Iran Archives - Not Even Past

This is Democracy – Iran-Contra and its Legacies

In this episode, Jeremi and Zachary Suri are joined by Professor Alan McPherson, an expert on US foreign relations who introduces his new book ‘The Breach: Iran-Contra and the Assault on American Democracy.’ Together, they discuss how this Iran-Contra scandal altered public trust in the American government and set troubling precedents for future administrations.

Zachary sets the scene with his poem titled “Same Old Lies”.

Alan McPherson is a professor of history at Temple University in Philadelphia. He is the author of numerous books on the history of U.S. foreign relations, including: The Invaded: How Latin Americans and their Allies Fought and Ended U.S. Occupations; Ghosts of Sheridan Circle: How a Washington Assassination Brought Pinochet’s Terror State to Justice; and, most recently, The Breach: Iran-Contra and the Assault on American Democracy.

Whisper Tapes: Kate Millett in Iran by Negar Mottahedeh (2019)

by Denise Gomez

On March 7, 1979, just one day before International Women’s Day, the highly influential American feminist scholar, Kate Millet, appeared in Tehran, in the Iranian Revolution’s afterglow. Invited alongside other prominent feminist scholars and activists to speak at a demonstration organized by Iranian woman activists, Millet was accompanied by her partner and $1,200 worth of recording equipment, but without any working knowledge of Persian. Millett spent her days wandering around with tape recorder in hand, documenting her observations and capturing the voices of protesting Iranian women. After returning to the United States, Millet used her memories and the tapes’ contents to write her 1981 book, Going to Iran. As a result of Millet’s excursion and the subsequent publication of her book, the United States’ media wrongly embraced her as an authoritative figure regarding the Iranian revolution despite her understandable shortcomings as an ally and friend of Iranian women. Mottahedheh’s study of Millet’s visit in Whisper Tapes provides its readers with profound insight into Millet’s travels as an activist, as well as into the liberationist messages of the Iranian revolution.

Kate Millett’s Going to Iran (1982)

Whisper Tapes challenges established ideas about the relationship between Iranian women and their Revolution. Carefully separating the rise of the Islamic Republic and the popular revolutionary movement, Negar Mottahedeh works against the major assumptions of western scholarship, where the arrival of the Iranian Revolution and the arrival of the Islamic Republic happen simultaneously and are seen to be one and the same thing. In this western version, the Iranian Revolution is an inherently Islamic revolution, which insisted on an instant curtailment of women’s rights. Mottahedeh works against this assumption by demonstrating how Iranian women saw their demonstrations and protests as a continuation of the Iranian Revolution itself, as well as a continuation of the Revolution’s principles of freedom and resistance to oppression in all forms. Mottahedeh pushes back on portrayals of the revolution as happening overnight, of opposition to Mohammad Reza Phalavi as monolithic, and of an inherently patriarchal protesting populace who betrayed their feminine revolutionary counterparts.

To situate her book and its actors, Mottahedeh places the Iranian Revolution within the context of, and in solidarity with, the Third World, a geo-political concept that dominated the western intellectual thinking at the time of the revolution. Under this principle, revolutionary cultures and thought flourished, and various marginalized groups positioned themselves to defend each other against all forms of exploitation. Western intellectuals’ left-leaning politics naturally aligned them against Iran’s Shah, and similarly influenced the politics of the western feminist circles. Millet and her French contemporaries, such as Simone de Beauvoir and Monique Wittig, who initially declared their solidarity with the Iranian Revolution, were unsettled by the ensuing proclamations of compulsory veiling. As Iranian women took to the streets in protest against these proclamations, their calls to action were widely ignored by the men who stood by their side during the Anti-Shah demonstrations. As equal participants of the 1979 revolution, women were in a sense betrayed by their fellow revolutionaries. Millet and the French identified with the Iranian women in protest, and understood their revolts against Khomeini’s proclamations as a continuation of a larger struggle against the patriarchy.

Kate Millett, 1977 (via Schlesinger Library)

Mottahedeh revitalizes this story by accessing what Millet could not due to her socially constructed state of “unknowledge” about Iran and its culture. As a result of her lack of knowledge, Millet cannot and does not fully see the movement materializing before her very eyes — but this does not make her experience a counterfeit one. Mottahedeh does not accuse Millet of playing the role of the arrogant westerner here, instead she is treated as a limited observer whose observations were skewed and incomplete. In so many ways, Mottahedeh, a researcher who focuses on various aspects of Iranian resistance and protest, has the expertise and knowledge for understanding the women’s protests that Kate Millet lacked. Mottahedeh’s Whisper Tapes is as much an expansion of her own research as it is an expansion of Millet’s Going to Iran. Mottahedeh’s work does not reject the material of the whisper tapes, it instead contextualizes and broadens Millet’s experience, observations, and recordings. To complete her project, Mottahedeh pulls from many theoretical works, such as Gayatri Chakravorty Spivak and Mladen Dolar but she extracts the majority of her citations from the tapes themselves or Millet’s book about her experiences on the ground. Through this very narrow focus, Mottahedeh is able to remain within the context of the tapes’ spaces and interact with the content of Miller’s tapes more deeply.

When listening to Millet’s recordings Mottahedeh noticed a second, background narrative in the political chanting and hushed conversations in Persian, behind the obvious, intended narrative of Millet’s tapes. Describing these surrounding acoustics as an unconscious layer to Millet’s recordings –whisper tapes — Mottahedeh uses these background voices to frame and inform her analysis of Millet’s visit to Iran. These voices both contradict and clarify Millet’s observations and revive the protestors’ aspirations in a way that complicates mainstream ideas of feminist consciousness in post-revolutionary Iran. Instead of tracing Iranian feminist consciousness to individual (anti-)religious sentiments or as reactions to western influence, Mottahedeh suggests the women’s protests emerged as a continuation of the 1979 revolution that called for planetary freedom and justice.

