Graphic Nonfiction by Mana Neyestani

Translated from the Persian by Ghazal Mosadeq

From cartoonist Mana Neyestani, a graphic memoir of censorship and prison in Iran.

Navigation

Click the Next button to read the story.

Definitions

Iran Jomeh: Jomeh means Friday, the day of the Muslim week-end. In Iran, Friday is a non-working day for most people.
Azeri: A dialect of Turkish spoken in the country of Azerbaijan and in the province of Azerbaijan in Iran. "Azeri" can also refer to people of Azerbaijani Turkish origin.
Ministry of Information: The primary intelligence agency of the Islamic Republic, empowered to make arrests and close newspapers or magazines.
General Custer and the Sioux: General George Armstrong Custer was a U.S. army officer in the so-called "Indian Wars" of the 1860s-70s, battling the Sioux and other indigenous armies. He was eventually killed by the Sioux in a battle known as "Custer’s Last Stand .

First published in English in Words Without Borders' December 2011 collection: Writing from Iran.

for An Iranian Metamorphosis
https://wwb-campus.org/literature/an-iranian-metamorphosis

Mana Neyestani

Television image of Neyestani during an interview with VOA Persian, 2010.

Iranian cartoonist Mana Neyestani was born in Tehran. For several years, he worked for the government magazine Iran. His use of an Azeri word for "cockroach" in a children's cartoon published in May 2006 triggered riots among the Azeri minority, already persecuted by the Iranian government. The newspaper closed and Neyestani spent months in prison. Upon his release he emigrated to Malaysia and now lives in Paris. He received the Courage in Editorial Cartooning Prize from the Cartoonists Rights Network International in 2010.

Ghazal Mosadeq (translator)

Ghazal Mosadeq is an award-winning writer and poet. She is the winner of the Bayhaqi Short Fiction Prize and was shortlisted for the Khorshid Poetry Prize. She has published three poetry collections, Dar Jame Ma (2010), Biographies (2015), and Supernatural Remedies for Fatal Seasickness (2018). Her poems and short stories have been published in anthologies and magazines in Iran, Canada, the UK, Portugal, and Greece. Actively involved in creating and promoting a dialogue between Persian and English literary traditions, she has embarked on translation from Persian to English and vice versa, and is involved in leading and producing creative writing workshops in Iran, the UK, and Canada. She is the editor of the Saan Literary Quarterly in Iran and a member of the jury for the Haft Eghlim Literary Award, as well as for the Jamalzadeh Award for Nonfiction.

Links available online only

Meet Mana Neyestani

It all started with a roach. Every cartoonist in Iran knows the day will come, but no one could've believed that it would start this way . . .

Find out how Neyestani became a cartoonist in an interview with The Comics Journal.

Then watch Neyestani draw, and listen to him tell the story behind "Metamorphosis," in the film below. (In Persian, with English subtitles.)

(Watch on YouTube.)

Hear the Names

Listen to pronunciations of the Persian terms in this story, read aloud by Mandana Naviafar.

(Listen on SoundCloud)

Children's Lit Under Fire

Iran is far from the only place where there are controversies over children's literature! Watch an American Library Association video featuring the "Top Ten" most challenged books in the US.

Next, listen to a panel on National Public Radio discuss "What people miss in the conversation about banned books." The panelists point out that comics are often among the most frequently banned books in U.S. schools. (We suggest starting around 12:55.)

Finally, hear from writers in an ABC News article: Authors of color speak out against efforts to ban books on race.

Why the Protests?

Tabriz university, where protests against Neyestani's cartoon first began. By Meisam, 2006. CC 3.0 license.

Shoghie, Neyestani's Azeri cellmate, explains that "Only one cartoon or one newspaper is not the issue. The problem is the history of ignorance" and prejudice against Azeris.

An article from a non-partisan Washington think tank contains some factual errors but makes the same point, suggesting that protests against the cartoon reflected a larger issue: "resentment in Iranian Azerbaijan about the region’s economic and social difficulties."

The article goes on to note that Persian attitudes towards Azeris are "well captured in the phrase 'Torki khar' (Turkish donkey), used by Persians in reference to Azeris, whom they regard as the 'muscle' of the Iranian economy to be dominated by Persian 'brains.'"

