[REVIEW] "Women Without Men" by Written by Shahrnush Parsipur; translated by Faridoun Farrokh

 

At times we are met with books that go beyond simple narration, that define the voice of generations and of a country. It is undeniable to me that "Women Without Men" is one of those. The novella perfectly balances magical realism, uses a symbol to convey the feelings of the main characters, and historical truth, which defines strongly the tone of the narration.

The short story is set in Tehran, during the violent revolution of 1963, which was attempting to reinstall the Shariah in Iran. The outside violence plays for a grotesque frame for the climate of oppression and repression within families.

We are immediately introduced to Fai’za, a young woman hoping to marry Munis' brother, who takes a terrible risk to leave her house during the protests, to reach the friend's home and perhaps meet the object of her desires. In these pages, the interiority of these characters is fully explored through their relationship with the mysoginistic system: Fai’za is compliant, often judgmental, attempting to raise herself above her own status through her virginity and purity. On the other hand, Munis is well-educated, forced into obedience, and rebellious at heart. Due to a violent crime, Munis will radically change into a completely different creature, haunting her tantalizers, amongst which Fai’za herself.

Simultaneously, we are projected into a dream-like dimension, where Mahdokht, a young woman from a famous and rich family in the area, dreams of becoming a tree, right next to the river. Her life is limited by the historical and cultural expectations for a woman in Iran, and rebirth as an object appears as the only way towards liberation. Such a change strips her of the control men have over her body and the requests they have of her, and gifts her the independence and freedom that being female in the country would just not allow her.

Moreover, in Tehran, the life of the prostitute Zarrinkolah continues as usual. She started her practice young, and although she has thought of leaving multiple times, she has found a family in her brothel. One morning, she is called by the owner for an early customer. Begrudgingly, she accepts; however, this man is not like others she has met before. He has no head. Horrified, she attempts multiple rituals of purification, and chooses to leave this life, attempting to repent for her sinful conduct. She will head towards the countryside searching for her place in a world that has only seen her as a body, without thought.

The narration reaches its peak with the widow Farrokhlaqa, who is finding herself after many years stuck in an unhappy marriage with a selfish and disgusting older man. Finally free from the chains of marriage, she moves to the countryside, buying the home where Mahdokht is flourishing as a tree, abandoned by her family, and hoping to become a cultural center for Iran. Farrokhlaqa has aspirations to become a politician to change her world, and is hiding in the countryside to collect her thoughts, write poetry, and start her movement.

Here she will be reached by Fai’za and Munis, who have been sexually assaulted on the way outside of Tehran. Right after, Zarrinkolah will also take refuge in this place, working in the garden and establishing a loving relationship with the "Kind Gardener" of the mansion.

The seasons go by, the women change, and the wounds are healed. But life cannot exist outside of society, and they must go back to find their role in modern Iran.

The translator introduces the book with the following quote:

"Gabriel Garcìa Marquez once defined magic realism as the way in which his grandmother told stories to him; even when nothing made sense, he believed every word, first because she was his grandmother, second because she told her story with such conviction that he didn't dare to question her."

And I could not better explain the voice of the author, than a wise elder, retelling a cautionary tale to her grandchildren. The language is poetical, and the novella reads like a short poem, in which different women, all human and imperfect, look for freedom in a regime that allows for none.

I found especially interesting the use of physical characterization: Munis round face, which then becomes long after her change, Farrokhlaqa's modern and western beauty, symbolizing her desperate wish for political agency, Mahdokht's delicacy, strongly contrasting with the resilience of the tree, reflecting her inner world. 

Not only I find this story important, I find it fundamental during this time of gender struggles. 

⭐⭐⭐⭐