Category: Personages

Mohammad Ali Jamalzadeh

Mohammad-Ali Jamalzadeh (Isfahan, 1892; Geneva, 1997) was a prominent Iranian intellectual and pioneer of modern Persian prose and the short story genre. Jamalzadeh’s long and productive life spanned more than a century, a crucial period in Iran’s modern history, from the Constitutional Revolution of 1906 to the Islamic Revolution of 1979 and beyond. In 1921, the publication of his collection of short stories “Yeki bud yeki nabud” (Once upon a time), notable for its direct and colloquial language, the use of Persian idioms and an immense sociological, political and critical vision, marked an important point of departure. Inflection in the development of modern fiction in Iran. However, Jamalzadeh’s contributions to Persian culture go beyond the genre of the tale. During his long life (1892-1997), Jamalzadeh published novels, short stories, political and social essays, scholarly research articles, literary magazines and reviews, as well as autobiographical and biographical essays. His worldview, reflected in nearly all of his writings, is based on his unique experience of Persian language, culture, history and customs, including his experiences in Iran during a period of upheaval, revolution and unrest, and that of residence in Europe thanks to his training, his knowledge of European languages ​​and his research methods. His distinctive dedication in his stories, essays, interviews and letters linked these two worlds and synthesized the best of both to advance modern education as the primary weapon in the fight against ignorance, poverty, oppression and injustice for the Iranian people.

Jalal Al-e-Ahmad

Yaalal Al-e-Ahmad (1923-1969), is a renowned writer and social critic. In a short autobiographical sketch made in 1967, not published until after his death, he described his conservative, religious and moderately wealthy family. His father wanted his son to have a career in the bazaar. Upon finishing elementary school, he decided to enroll – unknown to his father – in night classes in Dar-al-fonun, while working during the day as a watchmaker, electrician and leather merchant. After finishing the Dar-al-fonun classes in 1943, he entered the Faculty of Letters at the University of Tehran, graduating in 1946, and the following year he was hired as a school teacher. He was forced to continue working as a teacher throughout his life, despite the growing respect and popularity he gained as a writer.

Sara Salar

Iranian writer born in 1966 in Zahedan who currently lives in Tehran. In addition to the noble work of writing, Sara is dedicated to translation, through which she has realized that she cannot stop writing, and that writing is really a part of her being and that she will not feel good if lose this part with another job.

Upon finishing her studies, Sara Salar married Sorush Sehat, a famous Iranian writer, actor and director. During this time, Sara decided to enroll in storytelling courses so that she could translate and express her concerns.

“During the translation process, I came to the conclusion that I was not satisfied. It was very hard work and, little by little, I realized that translating the stories of others was not my job, because I had things to say and I wanted to write them myself with my dove. “

“I’m probably lost” is the title of the first book by Sara Salar, awarded in Iran. “Many people think that this book is the story of my personal life, because I was the narrator of my own story, but it is not like that” -expresses Sara- “my story is not real at all. I wanted to turn the stories in my head into a story, but when I start to write I can’t get away from myself and the people around me and their experiences. Sometimes these examples can be a mixture of several characters. “

“I think it’s a surprise! After a long time, I freed myself from the shackles of explaining to someone…. It’s funny, I have freed myself from the shackles of giving explanations to Mrs. Batoul, I have been saved, I… I feel that it fits perfectly…. If I didn’t have to go looking for Samiar, I would have stayed here all day… I’m going to wash up. My lids are brighter than can easily be disguised with makeup. I quickly put on makeup … I put on my coat and pants and put on my scarf … I quickly grab my bag, mobile phone, glasses and bottle of water and knock on the door … I stop for a few moments in front of the stairs and run down the stairs. steps, those ten flights of stairs… It’s right next to the wall where I sit and breathe… ”

Samad Behrangi

Samad Behrangi was born in the Cherendab district of Tabriz, Azerbaijan province. He received his early education in Tabriz and graduated in 1957. That same year, he began teaching at schools in the Azar Shahr district, about 50 kilometers southwest of Tabriz, for eleven years.

Samad was fascinated by Azerbaijani folk tales, and his first book, published in 1965, was a collection of several of these tales that he had translated into Persian. This work attracted the attention of literary circles in Tehran. The subsequent publication of an essay on educational problems, several original children’s stories that deal realistically with social issues, and a second volume of Azerbaijani folk tales consolidated their reputation among the new generation of writers.

