The Colonel by M. Dowlatabadi

People sometimes comment that this blog discusses a “niche topic”—Asian literature. If Asian literature is considered niche, then Western Asian literature measures off the charts in niche-ness. There are various reasons why Western Asian literary works are under-read. These range from the scarcity of translations to China’s prominent geopolitical position in Asia to the presence of regional conflicts. The best way to combat this problem of lack of recognition and appreciation for Western Asian works is, of course, to read more of them! With this in mind, Piers Butel shares his thoughts on The Colonel by Mahmoud Dowlatabadi:

Today I’d like to direct your attention to the other side of Asia. Far from the East Asia of my last piece, to Iran. Iran has a deep and rich literary culture that has thrived despite years of colonial interference and oppression by both autocratic shahs and religious fundamentalists. Mahmoud Dowlatabadi is an author who represents well the changes and tensions that have rippled across Iranian culture over the last century. His novels are set in an Iran that doesn’t know where to look, set amongst average people trying to make the best of a world that no longer makes sense. People who want to get back to normal where normal seems the least possible thing.

In search of three Asian Divas, guest post by David Chaffetz

David Chaffetz, author of A Journey through Afghanistan, is an independent researcher of Asian arts and literature. He has read Persian and Turkish at Harvard, and Arabic at Columbia, and has lived and travelled extensively in Asia. His new book, Three Asian Divas, has just been published.

The diva is a nearly universal phenomenon.  Chinese opera, especially in the Ming period, had famous singers who were also courtesans, similar to the early Venetian and Roman entertainers. Similar institutions existed in India, the tawaifs, and in Iran. Traditional Asian divas are however less well known and understood among English-language readers than the divas of Mozart and Puccini. Whether from Shiraz at the court of the Injuids, from Delhi during the twilight of the Moghuls, or from Yangzhou under the last Ming emperors, Asian divas were identifiably modern women. Though practicing classical and tradition-bound arts, they were economically independent, and were free to give or withhold love. Indeed, in many ways, they paved the way for the emergence of the modern woman in Asian societies.

Three Asian Divas brings to life an Iranian, an Indian and a Chinese diva, and in so doing highlights the diva’s social role and the significance of her contributions to art.

David here explains how he came to write Three Asian Divas.