"Not since the London of Joseph Conrad's Secret Agent has a city ticked with as much tense significance as the Tehran of Salar Abdoh's edgy, topical, yet deeply humane Tehran at Twilight."?Brad Gooch, author of City Poet "A remarkable meditation on violence, and on all the ways one bears witness to pain. Abdoh depicts a pulsating portrait of Tehran?a mad city of entrenched loyalties and corrupt alliances, of smugglers, hustlers, and lifelong runners, of forged documents and lost corpses."?Dalia Sofer, author of The Septembers of Shiraz The year is 2008. Reza Malek's life is modest but manageable?he lives in a small apartment in Harlem, teaches at a local university, and is relieved to be far from the blood and turmoil of Iraq and Afghanistan where he worked as a reporter, interpreter, and sometime lover for a superstar journalist who has long since moved on to more remarkable men. After a terse phone call from his childhood best friend in Iran, Reza reluctantly returns to Tehran. Once there, Reza finds far more than he bargained for: the city is on the edge of revolution; his friend is embroiled with murderous Shiite militants; his missing mother, who was alleged to have run off with a lover before the revolution, is alive and well; while his own life is in danger. Against a backdrop of corrupt mullahs, shady fixers, political repression, and the ever-present threat of violence, Abdoh offers a telling glimpse into contemporary Tehran, and spins a compelling morality tale of identity and exile, the bonds of friendship, and the limits of loyalty. Salar Abdoh was born in Iran, and splits his time between Tehran and New York City, where he is co-director of the Creative Writing MFA Program at the City College of New York.

"An important and timely book that should be required reading for anyone interested in understanding how the United States and Iran went from close allies to enduring enemies." -The Washington Post "Deserves a spot on the short list of must-read books on United States-Iran relations." -The New York Times The dramatic secret history of the undeclared, ongoing war between the U.S. and Iran. The United States and Iran have been engaged in an unacknowledged secret war since the 1970s. This conflict has frustrated multiple American presidents, divided administrations, and repeatedly threatened to bring the two nations to the brink of open warfare. Drawing upon unparalleled access to senior officials and key documents of several U.S. administrations, David Crist, a senior historian in the federal government, breaks new ground on virtually every page of The Twilight War. From the Iranian Revolution to secret negotiations between Iran and the United States after 9/11, from Iran’s nuclear program to the secretive and deadly role of Qasem Soleimani, Crist brings vital new depth to our understanding of “the Iran problem”—and what the future of this tense relationship may bring.

Informed by firsthand experience on the battlefronts of Iraq and Syria, Abdoh captures the horror, confusion, and absurdity of combat from a seldom-glimpsed perspective that expands our understanding of the war novel. "Abdoh's powerful novel follows an Iranian war reporter who is torn between his wearying job on the front lines and a civilian existence that he finds increasingly alienating. The book is as much a reflection on memory and art as it is a war story, and Abdoh's writing captures beautifully the absurdity of both the battlefield and modern life." —New York Times Book Review, Editors' Choice Saleh, the narrator of Out of Mesopotamia, is a middle-aged Iranian journalist who moonlights as a writer for one of Iran's most popular TV shows but cannot keep himself away from the front lines in neighboring Iraq and Syria. There, the fight against the Islamic State is a proxy war, an existential battle, a declaration of faith, and, for some, a passing weekend affair. After weeks spent dodging RPGs, witnessing acts of savagery and stupidity, Saleh returns to civilian life in Tehran but finds it to be an unbearably dislocating experience. Pursued by his official handler from state security, opportunistic colleagues, and the woman who broke his heart, Saleh has reason to again flee from everyday life. Surrounded by men whose willingness to achieve martyrdom both fascinates and appalls him, Saleh struggles to make sense of himself and the turmoil in his midst. An unprecedented glimpse into "endless war" from a Middle Eastern perspective, Out of Mesopotamia follows in the tradition of the Western canon of martial writers—from Hemingway and Orwell to Tim O'Brien and Philip Caputo—but then subverts and expands upon the genre before completely blowing it apart. Drawing from his firsthand experience of being embedded with Shia militias on the ground in Iraq and Syria, Abdoh gives agency to the voiceless while offering a meditation on war that is moving, humane, darkly funny, and resonantly true

