Fetneh: Perspectives on Cosmopolitan Women in 1940S Tehran

By Ali Dashti

Reza Shah Pahlavi introduced policies that altered the lives of Iranian women radically. For the first time, women entered into modern sectors of the economy, family laws were modified, the unveiling was enforced, and the government established public coeducational primary schools. The rapid development of women’s schools, in spite of bitter clerical objection, was one of the primary means for women’s awakening in this period. The mid-1930s also saw the opening of higher education to women and enrollment of over seventy female students in 1936–37 at the University of Tehran.

Reflecting on this radical change in the infrastructure of Iran’s social scene, Ali Dashti wrote his collections of short stories and essays—Fetneh, Jadoo, Hindu, and Sayeh—in which he analyzed the attitudes of upper-class women caught between the traditional and modern Europeanized societies of Tehran. These books are testaments to the courage of Ali Dashti to document the situation in Iranian society so accurately. With his assertive voice, he underlined the short stories with the actual political and social changes in Iran.

Dashti’s humanistic ideas and his regard and high expectations for the human race, especially for women, are beyond time and place. The quality debates on the subject of human rights and gender equality presented in his short stories, written about a century ago in Iran, are only recently surfacing in the Western world.

• Language: English
• Publisher: Xlibris US
• Release date: May 28, 2019
• ISBN: 9781796022902

Ali Dashti

Ali Dashti (1894-1982) was an Iranian author, journalist, essayist, literary critic, and social analyst, as well as a prominent political figure during the regime of Pahlavi. Dashti was a polemicist and a leader of public discourse. His confrontational style of writing and his position in politics made him both an acclaimed politician as well as a sensitive novelist. Dashti was the author and translator of more than twenty-three books. Dashti started his daily, Shafaq-e-Sorkh [Red Dawn], a forthright publication through which readers became acquainted with his nationalistic ideas and quest for lawfulness. His style of writing, courage, and honest criticisms not only provided guidelines for lawful governing but also opened a new chapter in Iranian literature. At the end of World War II, Russia withdrew its army from northern Iran, but it still held claim to the oil of this area. Between the years 1923 and 1945 (eight terms in all), Dashti was a member of the House of Representatives, the Majles, and, along with Dr. Mohammad Mosaddeq, opposed the demands of the Russians. In the spring of 1946, he gave a rousing speech against the Russians as well as the government of Prime Minister Qavam-al-Saltaneh for supporting the treaty. Following this speech, he was arrested and put in jail. In mid-October, Dashti left for Europe and spent twenty months in France, where he mastered the French language and also got to know some of the great French authors of the time personally. After serving as ambassador to Egypt from late 1948 to early 1951, he returned to Tehran, and, for a brief time in 1951, he was a minister in the short-lived cabinet of Prime Minister Hossein Ala. In 1953, the Shah of Iran, Mohammad Reza Pahlavi, appointed Dashti to the senate, where he served with distinction until 1979. During that period, he also served as Iran’s ambassador to Lebanon (1963). Reza Shah introduced policies that altered the lives of Iranian women radically. He built an authoritarian state, promoted secular and modernizing systems, and controlled and repressed the clerical resistance to them. For the first time, women entered into modern sectors of the economy, family laws were modified, the unveiling was enforced, and the government established public coeducational primary schools. The rapid development of women’s schools, in spite of bitter clerical objection, was one of the primary means for women’s awakening in this period. Reflecting on this radical change in the infrastructure of Iran’s social scene, Dashti wrote his collections of short stories and essays—Fetneh, Jadoo, Hindu, and Sayeh—in which he analyzed the attitudes of upper-class women caught between the traditional and modern, Europeanized societies of Tehran. These books are testaments to the courage of Ali Dashti to document the situation in Iranian society so accurately. With his assertive voice, he underlined the short stories with the actual political and social changes in Iran. Dashti’s humanistic ideas, his regard and high expectations for the human race, especially for women, are beyond time and place. The quality debates on the subject of human rights and gender equality presented in his short stories, written about a century ago in Iran, are only recently surfacing in the Western world. Following the 1979 Islamic Revolution in Iran, the new government banned Dashti’s publications and put him under lock and key—he was then in his eighties. He was on his deathbed when he was released from prison and died on January 16, 1982, at the age of eighty-seven.