Women and the Iranian Revolution (via BBC)

Whisper Tapes is organized according to the Farsi alphabet, with each “chapter” named after a theme or symbol of the revolution, such as Chapter V, “Servat,” (Wealth) or Chapter XIII “Zan,” (Woman). Although disorienting and disjointed at times, Mottahedeh’s chapters are informed by the tapes’ evidence, which was captured haphazardly and at the mercy of 1979’s technological limitations. However, for Mottahedeh the fragmentary nature of the tapes’ narrative evokes the feeling experienced by listening to the recordings’ “whispered background.” Furthermore, Mottahedeh inaugurates this account with a section entitled “A Revolutionary Timeline,” where she lays out the revolution’s key dates for a reader’s reference. The introduction and conclusion, titled “Overture” and “Coda,” flank her alphabetically-organized segments, and provide readers with the theoretical, historical, and personal background necessary for digesting the bulk of her content.

Few books resemble Whisper Tapes in its organization, and few studies of the Iranian Revolution so thoroughly and fairly challenge misconceptions born from well-intentioned actions of politically progressive circles. Mottahedeh’s method of listening to the accidental voices of Millet’s background is inventive and produces refreshing scholarship that can be enjoyed, understood, and appreciated by academics and non-specialists together. By revisiting Kate Millet, Mottahedeh accomplishes the elevation and centering of oft-ignored voices.

You might also like:
The Strength of Women in the Iranian Revolution
The Public Archive: Qahvehkhaneh, Reading Iranian Newspapers
A Brief History of Feminism by Patu (illustrations) and Antje Schrupp and translated by Sophie Lewis (2017)
Why I Ban the Word “Feminism” from My Classes

The Public Archive: Qahvehkhaneh, Reading Iranian Newspapers

Millions of tweets and millions of state documents. Intimate oral histories and international radio addresses. Ancient pottery and yesterday’s memes. Historians have access to this immense store of online material for doing research, but what else can we do with it? In Spring 2018, graduate students in the Public and Digital History Seminar at UT Austin experimented with ways to make interesting archival materials available and useful to the public; to anyone with access to a computer. Over the Summer, Not Even Past will feature each of these individual projects.

The coffeehouse, qahvehkhaneh, was an important political and cultural institution in Iran in the nineteenth and twentieth centuries. As men drank coffee, played backgammon, and discussed business, they also listened to impassioned pleas for democracy and reform from newspapers published in the Ottoman Empire, Russian Caucasus, and British India, smuggled into Iran and read aloud. Hoping to replicate the qahvehkhane’s spirit of sharing knowledge and camaraderie for anyone interested in Iran, Andrew Akhlaghi’s project comprises of digitized issues of Etella’at, an Iranian newspaper founded in Tehran in 1926. In addition to the newspaper collection, this site is also allows students of Persian to collaboratively translate articles.

More on Akhlaghi’s project and The Public Archive here.

The Public Archive

Doing History Online and In Public

by Joan Neuberger

Links to their projects can all be found below on this page.

We built these digital, public projects in four main steps.

First, with the help of UT librarians, the students identified collections related to their research that were not yet available to the public. These collections of documents come from the many wonderful archives on our campus: the Harry Ransom Center, the Lyndon Baines Johnson Presidential Library, the Perry-Castañeda Library, the Briscoe Center for American History, and the Nettie Lee Benson Latin American Collection. Then we digitized them.

Second, we each wrote a series of blog-essays to share our archival finds with the public. Each blog is meant to show something historically significant about our documents and to open them up in ways that any curious reader, without any background in the subject, can understand and appreciate.

Third, we wrote lesson plans based on our documents to allow educators at the K-12 and college levels to bring our archives into their classrooms.

Finally, we each built a website to introduce our topics, to share our digitized documents, and to make our blogs and lesson plans openly available.

Here are the results:

Qahvehkhaneh: Reading Iranian Newspapers: by Andrew Akhlaghi

The coffeehouse, qahvehkhaneh, was an important political and cultural institution in Iran. As men drank coffee, played backgammon, and discussed business, they also listened to impassioned pleas for democracy and reform from newspapers published in the Ottoman Empire, Russian Caucasus, and British India, smuggled into Iran and read aloud. This qahvehkhaneh is meant to spread the issues of one newspaper, Etella’at, to those curious about Iran.

Bureaucracy on the Ground: the Gálvez Visita of 1765: by Brittany Erwin.

This project examines the localized consequences and on-the-ground implications of the royal inspection, or visita general, administered by José de Gálvez in New Spain from 1765-1771.

After the Silence: María Luisa Puga and the 1985 Mexico City Earthquake by Ashley Garcia

María Luisa Puga (1944-2004) was a talented Mexican novelist from the Post-Boom movement whose personal notebooks, manuscripts, correspondence, and related documents are held in the Benson Latin American Collection. On this site you will find digitized selections from Cuaderno 118, which contains both Puga’s coverage of the earthquake that struck Mexico DF (now Mexico City) in 1985 and her reflections on those original pages, written in 2002.

Building a Jewish School in Iran: The Barmaïmon-Hamadan Manuscript by Isabelle Headrick

Where do you go when you want to change the world? For Isaac and Rebecca Bassan in 1900, the destination was Hamadan, Iran, to establish a French-language, Jewish school for the small Jewish community in that city. About fifty years another teacher at the school, Isaac Barmaïmon, wrote an 81-page manuscript that describes the first twenty years of the school’s existence.

