to change the images and metaphors, the Persian character of the lines. The second translation, which he gives in a footnote, preserves the meaning of the quatrain but loses the rhyming challenge entirely. In each translation, though, his rendering preserves the sense of Ferdowsi’s completing line. Here is Browne’s mono-rhymed quatrain:

Ansari:      Thine eyes are clear and blue as a sunlit ocean
Asjadi:       Their glance bewitches like a magic potion
Farrukhi:   The wounds they cause no balm can heal, nor lotion
Ferdowsi:  Deadly as those Giv’s spear dealt out to Poshan.

And here is the quatrain that more accurately renders the sense of the quatrain:

Ansari:       The moon is not so radiant as thy brow
Asjadi:       No garden-rose can match thy cheek, I trow
Farrukhi:   Thy lashes through the hardest breastplate pierce
Ferdowsi:   Like spear of Giv in Poshan’s duel fierce.

The court poets were deeply impressed. Not only had Ferdowsi survived their poetic challenge; he had done so by referring to an obscure story from Persian lore, demonstrating not only that he was a fine poet, but also a man of some learning. Realizing that they had underestimated him, Ansari, Asjadi and Farrukhi decide to present Ferdowsi to Sultan Mahmoud as a poet worthy of completing the versification of the national epic begun two or three decades earlier by another poet, Daqiqi, whose murder had left the court with only a thousand or so completed verses. This the poets did and the rest, as the saying goes, except that the story I have just told you is almost entirely apocryphal, is history.

Works Cited

Davis, Dick. Epic & Sedition: The Case of Ferdowsi’s Shahnameh. Washington, DC: Mage Publishers 2006.

Mackey, Sandra. The Iranians: Persia, Islam and the Soul of a Nation. New York: Dutton 1996

Shahbazi, A. Shapur. Ferdowsi: A Critical Biography. Costa Mesa: Mazda Publishers, 1991.

The greatest, and also the most disappointing, of these four is Jamshid, for it is Jamshid who establishes social classes, brings the science of medicine to humanity, teaches his people to make clothing and perfume, and in general orders the society if his time such that it is recognizable to us as the kind of social world in which we live. Jamshid, also, however is the first king to allow his pride to get the better of him, declaring himself a deity and losing the farr, which people often translate into English as aura, but is more accurately described as the visible quality in a king that signifies for his subjects the fact that God favors his rule. If you imagine the halos that were drawn around Christ’s head in medieval paintings, but picture them around the heads of kings and understand them to be visible proof of what the Europeans used to believe was the divine right of kings, you have something close to what the farr is.

Once Jamshid loses the farr, there is room for evil to enter the world, which it does in the form of Zahhak, part of whose story you can read in my translation on Ekleksographia. In addition to the word farr, you need to know that peris are supernatural creatures upon which are based the faeries of Victorian England; and you need to know as well that “Demon Binder” was the name given to Jamshid’s father, Tahmures, because he bound Ahriman–the source of evil–and rode him, more or less like a horse, around the world.

Here is my translation of Jamshid’s story, which is also the story of the first Norouz:

Filled with his father’s wisdom, when the world
was done mourning the Demon Binder,
Jamshid joined the line of men
to ascend the throne and wear the crown.
Peace spread across his kingdom,
and the birds and peris bowed to him too.
“I will,” he said, “keep evil from evil-doers’
hands, and I will guide souls to light.
The royal farr rests with me. I rule
as shah and priest.”

He turned first
to making weapons, paving for his warriors
a road to glory and renown. Iron,
beneath his farr, softened, became swords
and helmets, chain mail and horse armor,
and he gave fifty years to training
the men he charged with building his armory.

The next five decades, Jamshid devoted
to clothing, contriving different fabrics—
linen and silk, brocades and satin—
teaching people to spin and to weave,
to dye what they’d woven, and then sew a garment
for feasting or fighting. When he finished, he divided
men by their profession, sending
first to the mountains, to worship their Master
and live lives of devotion, the Katuzi.
Second, he summoned the Neysari,
lion-hearted fighters whose luster
lit the entire land, whose leadership
and courage kept the king secure,
and whose valor ensured the nation’s reputation.
Those who farmed the fields came next,
the Basudi, who sow and reap,
who receive no thanks, but whom none reproach
when there’s food to eat. Free people
who kneel to no one and seek no quarrel,
despite the rags they wear, their care
makes the earth flourish and nourishes peace.
A wise elder once said,
“If a free man finds himself a slave,
he has only his own laziness to blame.”

Jamshid gathered the craftsmen last,
the anxious and stubborn Ahtukhoshi.
Haughty and contrary, they work with their hands
to make the goods sold in the market,
and they are always anxious. Fifty years
marched by while Jamshid showed
each person breathing earth’s air
his proper place and path, teaching
the scope of the life he’d been given to live.

