An Analysis of Reading Lolita in Tehran

Sarah Miller

Comparative Politics: IR 155

 2

Azar Nafisis novel, Reading Lolita in Tehran, gives readers a portrait of life in

Iran, and particularly highlights the oppression experienced by women in the aftermath of

the 1979 Iranian Revolution and ensuing conflict with Iraq. In this paper, I will begin by

giving an overview of the novels plot and key characters, followed by and intermixed

with an analysis of the story within its political and cultural contexts. Finally, I will

conclude by discussing the significance of the novel itself in light of Irans more recent

social and political climate.

Nafisi, an English professor, begins by introducing readers to a dream that she

fulfilled during her final years living in Iran: a dream of discussing great works of

literature with her best and most dedicated students. She organized this discussion group

by choosing seven of her most exceptional female students and hosting the group at her

home every Thursday morning.

Reading Lolita in Tehran is divided into four sections, each characterized by an

author or work of literature. The first focuses on Nabokov, whose works, Invitation to a

Beheading and Lolita, are especially relevant to the women studying them because they

are stories of tyranny and the confiscation of one individuals life by another (Nafisi,

33).

In the second section, Nafisi describes her groups study of The Great Gatsby, as

well as the revolutionary events occurring during her return to Iran in 1979. Nafisi helps

the women to see a link between Gatsbys story and their own: they each had been denied

certain dreams as a result of the revolution, just as Gatsbys own dream was destroyed.
 3

Henry James Washington Square and Daisy Miller become the focus of the third

section, which Nafisi uses to help her university students appreciate empathy, or rather, a

lack of empathy, which is what they experienced on a daily basis living under

Khomeinis oppressive regime. Nafisis female students especially admired Daisys

courage, something they aspired to have in the face of danger and oppression.

Nafisi also describes the events of the eight-year war with Iraq, and her personal

experiences with air raids, blackouts, and missile attacks. When the war ended, however,

there was little relief for Nafisi and her fellow Iranians. The length and brutality of the

war, including the U.S. support of Iraq, permitted the conservative religious leaders and

their supporters to further consolidate their power and to justify repression of their

people (Osanloo, 417). Khomeini was working to protect Iran from outside forces such

as the United Kingdom and the United States, as well as to further the goals of an Islamic

government through the Velayat-e Faqih (Osanloo, 417). The oppression was just

beginning.

Nafisi delves further into communicating the extent of this oppression in the

fourth and final section. She comments that, living in the Islamic Republic is like having

sex with a man you loathe (329).

In the midst of such tyranny, Nafisi and her students utilize literature as a means

of exploring the relationship between imagination and reality, and the way that great

literature not only provides an escape from reality, but also causes one to think

imaginatively about reality. Nafisi says, I formulated certain general questions for [the

students] to consider, the most central of which was how these great works of
 4

imagination could help us in our present trapped situation as women (19). Nafisi and her

students were not looking for a quick fix or an easy solution, but rather for hopefor

new eyes with which to view their present circumstances as well as to envision their

future.

The seven women who participate in Nafisis discussion group are introduced to

readers as they enter Nafisis home for the first time. There is shy and graceful Mahshid,

who chose to wear the traditional Islamic headscarf long before the 1979 revolution.

However, following the revolution, all women were expected to embody virtue, modesty,

and the authentic Islamic Iranian ideal. This would in turn reflect the legitimacy of the

post-revolutionary state (Osanloo, 434). When the revolution imposed the wearing of the

headscarf upon all Iranian women, Mahshid was not relieved of the loneliness she felt in

being one of the few who had worn the headscarf voluntarily. She had chosen to wear it

as a testament to her faith and piety, but, when the revolution forced the scarf on others,

her action became meaningless (Nafisi, 13).

Mahshids plight reflects that of many Iranian women who lost their freedom of

choice and were robbed of the pride they may have taken in choosing to or to not wear

the headscarf. However, as the rest of the young women featured in Nafisis story

demonstrate, there is still a great deal of diversity in spite of the revolutions demands.

There is the easily excited Manna, who wishes to wear hot pink or bright red, because

the Islamic Republic coarsened [her] taste in colors (Nafisi, 14). Then there is the wild

and flamboyant Azin who adorns herself with gold earrings, lipstick, and a kimono style

robe. In contrast to Azin is Nassrin, who dresses in shapeless black or navy robes, and
 5

even wore the chador for a period of time. The remaining three include the calm and

reserved Mitra, Sanaz, who wishes for independence but also needs approval from her

family and society, and then rebellious Yassi, the youngest and most humorous in the

group.

Each of these women, Nafisi included, had a unique identity, story, and

background, but, Nafisi says, the regime that ruled them had tried to make their personal

identities and histories irrelevant (28). They were defined simply as Muslim women, and

the veils, robes, and headscarves were the visible manifestation of that common identity.

While the wearing of these coverings has been a significant part of Iranian

womens experience with oppression, it is far from being the only, or even most

important part. Nafisi is careful not to let it overshadow other issues that women must

deal with, such as the lack of legal and social liberties. She describes the difficulties of

courtship and dating, the lowering of the marriage age, the fatal punishments for

adultery and prostitution, and the many problems revolving around marriage and child

custody laws.

In her article, Womens Rights, Writing and Education in Iran, Rouhangiz

Shiranipour describes the increase in restrictions on womens rights after the Family

Protection Law was abolished. Relating her own experiences following the revolution,

Shiranipour says that, the papers are full of horrific news of atrocities against women

committed by their husbands when they file for divorce . . .violence in the family is seen

as a private matter and not as a crime, so nothing is done about it (35).

 6

While the increased attention given to women following the revolution may have

led to improvements in womens health, literacy, education, and labor force participation

(Osanloo, 435), it is clear that there is still a great discrepancy in the value of a mans life

compared to a womans. During a conversation in the back room of a caf, Yassi

describes Iran as a mans paradise and Azin agrees, pointing to the marriage and

divorce laws and relaxed restrictions on polygamy as examples (Nafisi, 335). It is

important to note that they were seated in the back room because unaccompanied

women were not permitted in the main part of the restaurant.

Azar Nafisi finally left Iran in 1997. In her epilogue, she writes of Iranian

citizens growing demand for freedom and democracy. But even as liberties increase,

raids, arrests, and public executions persist.

Just like Gatsby, Pride and Prejudice, Daisy Miller, and many other great literary

works that may not mirror a readers own exact circumstances and experiences, Reading

Lolita in Tehran should do more than simply provide an escape or distraction. It should

cause a reader to see similar situations with empathy and compassion, as well as to

question the legitimacy of oppressive institutions, such as those in Iran. Reading Lolita in

Tehran is one book that most artistically and movingly brings to light these particular

institutions.
 7

Bibliography

Nafisi, Azar. 2003. Reading Lolita in Tehran: A Memoir in Books. New York, NY:

Random House Trade Paperbacks.

Osanloo, Arzoo. 2013. Case Studies in Comparative Politics. D. J. Samuels (Ed.). New

York, NY: Pearson Education, Inc.

Shiranipour, Rouhangiz. 2002. Womens Rights, Writing and Education in Iran.

Changing English: Studies in Culture and Education 9 (Issue 1): 35-45.