Innovation and Flourishing

In an speech on the occasion of the Iranian New Year, Supreme Leader of Iran Ayatollah Ali Khamenei not only expressed his satisfaction with the last year’s government of Mahmud Ahmadinejad, giving him an A+, but he expressed great optimism about the coming years. He seemed confident that all the efforts of the last year should bear some fruit in the next. He scored the government’s performance well enough to predict that the coming year would undoubtedly be a year of “Innovation and Flourishing.”

As has been the pattern with the Islamic Republic, these kinds of speeches indicate not merely a wishful expectation but a suggestion for a future agenda. Whether this tradition is rooted in Islamic teachings or was introduced by the Iranian revolution I have no idea, but I do know that it appeared from the time of the hostage crisis, when Imam Khomeini would “hint” almost every day how the so called “students” would feel, think, and act, and they would do exactly the same by the evening.

And so, innovation started right after his speech. Ahmadinejad, who himself is always full of innovation, came up with something that surpassed whatever innovation an ordinary human being might have come with, i.e., “being appointed for the Divine Management of the world.” I’m sure there are some people more qualified to explain what he means; and while awaiting an explanation, I cannot hide my amazement at the visual as well as comical potential of this phrase.

While he was busy creating this amazing “Divine Management,” he forgot to mention to his vice president that he would change two of his cabinet ministers!

I do not think anyone would be surprised anymore to hear such statements from Ahmadinejad, or even raise a question as to why a president has so many consultants and advisors if he does not consult with them.

However, I was quite surprised when I read that our reformist friend Mohammad Ali Abtahi had “run over his head” at the Supreme Leader’s “signal.” Trying to explain the embarrassing situation that the fellow reformists face in regard to whether to participate in the second round of the elections, knowing that it is not even meant to be a fair election, he wrote in his blog that well, they decided to “participate passively.” (مشارکت غیر فعال)

But the one who did not hear the supreme leader’s speech, or if he heard it, played deaf, was Saffar Herandi, the Minister of Guidance. Without out any apology, and quite insensitive to the Supreme Leader’s signal, he continued the same outdated, boring, routine rhetoric. He said that all the artists who protested against the outdated, non-innovating system of censorship and who said that the situation is worse than before “must be out of their minds not to see all these achievements. We are not here to help creating cinema and film, but the right kind of film.” He then proceeded to call the artists some other not very nice names. These were exactly the sort of words that have been used over and over again for years. Even the insulting words were all copied from what Ahmadinejad has used many times before. Mrs. Elham (Fatemeh Rajabi) had also used them in the most variety of forms, in fact more elaborately and sometimes more graphically many, many times in her blog. Indeed, there was nothing innovative in Harandi’s speech, neither in form nor the meaning, as if he had not turned his radio or TV on in Norooz.

But seriously, a few words with the Supreme Leader. Why not? He called for innovation, didn’t he?

Dear Supreme Leader,

Once, the Prophet Mohammad, peace be upon him, while contemplating, heard God’s Angel’s voice tell him, “Read!” and the Prophet answered: “I cannot.” The Angel then repeated, “Read!” Since it was God’s will, it happened that the Prophet, who was not literate, start reading.

With all due respect Mr. Khamenei, you are not God, and none of those whom you addressed in your speech are the Prophet Mohammad. Innovation is not achieved by orders, even yours. It is a kind of talent given to people by God. Some have it more and some have it less. One can learn to be more creative by various practices, but the kind of creativity that brings about innovation is not achieved even by regular exercises. Look at the former Soviet Union or China, your esteemed models. No art ever came from them since their revolutions except ballet and skating from Russia, and nothing at all from China. As a matter of fact, those arts they had before died away after their revolutions. Forced practices brought about good discipline, but did not produced good creative artists. Their painters are skillful at copying but not at creating. They have good players for various instruments, but not good musician or composers.