Food Migrations: Texas Czech Culinary Traditions by Tracy Heim

Texans with Czech heritage have been able to preserve their culture in America through organizations, cultural events, church groups, and especially through food. Two books of recipes and other documents contextualize the process of migration into life in Texas and create a framework for understanding the Texas Czech culture.

Indian Revolt of 1857 by Anuj Kaushal.

South Asia witnessed an event during 1857 which altered the history of India, Britain, and the British East India Company. The event, known as a mere “mutiny” by the British and as an anti-colonial revolt by Indians, was reported in the English language press around the world.

The Road to Sesame Street by Peter Kunze

The Road to Sesame Street features government documents tracing the development of the Public Broadcast Act of 1967, the landmark legislation that established the Corporation for Public Broadcasting, PBS, and NPR. Using materials from the Lyndon B. Johnson Presidential Library in Austin, this project provides a behind-the-scenes view of the power players, interest groups, and decisions that laid the groundwork for American public media.

Animating Italian Immigration: Sicilian-American Puppetry by Megan McQuaid.

Attending a puppet theatre performance with familiar characters acting out well-known stories gave some Italians living in New York City a regular taste of the homeland they had left behind.

Frederic Allen Williams: Citizen-Artist with a Magic Lantern by Jesse Ritner

Frederic Allen Williams (1898-1955) was a prominent sculptor, lecturer, intellectual, and rodeo rider based in New York City, where he became known for his talks on Native American art, illustrated with magic lantern slides, which he gave in his midtown studio near the then recently built Museum of Modern Art.

Woven Into History: Living Cultural Fabrics by Alina Scott

The nineteenth and twentieth-century Navajo rugs in this collection aims to provide a platform for respectful collaboration and discourse to recenter the discussion of Navajo culture and commodity production around them and to diversify traditional conversations about Navajo textiles and their communities.

Mercenary Monks by Jonathan Seefeldt

These texts are windows into a thriving monastic world whose varied activities included: raising mercenary armies, caring for widows and child brides, providing credit and other banking services, collecting tax revenue from farmers, providing merit and prestige to an emerging merchant class, and asserting a (short-lived) form of political independence.

Guards and Pickets: The Paperwork of Slavery by Gaila Sims.

The documents in this collection provide a glimpse into the paperwork created to control the movement and relationships of the enslaved, as well as the financial documentation used to make money off the institution of slavery.

Acknowledgments

We would like to thank the following people for sharing their expertise in digital and public history with us: Dale Correa, Liza Talbot, Ian Goodale, Stephanie Malmros, Christina Bleyer, Albert Palacios, Andrea Gustavson, Elizabeth Gushee, Astrid Ruggaldier, Penne Restad, and Stacy Vlasits.

An Apology for Propaganda

By David Rahimi

Writing in the middle of World War II, Freya Stark, a well-known British explorer and Arabist working for the Ministry of Information in the Middle East, penned an unpublished – and ultimately unfinished – twenty-five page essay, which she entitled Apology for Propaganda. When we think of government propaganda, we typically think of faceless bureaucrats churning out sensationalized banners, radio broadcasts, and reports about victories, the enemies’ lies, and various kinds of disinformation. Stark’s Apology, however, provides a unique glimpse into how propagandists justified and viewed their own work in a critically self-conscious manner. On a larger scale, the manuscript reflects on an intimate level the dynamics of British colonial thought, particularly a steadfast belief in the nobility of Britain’s colonial “civilizing mission.” Stark’s Apology not only reflects an available theory of propaganda discussed within the Ministry of Information, but also the persistent belief that, despite any shortcomings, imperialism was really benevolent for Arab colonial subjects.

Freya Stark (via Alchetron).

By her thirties, Freya Stark (1893-1993), an impulsive British explorer of the Near East, developed a romanticized and idealistic obsession with the Arab world and Persia in the same vein as T.E. Lawrence, whom she much admired. She traveled among the Druze, explored Luristan and the hideout of the fabled Assassins at Alamut, and wrote extensively about her travels in Baghdad, Yemen, Arabia, and other parts of the Middle East. When WWII began, Stark volunteered to serve in the British war effort and she was assigned to the Ministry of Information where her linguistic and literary talents were well-suited.

Stark likely wrote this piece sometime between October 1943 and May 1944, while traveling in America on an official diplomatic tour to clarify the British position on the Zionist question. Ultimately, it seems the decision was made not to publish the Apology because Stark’s boss, Stewart Perowne, thought it was too revealing about British intelligence efforts in Egypt and Iraq in the still ongoing war.

British WWII propaganda after Mussolini’s unsuccessful invasion of Egypt in 1942. The poster depicts captured Italian troops entering Cairo under British guard (via Wikimedia Commons).

Stark begins the essay by arguing that propaganda fundamentally deals with the “originating and spreading of ideas.” However, propaganda has two distinct meanings: (1) the propagation of a “gospel” or firmly held set of beliefs, and (2) deceitful information. Both grew out of the Jesuit tradition, with the former being an innocent form of “persuasion,” while the latter took form as people associated the Jesuits with “unscrupulous subtlety.” Persuasion meant simply to truthfully present one’s beliefs in a dialogue (“two-way traffic”) with the target audience, making use of slogans and positive statements. Stark firmly believed the government should wholeheartedly embrace this kind of propaganda, since ideas “are as potent as drugs.” Indeed, there is a “duty” to firmly explain the British and Allied cause when they feel confident of the justice and necessity to prevent others from heading over a “precipice.” For Stark, this was connected to her firm belief that the “British desire to encourage freedom in the Arab world is perfectly sincere.” Justifiable propaganda could only be that which worked for the good of the audience, in this case the Arabs. On the other hand, Stark thought that bribing and trickery were repugnant as well as ineffective means of persuasion, and cooperation with Arabs was necessary, since the most persuasive formulations of secular democratic ideals could only be expressed in Arabic by other Arabs and not through translation.

