The modern history of Iran—here called Persiran—is reflected in the story of one aristocratic family. The (fictitious) Poonaki family spans just three generations, beginning with twin princes (the sons of the Shah and a concubine) and ending with another set of twin brothers. One of the twins, the narrator of the novel, living now in Boston, relates the family’s stories that have come to him through a somewhat surreal chain of events. A hapless young storyteller, evicted from his own tearoom, has spent nine days and nights imprisoned by the Islamic revolutionary guards; there he shares a cell with a former surgeon, an adopted member of the Poonaki family. Each night, his cellmate relates another part of the family’s saga. The storyteller will eventually get the opportunity to retell—and to record—these nine nights of stories. 

The narrator’s own life story, culminating in the ambiguous death of his twin brother, is intertwined with that recorded narrative. (The book’s title refers to the nine nights in digital numeration, playing on the original 1001 Nights.)  The first Poonaki twins, royal princes, inhabit a world of tradition and luxury until age 12, when their older brother, the newly crowned Shah, decides to separate them—a decision that will change their lives dramatically. They survive the critical period of the 1906 Constitutional Revolution, when the twin princes exchange places, to better understand the forces of revolution and monarchism. One of them is spared execution by the Shah, only by the abject pleading of his brother. But the family—like the monarchy and the constitution—is doomed, as the narrow clerical vision of “building the kingdom of God on Earth” finally prevails. The twin princes each have one child: the cousins Lili and Nima. They fall in love, marry, and in time become part of the inner circle of Mohammad Reza—the last Shah, deposed by Khomeini’s 1979 revolution. In the view of their son, the narrator, they have abandoned the traditional role of the aristocracy as a counterweight to the Shah, to become part of his sycophantic court.

The episodes of the novel take place in a palace and a mosque; a village and a harem; a tearoom, a whorehouse, and a prison. The characters travel through deserts and mountains, in European cities and landscapes, and even to the battlefront with Iraq. There are moments of comedy and farce as well as many of tragedy, and we get to know an array of vivid characters of various nationalities and social levels, including several memorable women. Throughout runs an important theme: the storyteller’s obligation to tell his stories.  

1001: Persiranian Stories of Love and Revenge - Kindle edition

1001: Persiranian Stories of Love and Revenge - Paperback 

I attended the UNH graduate writing program well over 35 years ago. My professor, Thomas Williams (winner of NATIONAL BOOK AWARDS 1975), advised me to write short stories before attempting a novel. "Novels can drown you if you are not an experienced swimmer." Boy was he right. My second short story, the Mirror Triptych, got hold of me (just the title should have been a warning to me), and twenty-five years later comes this novel. 

My goals began nobly enough. I wrote to remind the young of the contrast between the high-mindedness of the 1906 revolution and the cynical power grab of the 1979 revolution; a protest against a regime that has tried to create a break in the continuity of our history by attempting to erase art and culture. 

Inexperience fed the structure and, when young, oh, what a tangled web we can weave. Throw up the juggler's batons one by one. To catch them as they fell took a lifetime's practice. It is a complex novel, no doubt, but I promise it does not end with shortcuts. I am still hounded by the feeling that I might have a loose end. None of my readers have found any. It is not a who-done-it but a why-done-it. Three "I" narrators -- a mad surgeon of the late Shah, an obese tea room owner, and a gay scion of an aristocratic family -- all tell the story of the Poonaki family. 

Michael Ondaatje writes: “The first sentence of every novel should be: ‘Trust me, this will take time but there is order here, very faint, very human.’" When writing about a different culture, the usual difficulties with names and places make the first fifty pages sometimes difficult. Please persevere. There is order here. 

Ann F.

5.0 out of 5 stars  ::  A great work of literature and of historical fiction. 

Reviewed in the United States on March 21, 2017

This fascinating and complex novel beautifully depicts the story of a princely family in Iran over three generations. The structure is inspired by 1001 Nights and the traditions of epic storytelling, and abounds with carefully woven twists and turns. Gharagozlou masterfully paints the picture of life under the dictatorship of the inflexible and imperious Shahs, followed by the equally repressive regime of the mullahs after the 1979 revolution.  

firooz

5.0 out of 5 stars  ::  Enchanting writing and a great story 

Reviewed in the United States on November 27, 2016

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What a fantastic story. The author has a magical way of putting words together in a way that entertains and enthralls the reader. He doesn't merely write, he paints a vivid and colorful picture that pulls you in and holds. I thoroughly enjoyed the experience and look forward to reading Mr. Gharagozlou's next effort.  

John P. Tyler

4.0 out of 5 stars  ::  Like a Russian nesting doll

Reviewed in the United States on January 31, 2017

The primary current of Mr. Gharagozlou’s novel is the rise and ultimate demise of one of the royal families of late 19th and 20th century Persia/Iran.

Like a Russian nesting doll, the novel unfolds the perspectives and life experiences of several primary and secondary characters drawn from different time periods and social classes.

This convention of tale spinning allows the novel to establish both the context of people and events yet maintain the immediacy and richness of the lives related throughout the story.

