![]() There is no sensationalism, also no sentimentality, no pity, no self-aggrandizement, no admonitions, no autobiography, no con-fessions. As we begin to dis-tinguish its various fields, we always perceive more and more the extent to which they intersect there are no chadorS in Tannaz Farsi’s The Points of Departure, no women dressed head to toe in black, no women with guns, no references to oil or to war, no explosions or threats of explosion, no rapes, murders, or drone-assisted assassinations, no lashings, executions, or torture, no ston-ings of women accused of adultery, no hit-and-runs, no suicide bombings, no fountains of blood. ![]() There is not a single one of the divisions, a single one of the double sides that the function of vision presents, that is not manifested to us as a labyrinth. In this matter of the visible, everything is a trap, and in a strange way-as is very well shown by Maurice Merleau-Ponty in the title of one of the chapters of Le Visible et l’invisible- entrelacs (in-terlacing, intertwining). SIMIN BEHBAHANI, “Twelve Fountains of Blood” It must be asked.Don’t keep it a secret, if you hear anything about it. Brothers, what happened to her shirt in the thick of the night?What was her sin? Tell me.
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