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COPYRIGHT © 2019 BY ALI DASHTI.

LIBRARY OF CONGRESS CONTROL NUMBER:   2019903386

     ISBN:           HARDCOVER               978-1-7960-2292-6

                          SOFTCOVER                 978-1-7960-2291-9

                          EBOOK                           978-1-7960-2290-2

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

This is a work of fiction. All of the characters, names, incidents, organizations, and dialogue in this novel are either the products of the author’s imagination or are used fictitiously.

Any people depicted in stock imagery provided by Getty Images are models, and such images are being used for illustrative purposes only.

Certain stock imagery © Getty Images.

English Translation by Sayeh Dashti

Rev. date: 05/08/2019

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CONTENTS

About the Author

Introduction

1     Fetneh

2     The Events of that Night

3     Two Letters

4     Book Six

5     Death of a Mother

6     The Last Resort

7     Silence and Your Gaze

8     Derangement

9     The Final Correspondence

10   Her Eyes

11   Letter by a Woman

Books by Ali Dashti

About the Author

Ali Dashti (1894-1982) was an Iranian author, journalist, essayist, literary critic, and social analyst, as well as a prominent political figure during the regime of Pahlavi.

Dashti was a polemicist and a leader of public discourse. His confrontational style of writing and his position in politics made him both an acclaimed politician as well as a sensitive novelist. Dashti was the author and translator of more than twenty-three books.

Dashti started his daily, Shafaq-e-Sorkh [Red Dawn], a forthright publication through which readers became acquainted with his nationalistic ideas and quest for lawfulness. His style of writing, courage, and honest criticisms not only provided guidelines for lawful governing but also opened a new chapter in Iranian literature.

At the end of World War II, Russia withdrew its army from northern Iran, but it still held claim to the oil of this area. Between the years 1923 and 1945 (eight terms in all), Dashti was a member of the House of Representatives, the Majles, and, along with Dr. Mohammad Mosaddeq, opposed the demands of the Russians. In the spring of 1946, he gave a rousing speech against the Russians as well as the government of Prime Minister Qavam-al-Saltaneh for supporting the treaty. Following this speech, he was arrested and put in jail. In mid-October, Dashti left for Europe and spent twenty months in France, where he mastered the French language and also got to know some of the great French authors of the time personally.

After serving as ambassador to Egypt from late 1948 to early 1951, he returned to Tehran, and, for a brief time in 1951, he was a minister in the short-lived cabinet of Prime Minister Hossein Ala. In 1953, the Shah of Iran, Mohammad Reza Pahlavi, appointed Dashti to the senate, where he served with distinction until 1979. During that period, he also served as Iran’s ambassador to Lebanon (1963).

Reza Shah introduced policies that altered the lives of Iranian women radically. He built an authoritarian state, promoted secular and modernizing systems, and controlled and repressed the clerical resistance to them. For the first time, women entered into modern sectors of the economy, family laws were modified, the unveiling was enforced, and the government established public coeducational primary schools. The rapid development of women’s schools, in spite of bitter clerical objection, was one of the primary means for women’s awakening in this period.

Reflecting on this radical change in the infrastructure of Iran’s social scene, Dashti wrote his collections of short stories and essays—Fetneh, Jadoo, Hindu, and Sayeh—in which he analyzed the attitudes of upper-class women caught between the traditional and modern, Europeanized societies of Tehran. These books are testaments to the courage of Ali Dashti to document the situation in Iranian society so accurately. With his assertive voice, he underlined the short stories with the actual political and social changes in Iran.

Dashti’s humanistic ideas, his regard and high expectations for the human race, especially for women, are beyond time and place. The quality debates on the subject of human rights and gender equality presented in his short stories, written about a century ago in Iran, are only recently surfacing in the Western world.