North Africa and the Middle East in 1940 (via Wikimedia Commons).

Stark then moved from these ideas to show how she tried to implement them in her Ikhwan al-Hurriya (Brotherhood of Freedom), an anti-fascist group in Egypt and Iraq. Based on the organizational examples set by the Bolsheviks and Muslim Brotherhood, this project consisted of a diffused network of loose cells, where British and Arab members could discuss the democratic principles that they shared. She writes that, despite some initial difficulties, the British-inspired Brotherhood garnered about 40,000 members throughout the Middle East at its peak. The British authorities were highly appreciative of this effort, though despite Stark’s high hopes, the organization was officially outlawed in Egypt in 1952.

A chief reason for this was the contradiction within the Brotherhood about politics. Stark envisioned it as an apolitical group and so had to turn several “good men” away in Iraq because of their interest in politics. However, an organization that was ostensibly meant to promote democratic principles could not help but be political in a colonial environment. Stark was happy that there were young Arab men who were receptive to the British message, but she seemed to think that this could be conducted on British terms without raising political questions about Britain’s decidedly undemocratic role. Stark easily mistakes the friendships she formed and admiration for democratic ideas she found with an overall positive disposition to British colonialism. Furthermore, there is no mention of the popularity of Muslim Brotherhood’s anti-British efforts or how Ambassador Miles Lampson’s use of tanks on February 4, 1942 to compel King Farouk to accept the Egyptian nationalist Wafd Party into the government led to the discrediting of the king, the Wafd, and parliamentary democracy as mere British tools. The enormous popularity of Gamal Abdel Nasser’s nationalist and authoritarian government beginning in the 1950s also belies Stark’s overly enthusiastic tone in the manuscript. Unlike T.E. Lawrence, who had seen Britain renege on its promises at Versailles after WWI, Stark believed wholeheartedly in the goodness of the British imperial project and whatever did not fit in with this image she discounted as an aberration or simple mistake.

Nasser and the Free Officers overthrew the Egyptian monarchy in 1952, marking the decline of British influence in Egypt (via Wikimedia Commons).

Stark’s unpublished Apology shows us how some British propagandists in the Middle East theater of WWII conceived of their roles as good-natured persuaders. They were not oblivious to accusations of cynical propaganda and Stark’s essay shows a conscious effort to articulate a morally acceptable form of propaganda that could serve British and Arab interests, in that order. Stark reflects a strain of British colonial thought that, while sympathetic to Arabs, still thought that British dominance was a guiding hand that benevolently, yet condescendingly, treated colonial subjects as paternalistic clients.

Freya Stark’s “Apology for Propaganda,” can be found in handwritten and typescript drafts, Container 1.3. Freya Stark Collection 1893-1993 (bulk 1920-1976). Harry Ransom Center, University of Texas-Austin.

Additional sources:
William Cleveland and Martin Bunton, A History of the Modern Middle East (2009)
Jane Fletcher Geniesse, Passionate Nomad: The Life of Freya Stark (1999).
Efraim Karsh and Rory Miller, “Freya Stark in America: Orientalism, Antisemitism and Political Propaganda,” Journal of Contemporary History 39, 3 (July, 2004): 315-332
Temple Wilcox, “Towards a Ministry of Information,” History 69, 227 (1984): 398-414

More by David Rahimi on Not Even Past:
Modern Islamic Thought in a Radical Age, by Muhammad Qasim Zaman (2012)

You may also like:
Emily Whalen recommends A Prince of Our Disorder: The Life of T.E. Lawrence, by John E. Mack (1976).
Ogechukwu Ezekwem reviews The Dual Mandate in British Tropical Africa, by Frederick John Dealtry Lugard (1965).

The Israeli Republic, by Jalal Al-e Ahmad (2014)

by Lior Sternfeld

In 1963 Jalal Al-e Ahmad, accompanied by his wife, the renowned Iranian novelist, Simin Daneshvar, traveled to Israel as an official guest of the country. He later wrote a travelogue about the journey, published in Iran under the title, Safr beh vilayet esrail (Journey to the Land of Israel). Two years earlier the author had gained his leftist internationalist credentials when he published one of the most important Third World manifestos, known as “Gharbzadegi” (Plague from the West). Al-e Ahmad is perceived to have laid the intellectual and ideological foundations of the 1979 revolution in Iran; both the leader of the Iranian revolution, Ayatollah Ruhollah Khomeini and Iran’s current Supreme Leader considered Al-e Ahmad to be an influence and role model. This article reviews the most recent translation of Al-e Ahmad’s travelogue, and will be useful to anyone wants to know more about modern Iran.

Translator Samuel Thrope’s introduction allows the reader to understand the profound complexity that characterized Al-e Ahmad throughout his career. Thrope provides excellent biographical and historical contextualization of the text. He also confronts one of the profound dilemmas confronting Al-e Ahmad’s reader. The use of Vilayet in the title can be translated in two different ways. One is charged with religious meaning as “Guardianship of Israel,” while the second carries the more prosaic meaning of Territory. As the travelogue itself makes clear, Al-e Ahmad himself was divided about Israel’s role in that land.

Like a large section of the Iranian left, Al-e Ahmad viewed Israel as part of the Third World. Al-e Ahmad juxtaposes East versus West and draws the borders of the East from “Tel Aviv to Tokyo,” acknowledging Israel’s ability to create an indigenous culture (unlike in Iran, as he analyzed in Gharbzadegi), that did not blindly mimic other cultures but was based on the ancient Hebraic Jewish culture. Al-e Ahmad was especially impressed with the revival of the Hebrew language. His admiration for almost everything he saw in Israel, did not prevent him from arguing that the Palestinians, and by extension the East in general and the Arabs and Muslims in particular, paid the price for the sins committed by Europeans in the Holocaust.