You can read the entire article: "Iranian Azeris: A Giant Minority" on the Institute's website. However, please note that there are serious errors! For example, the article calls Neyestani an "ethnic Azeri cartoonist."

Iranian novelist and essayist Salar Abdoh, whose work also appears in this unit, writes of Azeris in Iran:

Perhaps out of every three Persians I know, at least one is somehow related to an Azeri, man or woman. The Azeri/Persian relationship is complicated, seeing that save for the last dynasty, most of the royal lines going back a very long time have been Azeri Turkish. Therefore, it is not as cut and dried as that between Persians and other ethnicities. Also the economic might of Azeris in Iran sets them apart. They occupy high levels of power in government and business and therefore are a deeply integral part of the structure of the country.

You can read more about "Iran's Ethnic Azeris And The Language Question" in an article from the Radio Free Europe (a U.S. government-funded media organization).

"The Islamic Republic says that the Azeris are happy in the Iranian state," but is that actually true? Learn why fully answering this question is so difficult, and find out more about the perceived “threat” of Azeri nationalism, in an article from the Middle East Institute.

Why Neyestani?

Mana Neyestani on Voice of America TV, 2010. Public domain.

Why was Neyestani personally targeted? In the early aughts, entire newspapers were shuttered in Iran, but by the mid-aughts, the BBC found that the government was focusing instead on "individual journalists and executives . . ." You can find out more about the media landscape in Iran during the era of this story in this article from the Council on Foreign Relations. (The article starts with a discussion of the mass protests and repressions following the 2009 election.)

Neyestani and Da Vinci

After he is put in prison, Neyestani's interrogator asks him to "write about the Iranian cartoonists that you know"---that is, to report on other cartoonists. In the next panel, at the bottom of page 18, Neyestani seems to be sitting at a dinner table with his colleagues---a reference to the famous Leonardo da Vinci painting The Last Supper, of Jesus eating with his disciples, one of whom has betrayed him to the Roman authorities.

Leonardo da Vinci's painting The Last Supper. Public domain.

For more on the painting, visit the Web Gallery of Art.

In his own story, Neyestani tries not to be a "Judas," writing only unimportant information about the other cartoonists.

Whose Metamorphosis?

Read the Czech-German novella that inspired Neyestani's Metamorphosis, or watch a Spanish film of that story.

(Watch on YouTube)

A Scholar's Notes on “An Iranian Metamorphosis”

Amir Arian

Scholar Amir Arian provides some historical context for this work in the introduction to Iranian literature on WWB Campus:

In 2006, Mahmoud Ahmadinejad was elected president. Under his direction, the Ministry of Cultural Guidance soon reversed the relatively tolerant policies of the Khatami years and put in place a brutal censorship regime. Once again, a generation of writers, those who had come up under Khatami, simply stopped writing or migrated elsewhere. However, by this point, thanks to the reformist movement, censorship rules had been irreversibly eased. Despite the heightened risk under Ahmadinejad, cartoonists and humorists returned to the press after a long absence and boldly took on politicians as well as the values of Iranian society, making themselves vulnerable to public outrage or persecution. Mana Neyestani’s “An Iranian Metamorphosis,” in this collection, is an extreme example of how this increased room for maneuvering put the artists’ and journalists’ lives at risk.

Background on Iran

New to learning about Iran? Take a look at the country’s profile on encylopedia.com(scroll down for more information about modern Iranian history).

Alleyway in Hamoomchaal, by Kamyar Adl. License: CC BY 2.0.

Links available online only

More from Translator Ghazal Mosadeq

Neyestani's translator Ghazal Mosadeq is herself an author. Read her short story Ney Boulevard, about Iranian immigrants in Paris.

Reading Banned Literature in Iran

Iranian author and journalist Habibe Jafarian.

Read Habibe Jafarian's memoir of growing up as book-loving girl in Iran's most religious city: For the Love of the Books.

Other Prisoners

Shahrnunsh Parsipur. Photo by Mahgameh Parvaneh, 2010. Public domain.