He ordered the demons to pour water
over earth, stirring it into clay
they filled molds with to form bricks.
With mortar and stone, they laid foundations
for public baths and beautiful palaces,
and castles to protect against attack.
From rocks, Jamshid’s magic extracted
the lustrous gems and precious metals
he found hidden there, filling his hands
with gold and silver, amber and jacinth.
He distilled perfumes for his people’s pleasure:
balsam and ambergris, rose water and camphor,
musk and aloe. He made medicines
to bring the sick back to health
and to help the healthy stay that way.

Jamshid revealed these secret things
as none before him had done. No one
discovered and ordered the world as he did.

Yet another fifty years
saw Jamshid building ships
he could sail quickly across the sea,
making port in each realm he reached;
and then, although he was already great,
Jamshid stepped past greatness.
He used his farr to fashion a jeweled
throne, decreeing the demons should raise it
high in the sky, where he sat shining
like the sun, and the world’s creatures gathered
around him, standing in awe, scattering
gems at his feet. It was the first of Farvadin,
and Jamshid set that day aside,
naming it Norooz, “new day,”
the day he rested, the first of the year.
His nobles declared a feast, a festival
of wine and song we still celebrate
in Jamshid’s memory.

For three centuries,
Jamshid ruled in peace. His people
knew neither death nor hardship; the demons
stood ready to serve; and all who heard
the king’s command obeyed it. The land,
filled with music, flourished. Jamshid,
however, gave himself to vanity.
Seeing he had no peer in the world,
he forgot the gratitude that is God’s due
and called the nobles of his court before him
to make this fateful proclamation:
“From this day forward, I know no lord
but me: my word brought beauty
and skilled men to adorn the earth!
My word! Sunshine and sleep, security
and comfort, the clothes you wear, your food—
all came to you through me!
Who else ended death’s desolation
and with medicine vanished illness from your lives?
Without me, neither mind nor soul
would inhabit your bodies. So who besides me
can claim, unchallenged, the crown and its power?
You understand this now. So now,
who else can you call Creator but me?!”

The elders bowed their heads and held
their tongues, silenced by what he’d said,
but when the last sound left his mouth,
the farr left him, and his realm fell
into discord. A sensible, pious man
once said, “A king must make himself
God’s slave. Ingratitude towards God
will fill your heart with innumerable fears.”
Jamshid’s men deserted; his destiny
darkened, and his light disappeared from the world.

Only chapter one is up so far, but it looks like it’s going to be a very good book. Go check it out.

What struck me most about Kimmelman’s article, though, was not what he had to say about the similarities between what Tehran was trying to do last month and what Moscow did during the Cold War, but rather what he had to say about the differences:

The difference now isn’t just that the Tehran orchestra playing a pathetic Peace and Friendship Symphony is such a far cry from Emil Gilels playing Beethoven’s Emperor concerto. More fundamentally, it’s that a tour by an anointed symphony orchestra from the other side barely registers in the Western political consciousness. In an Internet age when everyone’s supposedly savvy to crude propaganda, the presumption seems to be that the Iranian tour doesn’t even rise to the threshold of newsworthiness.

But this presumption is a result of what the American musicologist Richard Taruskin calls a common fallacy. The fallacy, he has written, consists in turning “a blind eye on the morally or politically dubious aspects of serious music,” as if “the only legitimate object of praise or censure in art” is whether it’s good or not.

“Art is not blameless,” Mr. Taruskin writes. “Art can inflict harm.”

We take the blame-worthiness of art for granted when it comes to popular culture, criticizing Avatar, for example, for being yet one more movie about a white guy who saves a nature-loving people of color or the writers of a show like Battle Star Galactica for how they write rape into the show’s narrative; but it is good to be reminded that no art, not even classical music, is without political significance, that it too can be used as propaganda, to reinforce, or to subvert, the status quo.

In the conclusion to his review, Kimmelman quotes an Iranian businessman living in Geneva. This man was angry because he kept “seeing Ahmadinejad’s face in the music.” He said, however, that his heart “goes out to the musicians. They’re victims like the rest of us.“

This is my constant refrain these days when it comes to current events in Iran: I wish I had time to do more than write this little bit and link to a couple of blog posts and articles worth reading, but I’ve got too much else on my plate right now. Massoud Alimohammadi, from everything I have been able to gather, was a nuclear scientist who supported the opposition in Iran. The Iranian government has constructed a narrative in which Alimohammadi was a supporter of the regime and he was killed by a car bomb that was planted by the Mujahedin-e Khalq with the help of, of course, Israel and the United States. Here are links to a few places that have more information, analysis and more links to further details:

• Gary Sick at Gary’s Choices: Assassination in Tehran
• Homylafayette: Tehran University Professor Massoud Alimohammadi Assassinated: Fact and Fiction
• Frontline|Tehran Bureau: Bomb Kills Iran Nuclear Physicist Tied to Mousavi

I have been working on a long post dealing with the politics of Holocaust imagery in literature and the Jewish community. It should be done soon. I’m hoping to write something more in depth about Iran when I am done with that.