Al-e Ahmad and Daneshvar spent some time in the north Israel kibbutz “Ayelet Ha’Shahar,” which allowed the couple to get a first hand experience of kibbutz life. They saw a play, hung out with kibbutz members, and immersed themselves in conversations about China, the USSR, and Cuba over glasses of beer. Just before leaving, Al-e Ahmad wrote in the kibbutz guest book: “not only were they hospitable, but I met people here that I never expected to meet. Learned people, understanding and open-minded. In a sense, they are implementing Plato. Honestly speaking, I always identified Israel with the Kibbutz, and now I understand why.” Simin Daneshvar added: “as I see it the Kibbutz is the answer to the problem of all the countries, including our own.

This text opens a window to the mindset of the Iranian left. Al-e Ahmad’s praise of Israel articulates his (and other Iranians’) dispute with the Arabs, his harsh criticism of Arab governments, and refutes Arab ideas about Iran’s inferiority.

800px-PikiWiki_Israel_3290_Picking_Cotton

Cotton fields of a kibbutz in Shamir, Israel, circa 1958 (Image courtesy of Wikimedia Commons)

The last chapter of the travelogue shifts tone and criticizes Israel for abandoning its Third World position and becoming a colonial power in its own right. The origin of the chapter is the subject of some controversy. Some believe that it was written in 1968 after the 1967 war and just before Al-e Ahmad’s death (in 1969), and reflects his own and the Iranian left’s disillusion with Israel. During the 1967 war, when Israel occupied the Sinai Peninsula, the West Bank, and the Golan Heights and then imposed military control over the entire population of non-citizen Palestinians., it became impossible for observers like Al-e Ahmad to view it as a nation that had taken part in a postcolonial struggle. The other explanation is that after his death, this chapter was written by his brother, Shams Al-e Ahmad, in order to get it approved in the radical revolutionary circles, for publication in Iran in 1984. Thrope adds some useful comments about this controversy as well. Thrope’s suggests that it was Jalal Al-e Ahmad himself who wrote this chapter, and that the voice expressed there is one of a literary character (a friend who wrote a letter to Al-e Ahmad). By presenting this fictional dialogue, Al-e Ahmad contemplates his ambiguous stand towards Israel and Zionism, or as Thrope writes: “Could Zionism really serve as a model for the remedy that Iran required? Just as importantly, as a Muslim, an Easterner, and an intellectual opposed to the Shah’s policies, which included close relationship with Israel, how should he relate to the Jewish State’s existence in the heart of the Muslim Middle East?” In this chapter, Al-e Ahmad not only criticized Israel as a colonial power, he harshly criticized the European intellectual left and singled it out for what he sees as double standards. While they vehemently fought against the colonization of Algiers and were outspoken in their criticism of the colonial project as a whole, they could live peacefully with the colonization of the territories gained by Israel in 1967. Al-e Ahmad blames Jean-Paul Sartre and Claude Lanzmann for leading this dreadful trend. He also blames the military regimes of the Arab countries for their incompetence in facing the changing reality of Israeli policy, and the “Petrodollar Empires” of the Persian Gulf for myopic political and economic goals in only caring about the oil industry.

Jalal Al-e Ahmad (r) with his wife, writer and intellectual Simin Daneshvar (l), in an undated photograph (probably from the early 1960s).

This book recounts a fascinating journey undertaken by an Iranian intellectual to an Israel that existed primarily in the author’s mind. The kind of utopia Al-e Ahmad saw would strike many Israelis as odd. Yet, I am sure that every reader would find this book (and its excellent translation) to be a window on the prerevolutionary Iranian left at a time when it was possible for an Iranian intellectual to embrace certain aspects of Israeli society; to get a glimpse of the history of the Israel-Iran relations and the greater Middle East too.

Listen to an interview with translator Samuel Thrope on 15 Minute History

Image of kibbutz guest book reproduced with the kind assistance of archivist Noa Herman at the archive of Kibbutz Ayelet Ha’Shahar.

What’s Missing from ‘Argo’ (2012)

By Christopher Rose

Argo, Ben Affleck’s latest film, is set against the backdrop of the 1979 Iranian Revolution. The audience is dropped abruptly into the action following a semi-animated sequence that explains American involvement in Iran following the 1953 CIA-orchestrated coup that deposed democratically elected Prime Minister Mohammad Mossadegh in favor of Shah Muhammad Reza Pahlavi.

Viewers are given a quick rundown of the Shah’s lavish lifestyle and told that his attempts to Westernize Iran had met with resistance in this “traditionally Shi’ite country.” This, paired with the Shah’s increasing paranoia and authoritarianism, led to nationwide demonstrations and strikes over the latter half of 1978 that led to the Shah’s departure from the country on January 16, 1979.

The introduction quickly moves through subsequent key events in the Revolution. Within two weeks, the revolution’s figurehead Ayatollah Ruhollah Khomeini had returned to Iran from exile in France, the Shah’s caretaker government had crumbled, and Iran descended into internal chaos as the various groups that had united under the common cause of deposing the Shah began to fight about what happened next and who would take control. Islamist forces loyal to Khomeini fought with secularists, Marxists, and a myriad of smaller groups from across the spectrum, all the while attempting to prevent a repeat of the 1953 coup by outside powers. In late October, the Shah, suffering from liver cancer, was admitted to the United States for treatment in New York. The Iranian government formally requested his extradition to stand trial in Iran for crimes against humanity; the Carter administration refused.