Read an interview with journalist Pouyan Khoshhal, who, like Neyestani, was thrown in Iranian prison over a single word.
Then, read the memoir-essay "Prison Echoes" by Shahrnush Parsipur, one of Iran's most celebrated---and censored--woman novelists (translated by Sara Khalili)
Finally, get a Washington Post reporter's perspective on his own recent imprisonment in Iran, which he says is "more complicated than good versus evil."

In and Out of Evin Prison

Evin House of Detention, 2008. By Ehsan Iran, CC BY 2.0, via Wikimedia Commons.

Read another "Kafkaesque" story about Evin Prison: Photo of Smiling Political Prisoners in Iran’s Evin Prison Lands One in Prison Known For Harsh Conditions.

Then, hear from the prisoners' families who "set up a protest camp outside the prison", in this New York Times article.

Azeris in Iran: A "History of Ignorance"

Neyestani's cellmate complains about a "history of ignorance" about Azeris. Learn about Azeri culture and "the two Azerbaijans," one an independent republic, the other in Iran, in this dated but still helpful article: Azerbaijan.

Then, read a BBC Persian article about the protest and the Iranian government's response, which included tear gas.

Finally, listen to a song by Davod Azad, a popular Azeri musician.

Writing for Children in Dangerous Times

Neyestani began as a political cartoonist, but as Iran's government became more oppressive, he switched over to children's cartoons because they seemed "less risky . . . Boy, can I be wrong!"

Eighty years ago, Russian writers living under the murderous leader Stalin tried this strategy, too. Watch a video of poet and artist Vladimir Mayakovsky's children's book What Is Good and What is Bad?

According to the book, it is good to "keep no secrets," avoid walking in thunderstorms, and brush your teeth. (Watch on YouTube)

Then, find out what happened to Mayakovsky and the other Russian poets and artists who, like Neyestani, "turned to writing for children" in this Guardian article.

The Train of History

Neyestani's cellmate Shoghie tells him: "We have no personal problems with you or other journalists but on the way towards the ideal there's a good chance some people get crushed under the train of vicissitudes. "

In post-Soviet Russia, people described their lives with the same metaphor. Read an oral history of a man who spent his teenage years in the Gulag, one of millions of innocent people "thrown from the moving train."

General Custer and the Sioux

To find out more about what happened between General Custer and the Sioux leader Crazy Horse (which was very different from what happened between Neyestani and his cellmate Shogie!) watch this long-form BBC documentary.

Major-General George A. Custer. By Elizabeth Bacon Custer, 1877. Public domain.

Iran's Drinking Culture

In the memoir, a colleague advises Neyestani to "hide any alcohol." Alcohol is officially banned by the clergy in Iran, but people still find ways to obtain it, and alcoholism remains an issue.

Read a New York Times article about alcoholism and drinking culture in Iran.

A Cockroach, or Something "More Mysterious"?

Czech-German writer Franz Kafka, 1932. Public domain.

Neyestani connects "An Iranian Metamorphosis" to an earlier story, the Czech-German writer Franz Kafka's "Metamorphosis." Most people who've read Kafka's story in English remember it being about a man who transforms into a cockroach. But was it really? Unravel the mystery in this article from openculture.com.

More Writing That "Crosses the Frame"*

On WWB Campus:

From Russia, The Only True Guide to Russia. Belying the tongue-in-cheek claim in its title, this cartoon collection includes fantastical stories of remote-controlled bears, Kremlin-created frost, and more.
From Japan, the magical realist story Once Upon a Swing.
Also, from Japan, The Memory and The Farside, short stories that both depict narrators who "break the fourth wall," revealing themselves as actors in the events they are describing.

Elsewhere: Blending fact and fantasy:

Art Spiegelman's Maus: narrating true events from Spiegelman's father's experiences during the Holocaust, these works of graphic nonfiction depict all the characters as literal animals: Jews as mice, Christians as pigs, etc.
Kafka's The Metamorphosis, The Trial, and other works.

Elsewhere: Breaking the fourth wall:

Chaucer's The Canterbury Tales
Cervantes' Don Quixote
William Thackeray's Vanity Fair
Virginia Woolf's To the Lighthouse and Orlando.

*For Teaching Idea 2

Related Reading

A Short Guide to Being the Perfect Political Refugee - Graphic Nonfiction

The Only True Guide to Russia: Hidden Secrets Revealed - Graphic Fiction

The Gringo Champion - Fiction