In an essay called “Representations of Attar in the West and in the East,” Christopher Shackle criticizes Margaret Smith’s 1932 translation of Manteq al-Tayr for being written “in a prose whose archaisms, including biblical ‘thee’s and ‘thou’s, cover Attar’s studiously clear style with a patina of reverence….” (187). Boyle’s Ilahi-Nama suffers from the same weakness. Here, for example, is his rendering of the passage in “The Tale of Marjuma” where the woman berates her brother-in-law for trying to have his way with her:

She said to him: “Art thou not ashamed before God? Dost thou thus show respect to thy brother?
Is this thy religion and thy probity? Dost thou thus keep trust for thy brother?
Go, repent, return to God, and eschew this wicked thought.”

That man said to the woman: “It is no use; thou must satisfy me at once,
Otherwise I will cease to concern myself about thee, I will expose thee to shame, I will slight thee.
Straightaway now I shall cast thee to destruction, I shall cast thee into a fearful plight.” (32)

As well, Boyle too often relies on a literalness that ends up being unintentionally comic and/or almost impossible to comprehend. The first line of the final section of the “Exordium,” in which Attar praises and meditates upon the greatness of God—“Come, musk of the soul, open thy musk-bladder, for thou art the deputy of the Vicar of God” (27)—is an example of the former. In “The Tale of Marjuma,” to give an example of the latter, when the female protagonist is on a ship at sea, about to be raped by the entire crew, she prays to God to save her. This is Boyle’s rendering of that scene:

When the woman learned of these wicked men’s feelings, she saw the whole sea as a liver from her heart’s blood.
She opened her mouth [and said]: “O Knower of Secrets, preserve me from the evil of these wicked men.” (38)

The phrase “the whole sea as a liver from her heart’s blood” clearly relates to the idea in Persian culture that the liver, not the heart, is the seat of emotion, but what the phrase means, except in the vaguest of senses, is far from clear. By way of comparison, here is my version of those lines:

When she learned
what the men intended, she turned
and saw in the sea surrounding her,
filled with her heart’s blood, a liver
wide enough to hold all she felt.
Her mouth fell open. She knelt,
prayed: “Protect me, Knower of Secrets!
Save me from this wickedness.”

I make no claim that this is great poetry, or that there is no better solution to the “heart’s-blood-liver” metaphor; and I am very aware that whether or not my translation will endure is a question that only time and readers will answer, but the value of bringing Ilahi-Nama into 21^st century American English poetry is not only, and not even primarily, that it might be successful in these terms. Rather, the value lies in the sustained engagement translation is—both in the writing and the reading—with another culture.

On the one hand, the value of such engagement is, or ought to be, self-evident, requiring no further justification. On the other hand, however, given the current national and international political moment, it is, or ought to be, impossible to talk about translating Persian literature without also talking about both the state of relations between Iran and the United States and the political unrest that has focused world attention on Iran since the contested presidential elections there in June 2009. Each of those dynamics demands that the people of the United States learn as much about the Iranian people, their culture and their history, as we possibly can, especially since our collective ignorance about Iran has been profound since diplomatic relations between our two countries ended after the Islamic Revolution in 1979–80. Boyle’s translation of Ilahi-Nama is not a text to which people are likely to go for that kind of learning, most immediately because it is out of print, but also because its archaic diction and biblical style is more likely than not to alienate them.

I am neither naïve nor arrogant enough to assume that my translation of Ilahi-Nama will by itself effect any change, large or small, in US-Iran relations or that it will alter even one reader’s notions about Iran and/or Islam. I do know, however, that each translated book made available to a reading public increases the likelihood of such change taking place. At the very least because it offers a radically different view of Islam from the version practiced and promulgated by the current Iranian government and can therefore help to combat the anti-Muslim stereotypes currently in fashion, but even more significantly because it is a great work of literature written by one of the world’s greatest poets, whom we in the United States deserve to know better than we do, a new literary translation of Ilahi-Nama should be among the books making such change possible.

Sources

ʻAṭṭār, Farīd al-Dīn. The Ilāhī-Nāma Or Book of God of Farīd Al-Dīn ʻAṭṭār. Trans. John Andrew Boyle. Persian Heritage Series, Vol. 29 Manchester: Manchester University Press, 1976.

Shackle, Christopher. “Representations of Attar in the West and in the East: Translations of the Mantiq Al-Tayr and the Tale of Shaykh Ṣanʻān.” Attar and the Persian Sufi Tradition: The Art of Spiritual Flight. Eds. Leonard Lewisohn, and Christopher Shackle. London: I. B. Tauris, 2006. 165–93.