The film opens on November 4, 1979, the day that the American embassy was overrun

by a mob that took the embassy employees hostage. Initially, hopes were that Khomeini’s government would step in and release the hostages, as they had done previously, when the embassy was breached during the previous summer, but government officials instead sanctioned the hostage taking. The embassy employees would eventually be held in captivity for 444 days. The Iranian government agreed to release them on January 20, 1981—inauguration day in the U.S.—and held their plane on the tarmac at Tehran’s Mehrabad Airport until after Ronald Reagan had been sworn in as president. This was perceived as a final snub to outgoing president Jimmy Carter, who had stood beside the Shah in Tehran just three years earlier and proclaimed Iran “an island of stability in the Middle East.”

The story of the embassy takeover is practically script-ready for a Hollywood release. Argo focuses on a lesser-known—and recently declassified—subplot that, as the film’s advertising promises, nearly has to be seen to be believed.

The U.S. embassy occupied a city block in downtown Tehran. The main breach on the day of the takeover took place at the main entrance, where the chancery and administrative offices were located. The consular section was located in another section of the compound, which had a direct entrance to the street. Six members of the embassy staff were able to simply walk out the door before the consular section was breached, blending into normal traffic to escape. After several days of being harbored and then denied refuge in the British and New Zealand embassies, the American embassy employees were granted safe harbor in the residence of Canadian Ambassador Ken Taylor (played by Victor Garber).

The six employees were eventually able to flee Iran through a CIA-Canadian joint intelligence endeavor that involved posing the six as members of a film crew doing a location scout for a science fiction movie called Argo. The Canadian government issued them passports and CIA operative Tony Mendez (Affleck), working with operatives in the film industry, set up a cover office in Hollywood (staffed by an effervescent John Goodman and Alan Arkin, who provide much needed comic relief). Fake ads were placed in trade publications, and a lavish press event announcing the film was held, giving the cover story legitimacy. Mendez then flew to Tehran (in reality, Mendez was accompanied by an aide, not depicted in the film) and, to complete the disguise, escorted the staff on a location scout of the Tehran bazaar. Finally, in a business as usual-style, the crew went to the airport to board a Swissair flight to Zurich.

The film adds gratuitous tension to the escape scene, adding in a race against Iranian

intelligence officials who uncover the true identity of the “film crew” just as they prepare to board the plane, an unnecessary assault against a female gate agent who lacks the keys to reopen the gate once the plane is ready for departure, and an over the top chase scene involving revolutionary guards in late 1970s Chevrolets who manage to keep pace with a 747 thrusting down the runway for takeoff.

Argo is the story of the Americans’ ordeal and their relatively miraculous escape—and in this it delivers. It is unfortunate, however, that the film presents these dramatic events against a simplified backdrop that diminishes the complexity of the Iranian political scene at the time.

What is missing is much of the backstory that explains why the Americans are in this predicament in the first place. With the current state of Iranian-US relations, contemporary audiences may not question the hostility of Iranians toward Americans as depicted in the film, but the filmmakers never quite explain that this was the very moment when the cozy relationship between the U.S. and a key ally turned incredibly sour.

More important, however, is the absence of any Iranian perspective. Only one Iranian

character in the film rises above the level of caricature, Sahar (Sheila Vand), the Taylor’s housekeeper. Her discomfort with the presence of the Americans in the household is eventually outweighed by her discomfort with the local komiteh—the ubiquitous neighborhood “committees” that sprang up after the Revolution to police the capital block by block—who become suspicious of the ambassador’s long-term “guests.” Sahar is eventually shown fleeing to neighboring Iraq, but it’s never quite explained why she needs to flee and what the repercussions of her remaining in Iran would have been. The scene is, instead, played tongue in cheek, meant to encourage audiences to roll their eyes at the thought of Iraq representing “safety.”

Argo also misses the opportunity to show that this is the period when many Iranians began to distrust the Revolutionary government. The 1979 Revolution brought together many disparate groups with different political agendas united by a common goal: deposing the hated Shah. Each group had wildly differing views of what should happen next: Khomeini’s forces, which were eventually successful, wanted to establish an Islamic Republic. Others wanted liberal democracy, still others a Marxist state allied with the Soviet Union, and some fringe groups wanted Iran to splinter along ethnic and linguistic lines. The backdrop of the events portrayed in Argo is the consolidation of Khomeini’s rule and the liquidation of its opponents.

There are brief glimpses of these tensions: during the Embassy siege, Cora Lijek (Clea DuVall) insists that the Iranians in the waiting room be allowed to leave first. “They’ll get in serious trouble if they’re caught applying for U.S. visas,” she explains, but the comment is lost among the turbulence of the moment and never revisited. That Iran is a bad place to be an American is reiterated repeatedly, but never quite explained.

Millions of Iranians fled the country during the revolution when they realized that what they initially took to the streets for—replacing the authoritarian rule of the Shah with a government that better represented them—would fail to bear fruit.

While it could be argued that this is not the story Argo set out to tell—and, indeed the story that Argo does tell is well spun—the film has missed an opportunity to remind its viewers that the story of Iran’s revolution is a tragic tale with many victims besides the American hostages. It misses the opportunity to humanize the Iranian people as they slowly come to realize that they have deposed one dictator for another, and that this continues to be the state of affairs in that country.

Given the current state of Iranian-western relations, dehumanizing Iranians and ignoring the complexities of Iranian society and history only furthers misunderstanding.

You might also like:

An article by Tony Mendez entitled, “A Classic Case of Deception: How the CIA Went Hollywood” describing his recollections of the operation.

A BBC interview with one of the hostages.

