An Intimate Place Called Home: An Affective Reading of Azar Nafisi’s Things I’ve Been Silent About
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When Iranian American woman writer Azar Nafisi published her first memoir, Reading Lolita in Tehran: A Memoir in Books, in 2003, she became instantly famous—and notorious—in the world’s literary arena. Literary fame, in a way, appears to have distanced Nafisi from her Iranian homeland, and the practice of recollecting such a homeland is a dangerous and even incriminating act. Nafisi nevertheless continues to look homeward, and in 2009 published a second memoir, Things I’ve Been Silent About: Memories of a Prodigal Daughter, a record of intimate family matters inevitably overshadowed by public affairs. By digging into her most private memories about herself and her family members and recounting stories told by her parents, in this self-proclaimed “family memoir,” Nafisi breaks away from the imposed injunction of silence by Iranian culture and re-creates an intricate web of intimacies, upon which the memoirist builds her narrative of growing pains. In this paper, I offer an affective reading of Things I’ve Been Silent About by analyzing the way in which Azar Nafisi constructs such an intimate space called home through breaking silence and re-membering stories.
Abstract
When Iranian American woman writer Azar Nafisi published her first memoir, Reading Lolita in Tehran: A Memoir in Books, in 2003, she became instantly famous—and notorious—in the world’s literary arena. Literary fame, in a way, appears to have distanced Nafisi from her Iranian homeland, and the practice of recollecting such a homeland is a dangerous and even incriminating act. Nafisi nevertheless continues to look homeward, and in 2009 published a second memoir, Things I’ve Been Silent About: Memories of a Prodigal Daughter, a record of intimate family matters inevitably overshadowed by public affairs. By digging into her most private memories about herself and her family members and recounting stories told by her parents, in this self-proclaimed “family memoir,” Nafisi breaks away from the imposed injunction of silence by Iranian culture and re-creates an intricate web of intimacies, upon which the memoirist builds her narrative of growing pains. In this paper, I offer an affective reading of Things I’ve Been Silent About by analyzing the way in which Azar Nafisi constructs such an intimate space called home through breaking silence and re-membering stories.
참고문헌 (8)
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