Wednesday, June 27, 2018
The story uses the lyrical magic realism style of classical Persian storytelling. It is full of ghosts, jinns, spirits, mermaids and other creatures. While tragedy after tragedy befalls the family, the style of story telling and the fantastic elements in the narrative lighten the tone and make it bearable, even as the family face the loss of all they hold dear - their culture, literature and way of life, and their lives themselves.
Despite the complexities of the plot (it is not until chapter five that there is a sudden twist, and we start to realise the depth of the tragedy that has occurred), I enjoyed this book very much. The depictions of the kind of lives that cultured Iranians lived before the revolution was intriguing, given how Iran is portrayed in the media today as a repressive Islamic state. The family are depicted as book lovers, and the classical books named are from many cultures both Western and Iranian. The Blind Owl, an Iranian classic that I read earlier, is one that gets a mention. I found the blind owl hallucinatory and confusing, but this one is clearer, perhaps because it was written for a more western audience. One thing that struck me as a little odd was the narrator referring to her parents as "Mum" and "Dad" rather than using the titles that would be used for them in Iran. This is probably, again, because it was published in Australia for a western audience, but I felt that it constantly jolted me slightly out of the atmosphere of the story, and that a western audience could well handle Iranian titles for the narrators parents - after all, many other Iranian words are used. A small niggle - but it's the first book I've read in the course of this project in which this niggle has arisen.
Shokoofeh Azar was born in Iran in 1972. She studied literature at high school and university, and later worked as a journalist for an independent newspaper. In 2004, she became the first Iranian woman to backpack and hitchhike along the Silk Road. In 2010 she was forced to leave Iran, and was accepted as a political refugee by Australia in 2011. The Enlightenment of the Greengage Tree was published by Wild Dingo Press (Melbourne, Australia) in 2017.