Reading Lolita in Tehran Essay -- Literary Analysis, Azar Nafisi

Azar Nafisi, the fabricator of Reading Lolita in Tehran A Memoir in Books (2003), is a self-centered, self- proficienteousness character who, according to her claim, has very little take on with other Iranian people in general. (p. 11, 74, 186, 169) Being very American (p. 175), in several incidents she knocks herself in a great distance of what others distinguish as custom, ordinary or natural. (p. 32, 98, ..) Bear that in mind, she also admits that events in her mind have become confused (p. 89) Yet, do these shortcomings mean that Nafisi is an fallible narrator? Should the fact that there is a lot she does not hit the hay about events or can only relate from hearsay, put cardinal on guard against her judgments?In the first pages of the text, the narrator functions primarily to designate a representational frame inwardly. At first, like a television camera she presents an overall perspective, which is elucidating life in the Islamic Republic of Iran. An attitude that go forth always hover above the scenes to come that invites the reader to see the total scenes and outlines under its shadow. Afterwards, the cameras perspective changes as it introduces the close up image through two photographs. In these photographs, the reader is made present with seven young woman who, in accompany with their teacher Nafisi, shape a literary group to discuss literature. These photographs, however, perform another monumental task they are complementary in the narrative discourse. While the narrator addresses the reader repeatedly and directly she almost desperately asks them to be a part of the scene. The two photographs, being effectively graphic, almost instinctively take over the reader with the text. In this manner, taking the reader, the narrator esta... ...ngs are leaning against the wall, the vases are on the floor, the fireplace is in the corner, the love seat is against integrity wall and the peach couch is facing the window. Therefore, at the end of the description, one, inevitably, feels a sense of familiarity with the living room as well as the narrator. As the narrator changes perspective, the audience respectively adopts the narrators point of gaze and sees and experiences events as she sees and experiences them. The same attitude, repeats in introducing the girls via the photos, as the narrator does not find it adequate to merely name the girls, she points out to their specific place within the photo. As if the reader is holding the photo, she indicate the one to the far right is Manna, Yassi is the one in yellow, bending forward and bursting with laughter, I am the one in brown. (p. 4)