Photo Credits:

US embassy employee Barry Rosen after being taken hostage in 1979 (Image courtesy of Wikipedia)

Film still of Ben Affleck portraying CIA agent Tony Mendez

Ruhollah Khomeini returning to Iran, February 1, 1979 (Image courtesy of Wikimedia Commons)

Anti-Shah protestors demonstrating in Tehran, December 27, 1978 (Image courtesy of Wikimedia Commons)

Images used under Fair Use Guidelines: See Wikipedia:Non-free content.

The Strength of Women in the Iranian Revolution

by Claudia Espinoza

Read the Full Research Paper
See the complete list of Claudia’s primary and secondary sources

The Iranian Revolution of 1979 affected the lives of all Iranian citizens, especially women. Claudia Espinoza illustrates how Ayatollah Khomeini’s new theocratic government implemented segregationist policies that drastically changed the dress code, legal rights, and professional opportunities available to Iranian women. Espinoza emphasizes that while women’s overall role in Iranian society was and remains restricted relative to Western standards, some women have embraced the traditional, desexualized aethetic ushered in by revolutionary reform.

Women in east Iran watch Allied supply trucks en route to the Soviet Union during World War II.

An Iranian newspaper clip from 1968 reads: “A quarter of Iran’s Nuclear Energy scientists are women.” The picture shows some female Iranian PhDs posing in front of Tehran’s research reactor.

Anti-Shah demonstrators marching near a shopping street in Tehran in December 1978.

Supporters strain to catch a glimpse of the Ayatollah Khomeini at the Refah School in Tehran in February 1979.

Two Iranian women wear different versions of the hijab scarf: one is a single scarf that reveals the women’s hair. The other consists of two scarves that cover the woman’s hair entirely.

Individual Historical Paper
Senior Division
Teachers: Linda E. Kleeman, Mari Glamser, Stephen Martin

Photo credits:
Photographer unknown, “Near East Iran – truck convoy of US Supplies for USSR,” 5 June 1943
Courtesy of the Franklin D. Roosevelt Library & Museum via Wikimedia Commons
Photographer unknown, Untitled, 1968
Courtesy of Wikimedia Commons
David Burnett, “Anti-Shah demonstrators marching near a shopping street in Tehran,” 27 December 1978
Courtesy of Parsine.com via Wikimedia Commons
David Burnett, “Supporters strain to catch a glimpse of the Ayatollah Khomeini at the Refah School in Tehran,” 3 February 1979
Courtesy of Parsine.com
Hamed Saber, “S+F-N”, 13 July 2007
Courtesy of Hamed Saber/Flickr Creative Commons

Film Review – A Separation (2011)

By Golsheed Bagheri

A Separation is an Iranian drama directed by Asghar Farhadi. As is indicated by the title, the film focuses on the separation of Nader and Simin, an affluent couple residing in Tehran. Simin wishes to escape Iran’s repressive society and move to Canada, which she believes is a more suitable environment to raise their daughter, Termeh. Nader refuses to leave under the pretext that he must stay in Iran to take care of his elderly father who is suffering from advanced Alzheimer’s disease. Their situation is further complicated by Razieh, a devout Muslim woman from the lower economic class, who is hired to help care for Nader’s father. Numerous financial and personal conflicts pit the well-off Nader and Simin against Razieh and her unemployed, debt-ridden husband, Hojat.

The Family Protection Law of 1967 mandated that all marriage contracts must include certain rights to divorce for women. While the FPL increased the number of female-initiated divorces in the urban community as a result, the overall rate of divorce dropped substantially. Women became more assertive in the home and in public as a result of this law, and embraced their roles in society with much greater confidence. With the establishment of the Islamic Republic and the institution of the Islamic Civil code in 1979, however, the FPL was repealed. Under the new system, women were expected to endure most forms of sexual, physical and mental abuse in marriage. Female initiated-divorce was permitted only in the case of male impotence, severe drug addiction, or intolerable violence. Women who did achieve divorce sacrificed their right to their children, as divorced women had severely limited custody rights. Of course conditions are not quite as austere in the present day and children can sometimes choose which parent they want to live with.

Through these family frays and a vivid depiction of the limitations of the Islamic court system, Farhadi composes a brilliantly accurate rendition of the current issues in Iranian society today. The “bi-culture” phenomenon, which is often cited as a contributing factor to the culmination of the 1979 Revolution, is effectively demonstrated by the two conflicting families in the film. Nader and Simin represent the urban, upper-middle class, educated and with secular leanings, who grapple with such issues as to whether or not they should emigrate to a more open society for the sake of their child. Razieh and Hojat embody the lower economic echelon, which is composed of the more traditional and religious elements of Iranian society. The struggles endured by this class typically arise from poverty, as is exemplified by Hojat’s unemployment and debts, which in turn forces Razieh to take a job that gives her religious qualms.

Through his expert direction, Farhadi masterfully elicits a sense of empathy for each one of the characters, despite the nature of their involved conflict. Indeed there are no antagonists in this film; all of the characters are inherently good people and are simply striving to survive against life’s challenges. What distinguishes A Separation from other Oscar-nominated dramas is the fact that it is a portrayal of the experience of an entire nation, contained in an engaging story, based on the realities of present-day Iranian society.

Iran’s Nuclear Program and the History of the IAEA

by Jonathan Hunt

The recent assassination of Mostafa Ahmadi Roshan, an Iranian nuclear scientist and the deputy director of the enrichment site at Natanz, has underscored that a covert war against Iran’s nuclear program is underway. At the end of January 2012, Iranian officials will meet with representatives of the International Atomic Energy Agency (IAEA). As the international community scrambles to stop a nuclear-armed Iran from adding more fuel to the powder keg of Middle Eastern geopolitics, it is vital that contrasting understandings of the international nuclear nonproliferation regime among nations, particularly the purpose of the Nuclear Non-Proliferation Treaty administered by the IAEA, be acknowledged and resolved.

