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Tells the story of an unnamed pen case painter, the narrator, who sees in his macabre, feverish nightmares that "the presence of death annihilates all that is imaginary. We are the offspring of death and death delivers us from the tantalizing, fraudulent attractions of life; it is death that beckons us from the depths of life. If at times we come to a halt, we do so to hear the call of death... Throughout our lives, the finger of death points at us." The narrator addresses his murderous confessions to the shadow on his wall resembling an owl. His confessions do not follow a linear progression of events and often repeat and layer themselves thematically, thus lending to the open-ended nature of interpretation of the story.
The Iranian writer Sadeq Hedayat is the most influential figure in twentieth-century Persian fiction--and the object of a kind of cult after his suicide in 1951. His masterpiece The Blind Owl is the most important novel of modern Iran. Its abrupt, tortured opening sentence, "There are sores which slowly erode the mind in solitude like a kind of canker," is one of the best known and most frequently recited passages of modern Persian. But underneath the book's uncanniness and its narrative eccentricities, Michael Beard traces an elegant pastiche of familiar Western traditions. A work of advocacy for a disturbing and powerful piece of fiction, his comprehensive analysis reveals the significance of The Blind Owl as a milestone not only for Persian writing but also for world literature. The international, decentered nature of modernist writing outside the West, typified by Hedayat's European education and wide reading in the Western canon, suggested to Beard the strategy of assessing The Blind Owl as if it were a Western novel. Viewed in this context, Hedayat's intricate chronicle challenges the very notion of a national literature, rethinking and reshaping our traditions until we are compelled, "through its eyes," to see them in a new way. Originally published in 1990. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Following a disjointed, vision-like structure, The Blind Owl is the nightmarish exploration of the psyche of a madman. The narrator is an ailing, solitary misanthrope who suffers from hallucinations, and his dreamlike tale is layered, circular, driven by its own demented logic, and punctuated with macabre and surreal episodes such as the discovery of a mutilated corpse, and a bizarre competition in which two men are locked in a dungeon-like room with a cobra. Initially banned in the author's native Iran, the novel first appeared in Tehran in 1941 and became a bestseller. Full of powerful symbolism and terrifying imagery, this dark novella is Hedayat's masterpiece.
This is the long-awaited story of Alan Wilson, musical genius and co-founder of Canned Heat. Biographer Rebecca Davis Winters journeys through his artistic innovations, tormented personal life, obsessive love of nature, and mysterious death. A key figure in the 1960s "blues revival", Wilson participated in the rediscovery of Delta blues legend Son House and wrote scholarly analyses of House and Robert Pete Williams. He went on to co-found pioneering blues-rock band Canned Heat, becoming an unlikely rock star. Known as "Blind Owl", he was responsible for the hit songs "Going Up the Country" and "On the Road Again".
This is the long-awaited story of Alan Wilson, musical genius and co-founder of Canned Heat. Biographer Rebecca Davis journeys through his artistic innovations, tormented personal life, obsessive love of nature, and mysterious death. A key figure in the 1960s "blues revival", Wilson participated in the rediscovery of Son House, and wrote scholarly analyses of House and Robert Pete Williams. He went on to co-found pioneering blues-rock band Canned Heat, becoming an unlikely rock star. Known as "Blind Owl", he was responsible for the hit songs "Going Up the Country" and "On the Road Again".
In this fascinating book, wildlife expert and enthusiast Warner Shedd refutes popular animal myths like squirrels remembering where they bury nuts, wolves howling at the moon, and oppossums "playing dead." Have you ever seen a flying squirrel flapping through the air, watched a beaver carrying a load of mud on its tail, or ducked when a porcupine started throwing its quills? Probably not, says Shedd, former regional executive for the National Wildlife Federation. Offering scientific evidence that refutes many of the most tenacious and persevering folklore about wild animals, Owls Aren't Wise & Bats Aren't Blind will captivate you with fascinating facts and humorous anecdotes about more than thirty North American species-- some as familiar as the common toad, and others as elusive as the lynx. Owls Aren't Wise & Bats Aren't Blind is an entertaining dose of scientific reality for any nature enthusiast or armchair adventurer.
In "Novel Folklore," Jason Reza Jorjani offers a revolutionary interpretation of "The Blind Owl," revealing Hedayat's complex appropriation of libertine Gnostic and antinomian Tantric ideas. On Jorjani's reading, "The Blind Owl" is ultimately about the "Imaginal" metamorphosis of humans into higher beings...
Author : Michael M. J. Fischer Publisher : Duke University Press Page : 487 pages File Size : 22,99 MB Release : 2004-09-06 Category : Performing Arts ISBN : 0822385511
Over the past decade Iranian films have received enormous international attention, garnering both critical praise and popular success. Combining his extensive ethnographic experience in Iran and his broad command of critical theory, Michael M. J. Fischer argues that the widespread appeal of Iranian cinema is based in a poetics that speaks not only to Iran’s domestic cultural politics but also to the more general ethical dilemmas of a world simultaneously torn apart and pushed together. Approaching film as a tool for anthropological analysis, he illuminates how Iranian filmmakers have incorporated and remade the rich traditions of oral, literary, and visual media in Persian culture. Fischer reveals how the distinctive expressive idiom emerging in contemporary Iranian film reworks Persian imagery that has itself been in dialogue with other cultures since the time of Zoroaster and ancient Greece. He examines a range of narrative influences on this expressive idiom and imagery, including Zoroastrian ritual as it is practiced in Iran, North America, and India; the mythic stories, moral lessons, and historical figures written about in Iran’s national epic, the Shahnameh; the dreamlike allegorical world of Persian surrealism exemplified in Sadeq Hedayat’s 1939 novella The Blind Owl; and the politically charged films of the 1960s and 1970s. Fischer contends that by combining Persian traditions with cosmopolitan influences, contemporary Iranian filmmakers—many of whom studied in Europe and America—provide audiences around the world with new modes of accessing ethical and political experiences.