The text follows five women as they escape Tehran, shrug off dreary brothers and husbands, and — aided by the occasional, benevolent dollop of magical realism — find their way to a garden refuge. Rooted at the center of this botanical sorority, Mahdokht the tree-human is cared for and cultivated by the other women. She is also their witness, keeping time with her gradual growth to the loneliness and struggle that mark their isolated existences.
November 21, Written with humour, irony and a flair for the absurd — elements that also feature in this series of mystifying, somewhat disjointed, even disturbing interconnected tales that make up Women without Men — it not only offers vital clues to some of the characters, but rare insights as well into the kind of Iranian family the author herself was born into.
What emerges from this note and from the narratives it follows is a telling portrait of women living in an oppressive society bound by strict religious tradition.
In doing so, some evolve in startling ways. Mahdokht, for example, escapes a life of ennui and repressed sexual longing by finding fulfilment as a tree.
The other women protagonists eventually gather in the same garden, but Parsipur makes it clear that fairy-tale endings are not for everyone.
Farrokhlaqa, for instance, a middle-aged aristocrat of considerable means, submits to the sexual demands of a husband she despises, while lusting for another man. Munis must die twice to be resurrected and reborn.
Zarrinkolah is more fortunate. A prostitute, whose daily sessions with unknown men are so mechanical that she ends up in a perennial hallucinatory state, where all men appear headless, shorn of identity and, therefore, indistinguishable, she finds her way to the magical garden, marries the Kind Gardener and conceives.
Ironically, she is the only one who finds fulfilment in marriage. In following the trajectory of these women, we travel through different worlds, one of aspiration, the other of difficulties in its realisation, one of dreams, the other of grim reality, one replete with violence and bloodshed — both at the political level set in Iran of the s, these narratives have as their backdrop a Tehran in the grip of civil unrest following the CIA-orchestrated coup of and at the personal rape, suicide, murder, accidents — the other suffused with fantasy.
|The Feminist Press — Book Review: Shahrnush Parsipur's Women Without||Hanaway From the Reviews: Women Without Men is both about an idea of life and an idea of literature, that is, not only about what it means to be a woman in Iran but how to write about it.|
But neither is complete in itself. Although she now lives in exile like some of her fellow Iranian women writers, Azar Nafisi and Kamin Mohammadi, Parsipur stands out for daring to publish the Persian version of her novella in while still living in Iran.
Parsipur, however, has had the last laugh:World Without Men is based on a novel by Shahrnush Parsipur, and weaves together the women's lives in complex and enigmatic ways. Women Without Men is showing with a new short film.
The oppression of women in Iran’s male-dominated culture and the power inherent in female solidarity are the themes of Parsipur’s ingenious “novel,” which is composed of thirteen related stories depicting five abused women whose assertions of their independence take vivid symbolic forms.
Many differences exist between Men Without Women and Women Without Men and the cultural contexts illustrated in the two works. Women Without Men focuses particularly on the stifling social restrictions that box in female characters, who grapple with gendered norms alongside a more personal ennui.
Shahrnush Parsipurs Women Without Men A Review And Critique Harvard Case Study Solution and Analysis of Harvard Business Case Studies Solutions – Assignment HelpIn most courses studied at Harvard Business schools, students are provided with a case study.
Parsipur, however, has had the last laugh: inspiring an award-winning film by Shirin Neshat (who wrote the Foreword to this novella), Women without Men is destined to live on despite the best. The film "Women Without Men" exemplifies the strong, beautiful, and poignant style that has marked the still photographic works of Shirin Neshat.
With its myriad of layers, the film is infinitely complex - weaving together both national and gender politics.