Four of us so far have signed up to read and discuss Azar Nafisi's _Reading Lolita in Tehran_: John McCreery, Ceridwen Harris, Veronica Caley, and Mohammed Al-Ubaydii. To get things going, let me say that I have been reading and re-reading Part I.I (pages 3-37), something I rarely do. Partly my motivation is reading with others; I don't want my comments to be too superficial. But in large part, I find myself fascinated, both by the issues this opening section raises and the texture and fabric of Nafisi's writing, in which key images appear, slip away as the reading continues, then suddenly reappear in a manner than enriches their meaning. Thus, for example, on page 7, she writes, "Each girl, as soon as she reaches the door, takes off her robe and scarf, sometimes shaking her head from side to side [their robes, their scarves, their shaking their heads becomes a recurring motif]. She pauses before entering the room. Only there is no room, just the teasing void of memory." The room itself is a key symbol [a room of her--the author's--own and a room of their--her and her students' own; and, yes, the allusion to Virginia Woolf is deliberate]. Three paragraphs later, it reappears in the comment, "That room, which I never paid much attention to at that time [but she now seems obsessed with], has gained a different status in my mind's eye now that it has become the precious object of memory." Now, reduced to a memory, its being is now no different from other, fictional rooms--albeit, she says, it once was real, a sharp and intense echo of the seminar's and the book's theme, the relation of fiction to reality. Looking back at the previous page, I return, then, to the sentence, "But to steal the words from Humbert, the poet/criminal of _Lolita_ [now, it seems to me, a curious tricksy embodiment both of the men who deny the reality of women's individuality by subsuming them in their fantasies and, simultaneously, of the "poet/criminal" status of the women who are, surreptitiously in Islamic Revolutionary Iran, reading _Lolita_]...but, the quote continues, "I need you, the reader, to imagine us, for we won't really exist if you don't." As a sociologist/social anthropologist who has read George Herbert Mead, Peter Berger and Thomas Luckman, I am tempted to say, "Ah, hah, these women's individuality will remain unreal unless others, we readers, recognize and thus rescue it from the obliteration symbolized by the robes and scarves that reduce them to an ayatollah's idea of Woman instead of individual women. Great example of the social construction of reality..." But this is no conclusion, only a rough sketch on the way to understanding that texture and fabric I mentioned, that make this particular work of literary art far more than just an example of a theorist's general rule. I wait with bated breath to discover what catches my fellow readers' eyes. John L. McCreery The Word Works, Ltd. 55-13-202 Miyagaya, Nishi-ku Yokohama, Japan 220-0006 Tel 81-45-314-9324 Email mccreery@xxxxxxx "Making Symbols is Our Business" ------------------------------------------------------------------ To change your Lit-Ideas settings (subscribe/unsub, vacation on/off, digest on/off), visit www.andreas.com/faq-lit-ideas.html