Being a tar player yourself, you should know the difference between what Master Ahmad Ebadi or Jalil Shahnaz do and those who have gone to some workshop and training school just to play. I’m sure there was a big difference between Ebadi, even the first time he placed that instrument on his lap, and those who were not and did not become Master Ebadi even after years of playing tar.

As for the flourishing, do you read at all these days? Did you hear of that wonderful article Ahmad Shirzad wrote on his blog and published on Emrooz Online? It was about Imam Khomeini’s project of Jenat, to make a green road from Behesht-e-Zahra to Qom, the multi-million toman project which any student of agriculture could have predicted would fail. The project materialized without proper research and worse without considering the nature of the landscape and soil. Pine trees were planted, dried, planted, dried and replanted and finally the project stopped. The next time you go to Qom, please turn your head to the side and ask your driver about those piles of brown tree logs on the side of the road and ask him how much money was used to “create” that spectacular landscape and ask him why those trees they planted did not flourish. I insist that you should ask your driver and not anybody else. Drivers in Iran are very good and know everything. They are the best sources of news. As a matter of fact, if you need any other information, ask him. Anyhow, I’m sure you know what I’m getting at. Those who executed that project had not even read one of the books that we would study before the revolution called, the Golestan by our wise poet Saadi, to learn that

زمین شوره سنبل بر نیارد، در ان تخم و عمل ضایع مگردان))

“Tulips won’t grow in salt desert, do not waste seeds and labor on it.”

Flourishing, whether human or plant, needs a proper cultivation of the ground and air and proper nourishment. In the present condition, when cabinet ministers obtain their diplomas from shady universities, when their scholarship is published only in commercial encyclopedias whose pages could be bought, when university seats are awards, when students are barred from education as a punishment (yes, this one is really an innovation indeed!), when the main occupation of government is to filter blogs, internets networks, and informational sites, when shutting down newspapers is routine, when rationing seats in the universities on the basis of gender does not bother you, when government decides to publish a different sets of textbooks for boys and girls (who has ever heard of something like that?), you are creating a salt desert in which nothing can grow, nothing better than Ahmadinejad and his cabinet members, and which bears no better fruit than Mrs. Elham’s blog. If that is what you meant by innovation and flourishing, then at least be a little innovative yourself, since they are there already in full bloom and every day open a new bud, so what else do you need?

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Pomegranates and Iranian Identity

Having a memoir, a novel and a collection of short stories and poems by young Iranian writes, all sharing pomegranate in their title, on my desk, I’m thinking, is there anything else we Iranian in the Diaspora could identify with? What is in this semi-exotic fruit which makes it so appealing to Iranians to uphold it as their national symbol? Is it just because its point of origin, Heaven, that we Iranian should be its sole owner? Is it its birthplace on earth, Babylon, though we were there as simple occupiers? Is it its red ruby color which is the color associated with light, the most prominent attribute of Ahuramazda? Or is it just being new in this part of the world which makes the pomegranate welcome wherever novelty is welcome? But pomegranate is not such a novelty and is not so unique to our Iranian culture; and using it as such an icon seems odd to me.

The fruit is indeed very new in the United States. I was here when it arrived some thirty years ago and I witnessed its growth to a full fledged fruit just less than five years ago. Now it is one of the most popular fruits used on Rosh Hashana, when eating something new is recommended. Yet, just few years ago my good friend, Deborah brought a few soup spoons to the table with a few pomegranates and looked at us wondering what to do with them. I suggested it should be eaten without a spoon.

Well, it is good to reclaim whatever that belongs to us, by naming it, registering it or placing our flag over it, where ownership is such a big deal. When President Bush delivered his famous speech calling Iran, Iraq, and North Korea the Axis of Evil, I was very offended. Not so much to be called such names, but over turf. The fact that someone whose religion does not even acknowledge Evil, officially, comes forth and call us Evil really bothered me. Does he know Evil? Does he know how it looks like or what it does? Where its abode is? No, he does not know Evil, but he has heard there is something by that name. He usurped and took over something which was left without a proper ownership. And worse of all, he called us Evil. He did not even know that we discovered it. We ourselves know the fellow, inside and out. First, he is hideous like George Bush, second he is deceitful like George Bush and third he destroys like George Bush. If we would have moved first and had written an encyclopedia of Evil, instead of all those nonsense leftist and rightist pamphlets, he would know that that evil fellow is our own discovery and should know that “the Mosque is not a proper place for...” as Iranian would say.