The framing narrative of Ilahi-Nama is about a caliph who asks his six sons what they desire most. The first son says he wants the daughter of the king of the peris (faeries); the second wants to learn the art of magic; the third son desires Jamshid’s cup because it will reveal to him the secrets of the world; the fourth seeks the water of life; the fifth son covets the ring Solomon used to control demons; and the sixth son wants to master alchemy. As each son gives his answer, the father tells stories to illustrate, first, how shallow and materialistic the son is for wanting what he wants and, second, how the son should understand his desire so he can use it on the path to enlightenment. None of the sons, however, accept their father’s lessons at face value, arguing that he has misunderstood their desires and that the lessons he wants them to learn, therefore, are misguided. When the father tells his first son what has come to be known as “The Tale of Marjuma,” for example—about a beautiful and righteous woman who, after her husband leaves on pilgrimage to Mecca, must fend off a series of men who are so overcome with lust when they glimpse her beauty that they will stop at nothing to have her—the son accuses his father of wanting to eliminate sex. “God forbid[!]” the father replies, explaining that “The Tale of Marjuma” illustrates how sex, properly comprehended and entered into, is a first step on the path to enlightenment:

But when your desire achieves apotheosis,
sex gives birth to a love without limits;
and when this love is pushed by passion to the edge
of its strength, spiritual love emerges; and when
spiritual love can grow no further, your soul
will vanish into the Beloved’s endlessness. (My translation)

Given that the surface of the narrative in “The Tale of Marjuma” feels more like a Perils-of-Pauline-type story in which the depraved and debauched men get their comeuppance than one about the spiritual nature of sexuality, the son’s misreading of the tale is an easy one to fall into. Such a reading, however, fails to account for, among other things, the fact that not all the men who try to possess the woman give in to their desires without a struggle. They are, in other words, neither evil nor merely slaves to their desires; they are human and flawed and, more to the point, they are, in the end, able and willing to repent. Indeed, they must repent, for God has punished them with a paralysis from which—in an irony that is at the core of the story’s meaning—they can be healed only by confessing to the woman everything they did to her.

Her experience—how she came to be the confessor and healer of the men who abused her—is the one that the father talks about in the lines I quoted above, and it is also her experience that he uses to frame the tale in the first place:

The father replied, “Beware of lust, for lust
has made you very drunk. When a man locks
his heart in pursuit of sexual pleasure, he’ll pay
until the last penny of his being is gone.
A woman, however, whose conduct is like a man’s,
does not know such lust. I will tell you of one
who became in God’s court a leader of men
after she was left without her husband.”

It is, in other words, the woman from whom the father wants his son to learn. For in fending off the men who tried to rape her outright—most of whom die when God answers her prayers and saves her from them—and in refusing the men whose desire was not initially violent, who could have “comforted” her in her husband’s absence, the woman’s love and desire for her husband become a deeply spiritual love and desire for God that moves her to choose the life of a religious recluse. So pure is her devotion that God grants her the power of healing, which is why the men stricken with paralysis must seek her out. In the end, the woman is reunited with her husband, but she chooses to remain a recluse, making clear that she has left the world of her marriage, of merely carnal love, behind.

Nowhere, however—and here is another detail the son overlooks when he accuses his father of wanting to do away with sex—does the story suggest that the newly healed men should similarly disavow their sexual desire, even though it was their desire that got them into so much trouble. Rather, the story is an exhortation for the son to behave “like a man” in response to his own sexual feelings, the irony being, of course, that the character who models this behavior is a woman. In other words, while the depiction of sexuality in “The Tale of Marjuma” is entirely conventional—male heterosexuality is “active;” female heterosexuality is “passive”—there is an element of gender bending, implying that Attar does not see the sexual characteristics he is exploring as exclusively the purview of either men or women, though it does seem clear that he defines them as either male or female. Indeed, by the time this first “Discourse” between father and son is over, Attar has reframed the son’s desire for a beautiful woman as the desire for his own purified soul, suggesting that, in the realm of the spirit, a wholeness that embodies both male and female should be the goal.

Each of the “Discourses” in Ilahi-Nama plays with conventional expectations in similar ways. The magic the second son desires to master, for example, is reframed as the ability to turn the devil he carries in himself into a Muslim. Solomon’s ring, which the fourth son covets, becomes the capacity for being content with what one has. In each case, the frame story and the tales told within it command attention both for the sophistication of Attar’s narrative technique and the depths at which he is able to reveal the workings of the social and spiritual values at stake in the  sons’ desires. Whether or not one shares Attar’s spirituality, in other words, there is a lot to learn from what he wrote, not only about Iran’s history and culture, and about the possibilities of narrative, but also about ourselves and how we make meaning in the world—all of which makes a new translation of this little-known work both desirable and necessary.