"A novel, then, that not only has an important bridging function between Western Europe and the Middle East, but is also exciting reading for all those who are interested in the Deadly Strangers amuse themselves, have fun with the lively dialogues and the hilarious descriptions of the everyday world of those who have arrived abroad,” says Wolfgang Schlott, who reviews Mahmood Falaki's new novel in his review at tabularasa.
You can find the full review here.
For a new article in the taz, Nassir Djafari met Shirin Sojitrawalla in Frankfurt's Palmengarten to talk about himself and his book "Mahtab". Here's a little foretaste: “Djafari tells the story exclusively from Mahtob's perspective. He modeled it on his own mother, he says in an interview. It's not her biography, but she is similar in type to her: reserved and quiet. Her husband Amin also reminds a little of his own father. He is a very
In an interview with UnterEins, Gerrit Wustmann talks about why "world literature" often only means "Western literature", who is to blame and what can be done about it. An interview worth reading that makes you think: Here is a small excerpt from the interview: Your book says: Whenever “world literature” is mentioned somewhere, for example in university lectures or on lists of the best, it is mostly about Western literature: European and Anglo-Saxon books. Perhaps some of you are also wondering: Is it enough? Why do we absolutely have to read Arabic literature, for example? what do you say
In the book podcast by Gabie Hafner from the radio program of the Munich church radio, Fariba Vafi's "An den Regen" was presented as a book tip. The podcast focuses on women in Iran. Here is a small excerpt from the podcast: Iranian author Fariba Vafi aims to create female characters and make voices audible that would otherwise remain silent. It is certainly also the authors of their generation who paved the way for younger women to articulate themselves openly. Here you can
