In Erin and Iran, ten essays by North American and European scholars discuss parallel themes in and interactions between Irish and Iranian cultures. In the first section three essays explore common elements in pre-Christian Irish and pre-Islamic Iranian mythologies, common elements that have often been pointed out by scholars of Indo-European mythology but rarely examined in detail. In the following section four essays address literary subjects, ranging from medieval romances such as Tristan and Isolde and Vis and Ramin to twentieth-century novels such as James Joyce’s Ulysses and Simin Daneshvar’s Savushun. In the last section three nineteenth-century travelogues are presented, two written by Irish travelers to Iran and one written by an Indo-Persian traveler to Ireland. Together, these studies constitute the first-ever collection of articles dealing with cultural encounters between the Irish and the Iranians.

A Fire of Lilies examines the role of Persian literature in the politics of the tumultuous period of Iranian history from 1950 to 2000, illustrating how intellectuals used poetry, plays, novels and short stories to comment on socio-political developments. It analyses how Persian intellectuals dealt with censorship, suppression, imprisonment, exile and even execution for the sake of expression of free speech. The book offers a strong empirical perspective, as Karimi-Hakkak has participated in the events he is writing about.
 

Islamicate Sexualities: Translations across Temporal Geographies of Desire explores different genealogies of sexuality and questions some of the theoretical emphases and epistemic assumptions affecting current histories of sexuality. Concerned with the dynamic interplay between cultural constructions of gender and sexuality, the anthology moves across disciplinary fields, integrating literary criticism with social and cultural history, and establishes a dialogue between historians (Kathryn Babayan, Frédéric Lagrange, Afsaneh Najmabadi, and Everett Rowson), comparative literary scholars (Sahar Amer and Leyla Rouhi), and critical theorists of sexualities (Valerie Traub, Brad Epps, and Dina al-Kassim).

As a whole, the anthology challenges Middle Eastern Studies with questions that have arisen in recent studies of sexualities, bringing into conversation Euro-American scholarship of sexuality with that of scholars engaged in studies of sexualities across a vast cultural (Iberian, Arabic, and Iranian) and temporal field (from the tenth century to the medieval and the modern).

Diverse approaches to sensoria in Persian literature.

We experience art with our whole bodies, yet traditional approaches to Persian literature overemphasize the mind—the political, allegorical, or didactic—and ignore the feelings that uniquely characterize aesthetics. Losing Our Minds, Coming to Our Senses rediscovers the sensuality of Persian art across period, genre, and artist. Through readings of such well-known writers as Rumi and lesser-known artists as Hossein Abkenar, the authors demonstrate the significance of sensoria to the rich history of Persian letters.

Pearls of Meanings offers a collection of essays by J. T. P. (Hans) de Bruijn, a pivotal and leading scholar of Persian studies. The volume covers a number of essential domains of Persian culture, with a particular emphasis on poetry and Sufism. Poetry and the reception of Persian literature in Europe both play pivotal roles in these essays, thereby representing the studies of a generation of Persian cultural scholars such as A. Reland (1676–1718), C. H. Ethé (1844–1917), J. F. von Hammer-Purgstall (1774–1856), and E. G. Browne (1862–1926). Pearls of Meanings is an essential cornerstone for scholars working in Persian studies.
 

The dynamic and interconnected ways Afghans and Iranians invented their modern selves through literature.

Contrary to the presumption that literary nationalism in the Global South emerged through contact with Europe alone, Reading across Borders demonstrates how the cultural forms of Iran and Afghanistan as nation-states arose from their shared Persian heritage and cross-cultural exchange in the twentieth century. In this book, Aria Fani charts the individuals, institutions, and conversations that made this exchange possible, detailing the dynamic and interconnected ways Afghans and Iranians invented their modern selves through new ideas about literature.

Fani illustrates how voluntary and state-funded associations of readers helped formulate and propagate "literature" as a recognizable notion, adapting and changing Persian concepts to fit this modern idea. Focusing on early twentieth-century periodicals with readers in Afghan and Iranian cities and their diaspora, Fani exposes how nationalism intensified—rather than severed—cultural contact among two Persian-speaking societies amidst the diverging and competing demands of their respective nation-states. This interconnected history was ultimately forgotten, shaping many of the cultural disputes between Iran and Afghanistan today.

What does it mean to be human? Humanism has mostly considered this question from a Western perspective. Through a detailed examination of a vast literary tradition, Hamid Dabashi asks that question anew, from a non-European point of view. The answers are fresh, provocative, and deeply transformative. This groundbreaking study of Persian humanism presents the unfolding of a tradition as the creative and subversive subconscious of Islamic civilization.

Exploring how 1,400 years of Persian literature have taken up the question of what it means to be human, Dabashi proposes that the literary subconscious of a civilization may also be the undoing of its repressive measures. This could account for the masculinist hostility of the early Arab conquest that accused Persian culture of effeminate delicacy and sexual misconduct, and later of scientific and philosophical inaccuracy. As the designated feminine subconscious of a decidedly masculinist civilization, Persian literary humanism speaks from a hidden and defiant vantage point-and this is what inclines it toward creative subversion.

Arising neither despite nor because of Islam, Persian literary humanism was the artistic manifestation of a cosmopolitan urbanism that emerged in the aftermath of the seventh-century Muslim conquest. Removed from the language of scripture and scholasticism, Persian literary humanism occupies a distinct universe of moral obligations in which "a judicious lie," as the thirteenth-century poet Sheykh Mosleh al-Din Sa'di writes, "is better than a seditious truth."