Introduction

In the first days after its publication (at the end of 1323 [1945]), Fetneh elicited a storm of criticism. Unfortunately, my preoccupation with politics at that time prevented me from paying proper attention to those interpretations and judgments to read them thoroughly, and to respond to them accordingly. I confess that my procrastination and lack of attention to them, at the time, was mostly due to my neglect.

Now that the second edition is ready for publication, I feel more regret. Why did I not save those comments? Not to make sure that I respond to each, one by one, but because careful observation of the sources of those appraisals (either positive or negative) could have added to my joy; their faultfinding could have helped me polish my work to the best of my ability.

Nevertheless, such oversight is not going to be a barrier to vaguely recall the general nature of those criticisms and not to attempt to clarify some of the dark points. In doing so, I appreciate the efforts of my scholarly friend, Mr. Moshfeq Hamedani, who asked me to write an introduction to the second edition of Fetneh. I welcome this opportunity to bring some clarity regarding the book Fetneh.

1) A number of people have condemned Fetneh for not following Farsi grammatical rules. That is possible. Aside from some unintentional spelling errors, my lack of commitment to abide by Farsi grammar in every detail and my taste in choice of words, my disagreement with some of the undesirable rules of Farsi grammar are noteworthy. In this new edition, I hope to correct as many of these errors as possible.

2) Some of the readers have found fault with my writing because I have used too many foreign words. Indeed, if there is the possibility of using a Farsi term, which could communicate the same meaning, choosing a foreign word is not only unnecessary, but it is a handicap. However, there are many meanings and concepts which do not exist in our language. Even if they do, they sound odd and unfamiliar to the reader. That is to say, the word does not fit the meaning precisely. Therefore, a writer is forced to select a foreign word. In this edition, I have kept such criticism in mind and have tried to omit foreign words without sacrificing the meaning. Luckily, these days writing and translating have become more common, and the new generation is creating fresh concepts in our language. I believe this effort is much simpler than the first time when some of the stories of Fetneh became public.

3) I do not understand how some women believe that a biased opinion against them drives the pen that has written Fetneh. This thought is entirely untrue and seems to be the result of the stereotypical attitude most of us have to remain aloof and not tolerate any criticism.

No negative attitude toward the delicate race is behind the book of Fetneh. On the contrary, within some of the stories, there is clear objection towards dishonesty and the unstable nature of men regarding their emotions. If a woman is called calculating, it is not to find fault in women but, instead, I have noted that this characteristic is part of her defense mechanism and the only means she has used to protect herself. If a woman is deceitful, if she lies or schemes in sexual matters, it is because the lawmakers of society have forced her to do so. These are her weapons to survive, just as running is for a deer, poisonous bite for the snake, and horn for a buffalo. If women were free and equal to men (specifically in economics, social, and moral obligations), most probably they would not lie, scheme, or be deceitful any more than men. If women did, it would be in the same territory as men who cheat, lie, and keep score—more in their profession, class status, personal, and in general regarding their careers, making money, satisfying their ambitions.

4) One of the ladies, in a gathering, was arguing with me by objecting, If your negative attitude towards women is not your motif, why have you portrayed all women as cheaters and off the rails of chastity…

I told her that I had no such intention. If someone wrote a detective story, in which he described the criminal, it does not mean that he considers all individuals to be thieves and criminals.

The lady said, Then why have you selected bad women as the protagonists of your story? Why is there no mention of thousands of good women, dedicated wives, or devoted mothers? Why have you not included them as good examples and instead you have tried to highlight exceptional cases which devalue and bring shame upon women?

Of course, I tried to make her understand that I am not a good storyteller. I have only noted down some of my thoughts. Besides, since there are thousands and millions of dedicated wives and mothers, one does not write about them. An author usually chooses themes that are exceptional and extraordinary. Furthermore, why should rare instances disturb the community of women in general? There are always morally incorrect people in every class of society. Are there not thieves, traitors, and cheaters amongst men?

The cultured ladies realize that a writer usually discusses noble characters. One should not generalize these exceptions and assume that in the mind of an author all women should be imagined as such.