This is one good thing about moving fast and claiming whatever is at hand. In fact, after the Evil business I got very worried about Heaven and Hell. Actually, more worried about Heaven than about Hell. If we Iranian do not move quickly and stick our flag or national anthem there, one of these conservative evangelists in a quick coup might claim it for American. Then we will all need an entry visa and affidavits of support and so on and so forth; and, then it would be very difficult to get there no matter how good we are, no matter how weighty our bag of good thoughts, goods words and good deeds.

Really, why not Heaven, i.e., Behesht I mean? Why don’t we identify with that majestic place that we were its architect? There is a painting in the Zoroastrian Fire Temple Darbe Mehr in Pamona, New Jersey, titled City of Lights, by someone named Shapiro. The painting is something between surreal and naïve, and the design of Heaven is magnificent. There are circles of lights here and there, and Faravashies are landing in the grass landscapes like weird helicopters (looking a bit like Las Vegas, though.) What does she know about our Heaven? Still I’m so grateful that there is no foreign element there. But what should we do if she would have placed a blue and red striped flag with fifty one stars there? Not even one like the United Nations! Any how, as Iranians say, could we secure our belongings and not make a thief of our neighbor. I just said that for the record.

And the other thing which is rightfully ours is “truth,” in any form and any shade and any color. It is very fashionable these days to attribute lying to Iranians, the chief witness being our “taarof.” There was even one lengthy article in Irandokht’s blog titled “Why we Iranians lie so much.” The writer considered our taarof and even our expressions of affection as some sort of lie, expressions such as ghorban-e-to (“May I be your sacrifice.”) or “ghadamat roye cheshmam” (“Walk over my eyes.”) were considered examples of this, as if we are the only nation using these words and expressions. Never mind “you look great,” “how wonderful,” “I love you,” and “amazing,” which are scattered all over like leaves.

Anyhow, I mean that truth is ours. We were the first ones who decided that the creation is based on truth and the first culture that cast out falsehood, among whom righteousness is the first word of Iranian’s holy book. Truth, with all it’s ramifications, is not such a bad identity, though it may not have the glamour and attraction of pomegranates.

I do admit that truth or its consequences may not seem appealing as a title, particularly with its mathematical and logical associations. However we can always come with some poetic amalgamation such as “the birds of truth.”

Tangible objects or places come easier. Let’s see if we can find any other icon for our identity. What about the harp? It was used by King David, true, but it is the oldest instrument we know in Iran. It appears in Iranian miniatures and we have artists associated with, I’m not sure which one, Barbad or Nakisa. The instrument is very good looking and fancy, with all its curves and strings look really elegant. It is uniquely women's instrument and I do not know exactly why. It might be just the position that it should be played, like a mother hugging a child or combing her hair, or kissing a lover.

The tar is another instrument which is becoming very fashionable and is popular among the women. It looks good and has a very warm and roundish pleasant shape which could be very sensual. (Just do not think about Khamanehi! I don’t know who placed it in the same category as tar. If I had the authority I would have de-tar this instrument. Any how it seems the Chinese had that instrument long before us.)

The daf, also, is very Iranian, but I think it is hard to be used as a symbol of identity. It does not stand up and does not have such a strong invigorating character, and by itself is not such an instrument. It does not posses enough independence which is such a necessity for today’s life, literary or else. So let's forget about it.