The tale’s narrator reaches out to a university historian of the epoch to relate the story of his family’s history and involvement in many of the more significant events in the last century’s transformation of old Persia to the Iran of the late 20th century.

The narrator in turn speaks through the voice of a man who represents a last vestige of the country’s long tradition of oral history, the Story Teller.

The Story Teller relates his experience listening to the tales told by a relation of an old and recognized offshoot of the country’s royal family, the Doctor.

The doctor in his turn becomes the novel’s primary narrator and it is through his eyes that we learn of the growth, prosperity and fall of one of Persia’s leading families.

It is through correspondence with the university historian and the Story Teller that the narrator is able to conjure the past and breathe life into people and events.

All convey an objective nostalgia for what was and what could have been. At no time is cause chained to effect in the form of apology or explanation, rather lives are witnessed without judgment.

Throughout the story, the reader witnesses an epoch, a country and a culture as it approaches our own times.
The reader encounters personalities that are both a reflection of their times and act as witness to the future unfolding of events.

The novel treats it various themes ranging from love and sexuality to revenge and impersonal violence with the voice of a story teller in the grandest tradition, leaving the reader to explore a world both fascinating and poignant.
Throughout lies the intertwined stories of its memorable characters as they both live through and act in the blossoming and then inexorable decline of part of the world’s cultural heritage – both at the hands of individuals and through the geopolitical clash of world powers. Events central to the story include the Persian Constitutional Revolution of the early 20th century and the Iranian Revolution of the late 1970's.
Along the way, the reader experiences through the voices of the main protagonists the richness of a cultural heritage not yet remote, but at contrast with today.
If asked for a comparative reference point, I would liken this work to that of Michael Ondaatje due to the background of the compelling force of world events, the intertwined voice of perspective and an archaeology of passions and times remote.

Paola Nuri

5.0 out of 5 stars  ::  Amazing read by Yahya Gharagozlu

Reviewed in the United States on November 28, 2016

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Amazing literary work by Yahya Gharagozlu, it reminded me in its humor, wit, scope and style of "Midnight's Children" by Salman Rushdie. There is such verve and vigor at play in the narrative, and such genuine wonder. I recommend it highly and with much warmth in my heart. It's an enchanting, delicious, and at times heartrendingly moving read.

michaelN

5.0 out of 5 stars  ::  His complex story is spiced with love and hate

Reviewed in the United States on November 25, 2016

The framework of the book is a three generational saga of an established, well to do, and powerful family of an old and dying culture coming in contact with, and emulating the modern European way of life. The story, however, soon breaks down the stereotype and shares personal struggles through several political, social, and cultural upheavals-- and even one revolution—and portrays complicated journeys requiring surrender and adaptation for survival. The book is a story of family conflicts, sibling’s rivalry, cultural contrasts, nostalgia, and political intrigues, presented through a tortuous generational trip. Gharagozlou requires your full attention and your participation in the story as he takes you on a trip through the escapades of his characters in three continents. His complex story is spiced with love and hate, sexual tension, and murder. His characters seem real to the reader and she may at times think she has interacted with them around her parents' dinner table in large, or even cozy, gatherings. The writer's honesty in sharing his own intimate experiences, and those of the ones close to him, is endearing and brings the story to life. His occasional flirtation with magical reality gives a colorful touch to his story. This is not a book for a lazy afternoon's pre nap pleasure. Have a cup of coffee ready, and make it zesty with your favorite brandy: you need to be attentive when you are taking Gharagozlou's trip to explore his roots, real or imaginary.

SFK

5.0 out of 5 stars  ::  A twisting story, an exotic setting and masterful storytelling.

Reviewed in the United States on November 24, 2016

A wonderfully written story that weaves a griping family tale with a century of Persian history. The historical references are well researched and the personal stories painstakingly developed. Most appealing was the vulnerable voice of the storyteller that made it easy to feel a connection with the exotic characters and places. A delightful read.

sbna

5.0 out of 5 stars  ::  At the table of Marquez, Allende and Khaled Hosseini, set a seat for Gharagozlou

Reviewed in the United States on November 25, 2016

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I write as one who devours fiction in all its shades and hues. I honor anyone who can write a story from beginning to end. But it is rare - truly rare - to find the perfect blend of brilliant writing and great story telling. These books are the ones that settle into our souls, the characters become a part of our extended family, their travails and adventures influence us in unspoken ways, and they make us just a little better as people. Marquez, Allende, Khaled Hossein, Harper Lee... to this list I add Yahya Gharagozlou. If you like fiction you will love 1001. Needless to say in time when reality is proving a little to harsh for many of us, fiction like this is best imaginable gift.

Crystal

5.0 out of 5 stars  ::  Beautiful and gripping historical novel

Reviewed in the United States on December 12, 2016

This is one of those books that you finish reluctantly and can't stop thinking about. The writing is beautiful and the story, covering many locations and three generations, is gripping. I learned so much about modern Iranian history along the way. As soon as I finished reading it and tried to move on to something lighter, I found myself drawn back to reread some of this book again.