Tehila Azar Quotes

She resented the fact that her veil, which to her was a symbol of her sacred relationship to God, had now become an instrument of power, turning the women who wore them into political signs and symbols. Where do your loyalties lie, Mr. Bahri, with Islam or the state? ~ Azar Nafisi

One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay. ~ Azar Nafisi

Those who can afford private schooling need not worry about their children being deprived of art, music and literature in the classroom: they are more sheltered, for now, from the doctrine of efficiency that has been radically refashioning the public school curriculum. ~ Azar Nafisi

Pragmatists are sometimes more prone to illusion than dreamers; when they fall for something, they fall hard, not knowing how to protect themselves, while we dreamers are more practiced in surviving the disillusionment that follows when we wake up from our dreams. ~ Azar Nafisi

The Islamic Revolution, as it turned out, did more damage to Islam by using it as an instrument of oppression than any alien ever could have done. ~ Azar Nafisi

All our lives my brother and I were caught by the fictions my parents told us - fictions about themselves as well as others. Each wanted us to judge the other in his or her favor. Sometimes I felt cheated, as if they never allowed us to have a story of our own. It is only now that I understand how much their story was also mine. ~ Azar Nafisi

It is only through literature that one can put oneself in someone else's shoes and understand the other's different and contradictory sides and refrain from becoming too ruthless. Outside the sphere of literature only one aspect of individuals is revealed. But if you understand their different dimensions you cannot easily murder them ... ~ Azar Nafisi

Those of us living in the Islamic Republic of Iran grasped both the tragedy and absurdity of the
cruelty to which we were subjected. We had to poke fun at our own misery in order to survive.
We also instinctively recognized poshlust-not just in others, but in ourselves. This was one reason
that art and literature became so essential to our lives: they were not a luxury but a necessity.
What Nabokov captured was the texture of life in a totalitarian society, where you are completely
alone in an illusory world full of false promises, where you can no longer differentiate between
your savior and your executioner. ~ Azar Nafisi

Resentment had erased all ambiguity in our encounters with people like him; we had been polarized into "us" and "them. ~ Azar Nafisi

Some within the government and some former revolutionaries had finally realized that there was no way the Islamic regime could make us intellectuals vanish. In forcing us underground, it had also made us more appealing, more dangerous and, in a strange way, more powerful. It had made us scarce and, because of this, also in demand. ~ Azar Nafisi

In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. This affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabbiness of the subject matter. ~ Azar Nafisi

The price one pays when choosing exile is the loss of all that defines you as an individual. The only thing that makes this immense loss tolerable is the discovery of a self you did not know existed - of a true independence. That is the real gift of America, not its fabled wealth and prosperity. ~ Azar Nafisi

If I turned towards books, it was because they were the only sanctuary I knew, one I needed in order to survive, to protect some aspect of myself that was now in constant retreat. ~ Azar Nafisi

I used to joke that we had prepared ourselves for a time like this by living with Mother. The problem with such a state of affairs was not that you did not get to do what you wanted
sometimes you did
but the effort to appease or resist the reigning deities left you so exhausted that it prevented you from ever really having fun. To this day having fun, just plain enjoying myself, comes at the cost of a conviction that I have committed an undetected crime. ~ Azar Nafisi

I'm a perfectly equipped failure. ~ Azar Nafisi

In fiction, every treachery and setback appears to serve some end: the characters learn and grow and come into their own. In life, it is not always clear that the hijacking of our plans is quite so provident or benign. ~ Azar Nafisi

A novel is not an allegory ... It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing. ~ Azar Nafisi

In his forward to the English edition of Invitation to a Beheading (1959), Nabokov reminds the reader that his novel does not offer 'tout pour tous.' Nothing of the kind. 'It is,' he claims, 'a violin in the void.'

[...]

There was something, both in his fiction and in his life, that we instinctively related to and grasped, the possibility of a boundless freedom when all options are taken away. I think that is what drove me to create the class. My main link with the outside world had been the university, and now that I had severed that link, there on the brink of the void, I could invent the violin or be devoured by the void. ~ Azar Nafisi

With fear come the lies and the justifications that, no matter how convincing, lower our self-esteem. ~ Azar Nafisi

Ask not 'who will love me?' but rather, 'whom can I love ~ Judy Azar LeBlanc

You ask me what it means to be irrelevant? The feeling is akin to visiting your old house as a wandering ghost with unfinished business. Imagine going back: the structure is familiar ,but the door is now metal instead of wood,the walls have been painted a garish pink ,the easy chair you loved so much is gone .Your office is now the family room and your beloved bookcases have been replaced by a brand-new television set . This is your house,and it is not. And you are no longer relevant to this house , to its walls and doors and floors ; you are not seen . ~ Azar Nafisi

The world is full of angry, pathological individuals pushing pieces of paper with obscene messages under doors. ~ Azar Nafisi

You yourself told us that in the final analysis we are our own betrayers, playing Judas to our own Christ ~ Azar Nafisi

And so began the case of the Islamic Republic of Iran versus The Great Gatsby ~ Azar Nafisi

The way we view fiction is a reflection of how we define ourselves as a nation. Works of the imagination are canaries in the coal mine, the measure by which we can evaluate the health of the rest of society. ~ Azar Nafisi

For more than 30 years the Islamic regime and its apologists have tried to dismiss women's struggle in Iran as part of a western ploy. ~ Azar Nafisi

The fact is I don't know what I want, and I don't know if I am doing the right thing. I've always been told what is right - and suddenly I don't know anymore. I know what I don't want, but I don't know what I want,' she said, looking down at the ice cream she had hardly touched. ~ Azar Nafisi

There is seldom a physical description of a character or scene in Pride and Prejudice and yet we feel that we have seen each of these characters and their intimate worlds; we feel we know them, and sense their surroundings. We can see Elizabeth's reaction to Darcy's denunciation of her beauty, Mrs. Bennet chattering at the dinner table or Elizabeth and Darcy walking in and out of the shadows of the Pemberley estate. The amazing thing is that all of this is created mainly through tone - different tones of voice, words that become haughty and naughty, soft, harsh, coaxing, insinuating, insensible, vain.
The sense of touch that is missing from Austen's novels is replaced by a tension, an erotic texture of sounds and silences. She manages to create a feeling of longing by setting characters who want each other at odds. ~ Azar Nafisi

Going away isn't going to help as much as you think. The memory stays with you, and the stain. It's not something you slough off once you leave. ~ Azar Nafisi

The negative side of the American Dream comes when people pursue success at any cost, which in turn destroys the vision and the dream. ~ Azar Nafisi

My passion has always been books and literature, and teaching. ~ Azar Nafisi

In the past 30 years, officials of the Iranian regime and its apologists have labeled criticism, especially with regard to women's rights, as anti-Islamic and pro-Western, justifying its brutalities by ascribing them to Islam and Iran's culture. ~ Azar Nafisi

I have two things to say to that, he said. First, none of us can avoid being contaminated by the world's evils; it's all a matter of what attitude you take towards them. And second, you always talk about the effect of "these people" on you. Have you ever thought about your effect on them? ~ Azar Nafisi

These women, genteel and beautiful, are the rebels who say no to the choices made by silly mothers, incompetent fathers (there are seldom any wise fathers in Austen's novels) and the rigidly orthodox society. They risk ostracism and poverty to gain love and companionship, and to embrace that elusive goal at the heart of democracy: the right to choose. ~ Azar Nafisi

That, of course, is what great works of imagination do for us: They make us a little restless, destabilize us, question our preconceived notions and formulas. ~ Azar Nafisi