Among the fruits, watermelon is more Iranian and more symbolic than pomegranate. It was the Manichian fruit, for its self-containment, its red color inside, its being so juicy, and its seeds. The Prophet Mani himself liked it very much and it is still a symbol for alertness and awakening. Years ago, Jackie Kennedy suggested a photograph of three inexpensive Indian silver plate tumblers—three rupees each, filled up with watermelon juice, to be used for the cover page of the Tiffany’s catalog. The tumblers were sold in an auction in Christie’s for eighteen thousand dollars when she died. I think the watermelon juice had something to do with it!

Quince is also a very Iranian fruit, though here they call it Chinese apple. Its change of color is more striking than that of apples, and if it is cooked properly, it can turn into a beautiful rich burgundy color, and its perfume is heavenly.

Talking of the burgundy color, grapes in its variety was one of the most famous fruits of Iran. Their story is lost in the mists of prehistory. The first historical reference to them goes back to the King Cyrus time, and indeed the vine itself is so majestic and the best device to make a harbor or to be used in porticos.

Wine, the magical product of grapes, is certainly an Iranian product. It was used both for its nutritious and medicinal value, as well as a sacrament. What makes it so divine is its process of fermentation, and its gradual change of its bitterness to sweetness.

Figs are ours. I assume Iranians had so much of it that when they designed Heaven, they planted it there. Adam and Eve used the leaf as there first to cover their privates. The fruit has quite a magical texture inside.

And finally, nothing is more Iranian than persimmons, with that undefinable color.

A whole range of flowers could supply us with the beautiful titles. Lilacs, roses, pansies, jasmines, violets, wisteria , and also trees, such as willows and olive trees.

Among the animals, there are few beauties which are wonderful identity symbols. One is the goat. They were in west part of Iran and in almost every museum in the world there is at least one goat head of gold, silver or bronze from Iran particularly from Luristan.

My most favorite is the deer, with their beautiful eyes, elegant bodies and their dance like movements that could enchant anyone. I cannot imagine a map of Iran without some deer running through it. (I cannot resist mentioning that when my father married my mother, a tribal women from Luristan, and brought her to Tehran, he bought her a deer, so she would not be homesick.)

Horses are my favorite. They are beautiful and elegant. If we believe Herodotus, the horse is one of the three specialities of Iranians. (The other one is the bow and arrow. They are a bit dangerous but could be used rightly and elegantly--not by Dick Chaney--they could be beautiful symbols too.)

Apparently the Prophet Mani was the first painter who painted on the canvas or leather. He was the first one to use paint panel, which is such a pleasant, good-looking object.

And finally, the best of all are the literary similes, metaphors, and allusions which very easily could be adopted from our beloved poets. I recommend Saadi, since nobody's language has ever been as rich as his. And of course, among the moderns, Sohrab Sepehri who was such a magician when it came to similes.

At the risk of being called biased and prejudiced and even chauvinist, I cannot resist quoting Najib Mahfouz on something else which is very Iranian:

“Adam tiptoed warily into the room… He followed the left hand wall… Soon he found the table, he passed … He opened the door, and there he was slipping into the secret place that no one but his father had ever been entered… To the right was an ornate table and on it rested the thick volume, fastened to the wall with an iron chain… He crossed to the table and gazed at the cover of the book with its gold lettering, then stretched out his hand and opened it. He composed his thoughts and overcame his confusion with difficulty, then read in the Persian script: ‘In the Name of God.'”

I do not know if anyone can use it as a title, but those who have read Mahfouz's Children of Gebelaawi, know the book referred to is the God’s will. It is safe to assume that by Persian script he means the Avestan script. Well, on top of everything, we posses that honor as well. True, God has chosen the Jews, but He wrote His will in a language that only we Iranians could read. We have the legitimate power of attorney of God, we are heir to his will and with that goes all those words derived from it, heritage, heritance, legacy and the ninety nine names of God all belong to us! Hay!

So please buy a paint panel, use any two or three of all these and their variations and derivations and mix them together and borrow a few conjunctions and disjunctions and splash some nice color or perfume over it and come up with a nice title for your next masterpiece, and leave pomegranate, saffron, and Shiraz to those who used them first. Let your work come with an Iranian flavor and taste rather than just a name.

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