A sweeping, propulsive novel about the families we are born into and the families we make for ourselves, in which a man struggles to find his place in an Iran on the brink of combusting Amid the alleyways of the Zamzam neighborhood of Tehran, a woman lights herself on fire in a desperate act of defiance, setting off a chain reaction of violence and protest. Haunted by the woman’s death, Issa is forced to confront the contradictions of his own family history, throughout which his late brother Hashem, a prominent queer artist in Tehran’s underground, defied their father, a skilled martial artist bound to traditional notions of honor and masculinity. Issa soon finds himself thrown into a circle of people living on the margins of society, negotiating a razor-like code of conduct that rewards loyalty and encourages aggression and intolerance in equal measure. As the city explodes around him, Issa realizes that it is the little acts of kindness that matter most, the everyday humanity of individuals finding love and doing right by one another. Vibrant and evocative, intimate and intelligent, A Nearby Country Called Love is both a captivating window into contemporary Iran and a portrait of the parallel fates of a man and his country—a man who acknowledges the sullen and rumbling baggage of history but then chooses to step past its violent inheritance.

The 1979 Revolution in Iran caused the migration of millions of Iranians, many of whom wrote, and are still writing, of their experiences. Formed at the junctions of Iranian culture, English language and Western cultures, this body of work has not only formed a unique literary space, offering an insightful reflection of Iranian diasporic experiences and its shifting nature, but it has also been making a unique and understudied contribution to World Literatures in English as significant as Indian, African and Asian writing in English. Sanaz Fotouhi here traces the origins of the emerging body of diasporic Iranian literature in English, and uses these origins to examine the socio-political position and historical context from which they have emerged. Fotouhi brings together, introduces and analyses, for the first time, a significant range of diasporic Iranian writers alongside each other and alongside other diasporic literatures in English. While situating this body of work through existing theories such as postcolonialism, Fotouhi sheds new light on the role of Iranian literature and culture in Western literature by showing that these writings distinctively reflect experiences unique to the Iranian diaspora. Analysing the relationship between Iranians and their new surroundings, by drawing on theories of migration, narration and identity, Fotouhi examines how the literature borne out of the Iranian diaspora reconstructs, maintains and negotiates their Individual and communal identities and reflects today's socio-political realities. This book will be vital for researchers of Middle Eastern literature and its relationship with writings from the West, as well as those interested in the cultural history of the Middle East.

An eye-opening argument for a new approach to Iran, from two of America's most informed and influential Middle East experts Less than a decade after Washington endorsed a fraudulent case for invading Iraq, similarly misinformed and politically motivated claims are pushing America toward war with Iran. Today the stakes are even higher: such a war could break the back of America's strained superpower status. Challenging the daily clamor of U.S. saber rattling, Flynt and Hillary Mann Leverett argue that America should renounce thirty years of failed strategy and engage with Iran—just as Nixon revolutionized U.S. foreign policy by going to Beijing and realigning relations with China. Former analysts in both the Bush and Clinton administrations, the Leveretts offer a uniquely informed account of Iran as it actually is today, not as many have caricatured it or wished it to be. They show that Iran's political order is not on the verge of collapse, that most Iranians still support the Islamic Republic, and that Iran's regional influence makes it critical to progress in the Middle East. Drawing on years of research and access to high-level officials, Going to Tehran explains how Iran sees the world and why its approach to foreign policy is hardly the irrational behavior of a rogue nation. A bold call for new thinking, the Leveretts' indispensable work makes it clear that America must "go to Tehran" if it is to avert strategic catastrophe.

Crime fiction set in Iran—including a finalist for the Shamus Award for Best PI Short Story. “Tehran Noir is not only a solid crime collection, but an illuminating look into day-to-day life in the Middle East, with religious and political implications galore, as well as racial tensions bubbling just beneath the surface. . . . The stories in Tehran Noir aren’t always easy to read, but they are engaging in the extreme.” —San Francisco Book Review Includes brand-new stories by Gina B. Nahai, Salar Abdoh, Lily Farhadpour, Azardokht Bahrami, Yourik Karim-Masihi, Vali Khalili, Farhaad Heidari Gooran, Aida Moradi Ahani, Mahsa Mohebali, Majed Neisi, Danial Haghighi, Javad Afhami, Sima Saeedi, Mahak Taheri, and Hossein Abkenar. “A stellar and diverse cast of Iranian writers. . . . A collection such as this is able to bring Iran to life for the foreign reader in a way other fiction and non-fiction cannot. . . . Superb.” —PopMatters