Mohamed El-Baradei, former director and Yukiya Amano, current director of the IAEA

“God Bless the IAEA,” read an editorial in Le Monde on November 9, 2011, the day after the IAEA issued a report expressing serious concerns that “Iran has carried out … activities that are relevant to the development of a nuclear explosive device.” The response from Moscow had a different tone, with the Russian foreign ministry (echoing Russian Prime Minister and once-and-future president, Vladimir Putin) declaring the report “biased” and “purposely twisted,” by pressure from the U.S. and the EU. President Mahmoud Ahmaninejad of Iran was blunter, demanding to know why Yukiya Amano, the IAEA director general, had allowed U.S. “bullying” to shape the agency’s conclusions.

In the United States, international organizations are something of a four-letter word. The case of the United Nations is exemplary. It is frequently denigrated in U.S. media and politics as a haven for despots, a forum for anti-Americanism, and a graveyard for U.S. initiatives. The criticisms leveled at the IAEA were similar in 2003 when the U.S. argued that an Iraqi attempt to obtain weapons of mass destruction and medium-range missiles was a casus belli, and tried to assemble an international coalition to depose Saddam Hussein. When Secretary of Defense Colin Powell brandished U.S. intelligence before the UN General Assembly he described as the smoking gun of Iraqi nuclear ambitions, the IAEA warned that, in actuality, there was little to no evidence of an Iraqi nuclear program with a military object. In hindsight, their verdict was as accurate as it was disregarded by an American society at the height of its power and hubris.

Today, U.S. and European officials present the IAEA as an irrefutable source. In part, this is because Yukiya Amano is widely seen as a more dependable ally of the West than Mohamed El Baradei, the Egyptian statesman who served as the agency’s director general from 1997 to 2009. The international community saw El Baradei as an honest broker. But recent revelations have indicated that Amano is more responsive to U.S. interests. A U.S. Department of State cable disclosed by WikiLeaks shows U.S. officials describing Amano as “director general of all states, but in agreement with us.” Republicans have cited the IAEA report as proof of the Islamic Republic of Iran’s nefarious intentions. The GOP’s presidential frontrunner, Mitt Romney, has gone so far as to state that progress made by Iran’s nuclear program is President Obama’s “greatest failing … [in] foreign policy,” and, that if Obama were reelected, Iran would become the world’s ninth nuclear power.

In reality, however, the November 8, 2011 report overstepped the IAEA’s constitutional mandate and relies on stale evidence that fails to substantiate the agency’s concerns. As the leading U.S. authority on the legal history of the IAEA and the Nuclear Non-Proliferation Treaty (NPT), Daniel Joyner, has pointed out in the legal blog Jurist:

“The IAEA is given no authority to inquire into or to examine activities within Iran that are not directly related to fissile materials, even if they may possibly relate to the development of a nuclear explosive device. Again, the IAEA has a limited legal mandate that does not include being a general nuclear weapons watchdog.”

Seymour Hersh, the Pulitzer-prize winning investigative journalist who has followed the story for The New Yorker magazine, asked Robert Kelley, a former IAEA director and a nuclear engineer with decades of experience, about the report’s evidentiary basis. He observed that the information used by the IAEA to support its extra-legal “concerns” was chiefly taken from a single laptop of questionable origins. He also picked holes in the revelatory nature of the findings. The substance of the report, in his words, was “old news,” and he wondered “why this same stuff is now considered ‘new information’ by the same reporters.”

This institutional overreach is damaging the agency’s reputation as an independent and impartial regulator. The IAEA was the brainchild of U.S. President Dwight D. Eisenhower, who announced in 1953 the creation of an agency that would ensure that “fissionable material would be allocated to serve the peaceful pursuits of mankind.” Amid the push-button fear of the early Cold War, U.S. policymakers wanted Atoms for Peace (as the proposal was famously dubbed) to showcase the socioeconomic benefits of applying nuclear science and technology to energy production, agriculture, and medicine. The hidden agenda, however, was to justify the country’s mounting investment in its nuclear-weapon complex. In the Kennedy and Johnson years, the IAEA safeguard regime designed to keep fissile nuclear materials (uranium and plutonium) from being put to military use was folded into the international nuclear nonproliferation regime with the NPT and the IAEA at its heart.

This focus on fissile nuclear materials has meant that research and technical activities to develop the practical knowledge and equipment necessary to construct a nuclear warhead lie beyond the agency’s ambit. The history of the NPT and IAEA demonstrate that the agency was not designed to be a nuclear “watchdog” supervising any and all research work relevant to nuclear weapons, but instead a “regulator” certifying that the fissile byproducts of peaceful nuclear energy were not used in a military program.

The public debate about Iran and the IAEA is marked by the divergent readings of the history and purpose of the nonproliferation regime. The United States regards the IAEA as a linchpin of a peaceful and progressive world under U.S. guardianship; China and Russia as a way to reinforce their special status as nuclear powers; Britain and France as a bulwark of international law and Western influence; and the developing countries of the G-77 as a discriminatory system that perpetuates a hierarchy of nuclear “haves” and “have-nots.” The controversial report has brought these clashing views into starker relief. As the U.S. and the EU rachet up economic sanctions and Iranian scientists continue to find themselves the targets of what appear to be covert assassinations, the IAEA will find it more and more difficult to act as a intermediary. The implications for peace in the Middle East, and the future of nuclear nonproliferation, could be grim.

Photos via Wikimedia Commons