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Image of the quote is loading... SaveSave The price one pays when choosing exile is the loss of all that defines you as an individual. The only thing that makes this immense loss tolerable is the discovery of a self you did not know existed - of a true independence. That is the real gift of America, not its fabled wealth and prosperity. - Quote by Azar Nafisi

The price one pays when choosing exile is the loss of all that defines you as an individual. The only thing that makes this immense loss tolerable is the discovery of a self you did not know existed – of a true independence. That is the real gift of America, not its fabled wealth and prosperity.

Azar Nafisi
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These characters depend to such a high degree on their own sense of integrity that for them, victory has nothing to do with happiness. It has more to do with a settling within oneself, a movement inward that makes them whole. Their reward is not happiness...what James's characters gain is self-respect.
Azar Nafisi
Don't go chasing after the grand theme, the idea, I told my students, as if it is separate from the story itself. The idea or ideas behind the story must come to you through the experience of the novel and not as something tacked onto it.
Azar Nafisi
A novel is not an allegory, I said as the period was about to come to an end. It is the sensual experience of another world. If you don't enter that world, hold your breath with the characters and become involved in their destiny, you won't be able to empathize, and empathy is at the heart of the novel. This is how you read a novel: you inhale the experience. So start breathing.
Azar Nafisi
One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay.
Azar Nafisi
It is not just bookstores and libraries that are disappearing but museums, theaters, performing arts centers, art and music schools— all those places where I felt at home have joined the list of endangered species. The San Francisco Chronicle, the Los Angeles Times, the Boston Globe and my own hometown paper, The Washington Post, have all closed their weekend book review sections, leaving books orphaned and stranded, poor cousins to television and the movies. In a sign of the times, the Bloomberg News website recently transferred its book coverage to the Luxury section, alongside yachts, sports clubs and wine, as if to signal that books are an idle indulgence of the super-rich. But if there is one thing that should not be denied to anyone rich or poor it is the opportunity to dream.
Azar Nafisi
When the founding fathers conceived of this new nation, they understood that the education of its citizens would be essential to the health of their democratic enterprise. Knowledge was not just a luxury; it was essential.
Azar Nafisi
Most serious confrontations in life are not political, they are existential. One can agree with someone's political stance but disagree in a fundamental way with how they came to that position. It is a question of attitude, of moral configuration. My husband and I had plenty of grievances, but it all boiled down to a fundamental difference in the way we perceived life, the context within which we defined ourselves and our world. For that, there was no reconciliation or resolution, there was only separation or surrender.
Azar Nafisi
There are different forms of seduction, and the kind I have witnessed in Persian dancers is so unique, such a mixture of subtlety and brazenness, I cannot find a Western equivalent to compare it to. I have seen women of vastly different backgrounds take on that same expression: a hazy, lazy, flirtatious look in their eyes. . . . This sort of seduction is elusive; it is sinewy and tactile. It twists, twirls, winds and unwinds. Hands curl and uncurl while the waist seems to coil and recoil. . . . It is openly seductive but not surrendering.
Azar Nafisi
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