5) Other critics—mostly husbands—have believed that this book is not ethical. At a party, a lady was telling me confidentially that her husband had destroyed her two copies of Fetneh, one by tearing it up and the other by seizing it and giving it to someone else.

A psychiatrist who is a good friend of mine and a fan had been worried because his wife had fallen in love with the book Fetneh. He could not resist complaining about the book directly to me. I followed my usual method of arguing; I took a position of defending the opposite point of view. I argued, "These days a writer differs from a moralist. A writer is more of a craftsman or a medical practitioner. When he writes about a subject matter, he is writing as a matter of industry, where the technique of writing is the purpose and the goal, not as a means to an end. Alternatively, he might try to examine a particular emotional or psychological state of mind through writing. Here, he or she does not engage in the issue of the morality of the subject matter. Indeed, if an author writes only to please people, and adheres to stereotypical points of view, he loses his value. By this approach, the techniques of writing become trapped within a very limited horizon. There should be no limitation or barriers for a writer to present his art.

I must add here, however, not only is there no immorality in the pieces in Fetneh, on the contrary since our society is in desperate need of moral affirmation, writing such a book had become a challenge. Our writers in this country do not have the intellectual freedom or the flight of imagination of the European writers.

In my essays, I have magnified the wrongdoing by the characters of the stories out of proportion. I assume that is what ethical writing expects—that deviating from the path of righteousness has serious consequences.

6) Fetneh’s style of writing has been criticized for being monotonous and lacking variety.

I cannot defend that. I can only point to two facts: First is that I do not have the talent of being a writer and have no experience in the art of writing stories. I have not worked in this field and have only written essays as a hobby. If a person’s profession or career is to be an author, he must bring more variety to his writings and must challenge his creative mind to bring excitement to his materials. Secondly, my purpose to write on such a theme has been to voice some critical facts. Creating stories has been a hobby and a test of my storytelling talent, to express some of my thoughts and imaginations. Unquestionably, there is a good possibility that the above criticisms are valid. Unfortunately, I will not be able to correct them in this edition. I hope that our young writers who are familiar with different styles of European storytelling can further improve on and perfect this style of writing.

I hope that the readers of this edition will make an effort and inform me of all the shortcomings of the book. Not only do I not take offense, I will be thankful to be able to polish my work further.

Ali Dashti

Tighestan, Elahieh

Tir 5, 1327 [June 26, 1948]

Fetneh

1

FETNEH

So I create,

Hundreds of images.

I bestow life upon my creations.

You show your true face, when you do.

I burn them all in fire, as I will.

—Jalal ad-Din Rumi, ghazal 1463

We chose to watch the beautiful summer moonlight; we vowed not to touch the cards but talk instead.

Many of the magnificent gardens and golden fields of Shemiran were visible from the balcony of the house where we had gathered. The winding roads, dry hills, and dark hillocks had changed the monotonous scene to create a charming view. The bright lights of the city, from a distance, shone like a strand of pearls and diamonds decorating the flowing hair of a woman.

Before a dispute could break out among the people present, our hostess asked us to be silent. She was well aware that a difference in ideas or taste among the people of this town usually resulted in heated arguments—both sides went too far in their discussions, so she requested everyone to be silent. Then she began, The day before, when I asked Mr. Faramarz to dinner, I made him promise to tell us the story of a love affair between Hormuz and Fetneh, from beginning to end.

Not only did Faramarz have an excellent memory and a large circle of friends from the society of partygoers, but he was also an outstanding speaker who could warm up any crowd. Besides, he was a very close friend of Hormuz’s and knew the details of his life.

The enthusiastic and curious eyes of the guests turned toward Faramarz. Meanwhile, one of the ladies commented, Hormuz’s love affair is one of those interesting items.

Another woman said, Why does it matter? Faramarz could turn an anecdote into one of the seven wonders of the ancient world. That is why his stories are worth hearing.

