The Cannon is the first and best of Gholamhossein Saedi’s three full-length novels. The action is based on historical events taking place in northwestern part of Iran during the constitutional Revolution in the earlier part of the twentieth century. It has an unwavering focus on a single character, that of Mullah Mir Hashem, and develops the plot based on the specificities of that character. Other interesting characters also emerge in the course of the action, but Saedi successfully avoids a diffusion of focus, utilizing ancillary characters to enrich the role of the protagonist in the development of the plotline. The action involves an itinerant mullah who for many years has ministered to the religious and spiritual needs of the tribes scattered in the Azarbaijan province. In the process he has accumulated a small fortune in the form of herds of sheep that he relegates to the care of various tribes. With the rising tide of the Constitutional Revolution and the direct intervention of Russian troops in the northern territories in support of the central government in Tehran in an effort to prevent the eruption of the tribal region, the mullah faces a dilemma whether to ingratiate himself with the commanding general of the Cossack division to protect his interests in case of a conflagration, or to side with the tribes who increasingly display a tendency to join the revolutionaries in Tabriz, the provincial capital. The plot climbs to an exciting climax and the story comes to an unpredictable and intriguing end.

The Iranian writer Sadeq Hedayat is the most influential figure in twentieth-century Persian fiction--and the object of a kind of cult after his suicide in 1951. His masterpiece The Blind Owl is the most important novel of modern Iran. Its abrupt, tortured opening sentence, "There are sores which slowly erode the mind in solitude like a kind of canker," is one of the best known and most frequently recited passages of modern Persian. But underneath the book's uncanniness and its narrative eccentricities, Michael Beard traces an elegant pastiche of familiar Western traditions. A work of advocacy for a disturbing and powerful piece of fiction, his comprehensive analysis reveals the significance of The Blind Owl as a milestone not only for Persian writing but also for world literature. The international, decentered nature of modernist writing outside the West, typified by Hedayat's European education and wide reading in the Western canon, suggested to Beard the strategy of assessing The Blind Owl as if it were a Western novel. Viewed in this context, Hedayat's intricate chronicle challenges the very notion of a national literature, rethinking and reshaping our traditions until we are compelled, "through its eyes," to see them in a new way. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Praise for the print edition:"...a useful and engaging reference to the vast world of the novel in world literature."

Richard Tapper's 1997 book, which is based on three decades of ethnographic fieldwork and extensive documentary research, traces the political and social history of the Shahsevan, one of the major nomadic peoples of Iran. The story is a dramatic one, recounting the mythical origins of the tribes, their unification as a confederacy, and their decline under the Pahlavi Shahs. The book is intended as a contribution to three different debates. The first concerns the riddle of Shahsevan origins, while another considers how far changes in tribal social and political formations are a function of relations with states. The third discusses how different constructions of the identity of a particular people determine their view of the past. In this way, the book promises not only to make a major contribution to the history and anthropology of the Middle East and Central Asia, but also to theoretical debates in both disciplines.

This book introduces the canonical figure Sadegh Hedayat (1903–1951) and draws a comprehensive image of a major intellectual force in the context of both modern Persian Literature and World Literature. A prolific writer known for his magnum opus, The Blind Owl (1936), Hedayat established the use of common language for literary purposes, opened new horizons on imaginative literature and explored a variety of genres in his creative career. This book looks beyond the reductive critical tendencies that read a rich and diverse literary profile in light of Hedayat’s suicide, arguing instead that his literary imagination was not solely the result of genius but rather enriched by a vast network of the world’s literary traditions. This study reflects on Hedayat’s attempts at various genres of artistic creation, including painting, fiction writing, satire and scholarly research, as well as his persistent struggles for artistic authenticity, which transcended solidly established literary and artistic norms. Providing a critical reading of Hedayat’s work to untangle aspects of his writing – including reflections on science, religion, nationalism and coloniality – alongside his pioneering work on folk culture, and how humor informs his writings, this text offers a critical review of the status of Persian literature in the contemporary landscape of the world’s literary studies.

In this unique survey, twenty-one scholars examine Persian imaginative literature, bringing out its historical development through discussions of genres and styles. Ehsan Yarshater's introductory essay places the various phases of Iran's literatures in perspective. It also expands on some areas of interest touched upon in the ensuing chapters, notably Old and Middle Persian literature. In a second essay, Yarshater explains the progression of the classical tradition from a robust youth to an effete old age, before moving on to a new beginning. Significant writers are highlighted in separate chapters. The book's sections include: introductory survey, pre-Islamic literatures, the classical period, contemporary literature of Iran, Persian literature outside Iran, and the translation of Persian literature.

and the close coincidence of the development of public literacy with that of the short story is discussed.