Sadeq Hedayat is the most famous and the most enigmatic Iranian writer of the 20th century. This book is the first comprehensive study of Hedayat's life and works set against the background of literary and political developments in a rapidly changing Iran over the first half of the 20th century. Katouzian discusses Hedayat's life and times and the literary and political circles with which he was associated. But he also emphasises the uniqueness and universality of his ideas that have both influenced and set Hedayat apart from other Iranian writers of the period and that have given him a mystique that has been instrumental in his posthumous success with acclaimed works such as The Blind Owl. This second edition is fully revised and updated to reflect on recent debates and scholarship on Sadeq Hadeyat.

This edited collection brings together the foremost authorities on Sadeq Hedayat's work.

Tells the story of an unnamed pen case painter, the narrator, who sees in his macabre, feverish nightmares that "the presence of death annihilates all that is imaginary. We are the offspring of death and death delivers us from the tantalizing, fraudulent attractions of life; it is death that beckons us from the depths of life. If at times we come to a halt, we do so to hear the call of death... Throughout our lives, the finger of death points at us." The narrator addresses his murderous confessions to the shadow on his wall resembling an owl. His confessions do not follow a linear progression of events and often repeat and layer themselves thematically, thus lending to the open-ended nature of interpretation of the story.

The title story, Three Drops of Blood, follows the protagonist's increasingly unstable mental state through the repeated occurrence of three drops of blood, while 'Hadji Murat' depicts an almost Joycean epiphany in classically understated terms, as a man mistakes another woman for his wife. These are stories which, though set in a distinctive milieu, deal with universal truths and cut to the very essence of humanity.

The Myth of Creation [Afsaneh-ye Afarinesh] is one of the earliest works by Iran's best-known twentieth-century writer, Sadeq Hedayat, whose popularity outside Iran is due mostly to his short novel, The Blind Owl. Little has been written in critical literature about this work, perhaps because critics find the subject matter too sensitive for its generally Jewish, Christian and Moslem audiences. Given the general plot line of this story, Hedayat demonstrates an open skepticism towards the three major Middle Eastern religions, particularly Islam, by casting the characters of his story in the form of puppets. This suggests that even the "creator," as perceived by these three religions, is a mere puppet controlled by unseen hands.