Faramarz said, Those who know Hormuz from a distance have the right to think of him as an unstable man who is driven by his impulses, charms, and temptations. All beautiful women attract him, and to reach them, he does not hesitate to face any challenges. If you were to question him, however, he would say, ‘These are the women who seek me out and find me.’ He believes, ‘Love is a type of affliction. No one would voluntarily go after an ailment; the illness finds him. At most, one who has a more prone temperament is struck down with it sooner. Here is my weak point: I am extremely vulnerable to this disease.’ The subject I am narrating here is from about a month ago…

*         *         *

It was one of the hot afternoons of late Khordad (June). I was passing by the French Embassy a short while after sunset. I saw Hormuz wandering there. His attire was, as usual, elegant, formal, stylish, and selected with exquisite taste. However, something was missing—a hidden imperfection, a mysterious flaw—like dust on a crystal dish that does not allow you to see its shine. His forehead, like the autumn’s rainy afternoons, was down and gloomy, his shoulders bent. I am confident he would have passed me by if I had not called him; he seemed confused and preoccupied with his thoughts.

I could tell that my voice disturbed or even disgusted him. Hormuz looked like a person who was preoccupied with solving a very complicated matter and did not want anyone to bother him. After a long gaze, his face resumed its usual charming, honest look. He was like a man who was suddenly happy to have found safety and shelter.

In spite of what Hormuz says about women and love—and somehow teases them both—his sole goal in life is women. In his opinion, If all the treasures of the world vanished, but women were there for us, life would be beautiful and livable. However, if there were no women—if the light of their smile did not shine on the darkness of life—all the joys of life would be soulless, cold, and out of balance.

Whenever it was our intention to persuade Hormuz to talk about some love affair, we would start by talking about women, knowing how sensitive he was about the subject. For that reason, that evening, without introduction and like someone who knew about this problem, half serious and half teasing, I began, One should not become so fated and bitter to see the world as so dark, all because of a woman.

He ignored my bluff. Like a person who was ready for a debate, he said, Why? There are many young people with hearts filled with hope and dreams. Alternatively, there are many men in good mental and physical health, filled with ambition, who have committed suicide because of a woman. That means they were no longer able to tolerate the sunlight, the same light which gives life to our planet.

I grinned. Certainly, this is very common among the proud, lightheaded youth, whose horizon of imagination and desires is limited and whose ability to tame their urges is so inadequate. However, for a mature individual, it should be different.

Hormuz impatiently shook my arm and said, If you have such a talent to talk about trivial matters, why don’t you write such articles for newspapers and magazines? The problem is that we do not know the capacity of people to handle pain and suffering. Is it not unfair to accuse people of being ignorant when death has shut their mouths and they cannot tell us what kinds of maddening storms have hollered into the depths of their souls or what kinds of tortures made their lives bitter?

Like an attorney defending his client in court, Hormuz continued rigorously, Without those desires, without sweet dreams, life is nothing more than a boring and meaningless entity. For the people who have left the paradise of apathy, only one thing, one thought, and one idea might still make life beautiful, give warmth to the sunlight, make the spring breeze invigorating and the moonlight filled with love. Once that one force leaves, life becomes meaningless and worthless. For some people, that notion is so valuable and essential that once it disappears, not only does life have no attraction; it becomes unbearable.

With the same cold indifference that could drive any troubled person to an even more perturbed state, I continued, That man who kills himself for a woman, if he practices patience, will eventually get another woman, more beautiful and more provocative.

Hormuz agonized, Are you saying that the woman one loves is like a diamond or a jewel that one can find on the market with a bit of patience and money? Heaven forbid, if that person is born sensitive and is an idealist, then not all women are the same for him. Individuals with these types of temperaments go after their ideal; they fall in love with a woman who matches all their concealed desires and ambiguous dreams. A woman with these qualities is very rare. Therefore, these people can easily let go of life for the sake of that woman…

At this point, Hormuz was, in fact, talking to himself. Very slowly and softly, he was murmuring, "Sometimes, from the eyes of a woman, a ray of light is shed on our souls, unlike anything else, anywhere, in all layers of the skies. Sometimes a woman smiles at you, a smile that not the morning star nor the freshness and the youth of the light of dawn on the peaks of the snow-covered Alborz Mountains, nor the glow of the moonlight on clear