Sadeq Hedayat

Sadeq Hedayat, Iranian writer, novelist and translator, was born in Tehran into an aristocratic family and is one of the fathers of modern Persian literature. Sadeq attended Dar-ol Funun’s school, and around 1916 he was diagnosed with an eye infection, interrupting his education for almost a year. In 1925 he completed his secondary education at a prestigious French school in Tehran, where he also taught Persian to a French priest and became familiar with the French language, world literature (mainly French), and metaphysics. Shortly after Reza Shah Pahlaví came to power in 1926, Sadeq, along with other Iranian students, was sent to Europe to study. This was the beginning of his direct exposure to different cities, towns, and cultures. He stayed for a time in Belgium and then moved to France, where he tried to commit suicide in a river in 1928, but was saved. He abandoned his architecture studies and devoted himself to writing. In 1930, Hedayat returned to Tehran and began working at Bank Mellí, which was then the central bank of Iran. During his stay in India, he studied the Pahlavi language and translated Ardeshir Babakan’s biography from Pahlavi into Persian. In 1932, he traveled to Isfahan and published his Isfahan travel journal, Nesf-e-Jahan (Isfahan, half the world), as well as the important collection of short stories Se Qatreh Khun (Three drops of blood).

Sadeq Chubak

He was born in August 1916 in Bushehr. His father was a well-known bazaar merchant. He received his early education at Bushehr and later at Shiraz. He then moved to Tehran and attended the Alborz institute. After finishing high school, he was hired as a teacher by the Ministry of Education and sent to Khorramshahr, in the oil-rich province of Khuzestan, after which he joined the national oil company.

Considered the greatest naturalistic writer in Persian literature, Chubak has written a large number of works, including novels, short stories, and plays. His collections of short stories “Kheymeh Shab Bazi” (Puppet Show), 1945, and “Antari Ke Lutiyash Murdeh Bud” (The Monkey Whose Master Was Dead), 1949, had a profound influence on modern Persian literature. There was a gap of several years before he returned with a major novel, “Tangsir,” in 1963, and two years later, “Rouze Avval-e Qabr” (The First Day at the Grave) was published. Chubak describes a very brutal world in which people are mortified in the extreme and cannot bear the sight of others in “Sang-e Sabur” (Shoulder to Cry on), which is one of the best modern novels in literature. Persian. In general, their idioms and popular proverbs move the story forward and are considered a natural element of dialogue. He translated into Persian some works by internationally renowned writers, such as Balzac and Shakespeare. Sadeq Chubak died in July 1998, in Berkeley, United States.

Kamal-Ol-Molk

Mohammad Ghaffari, nicknamed Kamal ol-Molk (1884 – 1919), was a famous Iranian painter, born in Kashan into a family of artists and painters. Mohammad, a very intelligent and sensitive boy, with a generous heart, grew up in a village in the middle of the countryside, his eyes and his heart were full of love for nature. It is said that he took a piece of coal from the oven and made drawings on the walls, in his father’s books, on horse saddles and, sometimes, away from his parents’ eyes, on the whitewashed wall of his room.

Jafar Panahi

Born on July 11, 1960 in Mianeh, Iran, he is an Iranian film director, screenwriter and editor. After several years directing short films and working as an assistant director to his compatriot Abbas Kiarostami, Panahi obtained international recognition with his first feature film in 1995. “The White Balloon” (Badkonak Sefid). The film won the Camera d’Or, the first major award for an Iranian film, at the Cannes Film Festival the same year.

At age twenty, Panahi was drafted into the Iranian military and served in the Iran-Iraq war. He worked as an army cinematographer from 1980 to 1982. In 1981, he was captured by Kurdish rebels fighting Iranian troops and spent 76 days in captivity. Based on his war experiences, he made a documentary about the war that was broadcast on television. After completing his military service, Panahi enrolled in the Tehran Higher School of Film and Television.

Houshang Golshiri

Writer, critic and editor of fiction, he was born in Esfahan in 1937 and grew up in Abadan, southern Iran. From 1955 to 1974, Golshiri lived in Isfahan, where he graduated in Persian language and literature from the University of Isfahan. He then taught in primary and secondary schools in the surrounding cities.

Golshiri began writing novels in the late 1950s. His publication of short stories in “Payam-e Novin” and elsewhere in the early 1960s, the founding of “Jong-e Isfahan” (1965 – 1973 ), the leading literary magazine of the time published outside of Tehran, and its involvement in efforts to reduce censorship of imaginative literature gave it a reputation in literary circles. Golshiri’s first collection of short stories was “Mesl-e hamisheh” (As always) (1968). Then came the book that made him famous, his first novel “Prince Ehtejab” (1968/1969). The latter is a story of aristocratic decadence, which implies the inadequacy of the monarchy in Iran. Shortly after the production of the popular film based on the novel, the Pahlavi authorities arrested Golshiri and imprisoned him for almost six months.