| Mohammad Ali Jamalzadeh (1895-1997)
Mohammad Ali Jamalzadeh, the founder of the European-style Persian short-story genre, was born in Isfahan into a middle-class family. The date of his birth is debated; years between 1892 to 1896 are mentioned. At the end of his life, even he himself was not quite sure of the exact year. The year 1895 has been traditionally used as his day of birth.
Jamalzadeh's father, Sayyid Jamal al-Din Isfahani, was a progressive mullah who rose against despotism and delivered fiery speeches against the government, speeches which inspired his son but landed himself in prison where he was poisoned. Young Jamalzadeh, however, lived in Iran only until the age of twelve or thirteen. Thereafter, he lived in Lebanon where he attended the Antoura Catholic School (1908) near Beirut, in France (1910), and in Switzerland. There, he read law at the University of Lauzanne and later on at Dijon.
After his father's death, Jamalzadeh's life became somewhat difficult but, thanks to his many friends who supported him and to occasional students who paid him tuition, he survived starvation. By the time that World War I came around, he was in his early youth. He joined the group of nationalists in Berlin and, in 1915, founded a newspaper (Rastakhiz) for it in Baghdad. He also cooperated with the journal Kaveh (1916). In 1917, he published his first book entitled Ganj-e Shaygan (The Worthy Treasure). An overview of Iran of the turn of the century, Ganj-e Shaygan deals with Iran's socio-political as well economics, a major contribution gapping the distance between literature and the sciences. In the same year, he also represented the Nationalists at the World Congress of Socialists in Stockholm. His later year, until 1931 when he picked up residence in Geneva and worked for the International Labour Office are spent in make-shift jobs such as working for the Iranian embassy in Berlin.
During all these years,
Jamalzadeh had very little contact with Iran. But that did not prevent him from learning
Persian on his own. Rather, drawing on his meager experiences gained at a tender age, he
wrote about the lives of his contemporary Iranians. His preoccupation with language use
and his Dickensian style including repetitions, pile up of adjectives, and popular phrases
quickly remind the reader of his background and of his sincerity to contribute. Yet his
very distance from the sources of events described compromises the accuracy of his works.
His disregard for form and lack of a desire to revisit his works and make revisions
compounds the difficulty.
The Dean of Modern Iranian Writers
Sayyed Mohammad Ali Jamalzadeh holds a place of singular distinction in contemporary Persian literature as one of the innovators of the modern literary language, and the first to introduce the techniques of European short-story writing to Iran.
Jamalzadeh was only
sixteen when he left Iran for good, but the impression left on him by his childhood
training and environment proved indelible. After studying law in Switzerland and France,
he joined a group of Iranian nationalists in Berlin who published the famous journal Kaveh
and who engaged in a political and cultural campaign directed mainly against foreign
influence and intervention in their country's affairs.
Following the success of Yeki Bud va Yeki Nabud in 1921, Jamalzadeh refrained from literary activities for the next twenty years, which coincided with Reza Shah's entire reign. The long silence came to an end in 1942 after which he became one of the most prolific authors of modern Iran.
In general, there appears a sharp distinction between the early stories written by Jamalzadeh and his later compositions. Whereas conciseness, novelty of form, originality of ideas and a biting sense of humor mark the earlier writings, his later works show a tendency towards prolixity, sage remarks and mystical and philosophical speculations, frequent use of classical poetry and, at times, lack of shape and order. Everyday expressions adorn almost every line, to the extent that his penchant for juxtaposing idioms seems to override other considerations.
Jamalzadeh's pre-eminence is due mainly to his timely clarion call for a regeneration of Persian prose. One of the main themes that recurs in his writings is the dilemma of Western-educated Iranians when they return home. Numerous characters of this type appear in his works, all in different situations and with different potentialities, but none of them is able to tolerate the prevailing conditions, accommodate himself to the requirements of his milieu, or even feel at home in his own country.
Another theme in his writings is criticism of Muslim clergy and Shiite rites and institutions in Iran. Jamalzadeh was brought up in a religious family. Thus, his approach to religion--unlike that of Hedayat who abhorred everything religious--was more sympathetic and regarded the clergy as only falling short of ideals of the faith. Whereas the majority of Iranian modern writers do not know enough about the clerical mind and terminology and limit themselves to merely abusing the clergy, Jamalzadeh beat the akhund with the akhund's own stick. Clearly, the author of Yeki Bud va Yeki Nabud must be considered one of Iran's greatest modern writers who despite, or perhaps because of, long years of residence abroad, was until the end the most absolutely Persian of his contemporaries. Nevertheless, the golden touch displayed in his first work never quite reappeared in his later writings. All the same, his importance can scarcely be exaggerated: he has just claims to his position as the dean of modern Persian writers.
Jamalzadeh and Sadeq Hedayat:
Vanguards of Modern Persian Writing
Based on the
personal idiosyncrasies of Jamalzadeh and Hedayat, the similarities and differences in
their style and the nature of their interpersonal relationship, the author compares and
contrasts the life and works of these two pioneering Iranian writers. He suggests that
despite the many differences that separated them, mutual bonds of friendship and respect
marked their disparate lives.
In terms of their writings, while Hedayat mostly focuses on the existential aspects of life, Jamalzadeh is often preoccupied with life's concrete and material manifestations. Thus, whereas in Jamalzadeh's writings human despair takes on social and political connotations, in Hedayat's works it assumes an absolute and eternal sense. Moreover, they are particularly distinct in their opposition to religion. Hedayat is not only opposed to Islam but to all religions and ideologies which presume to have the exclusive right to guide and control man's life. Even his early fascination with Zoroastrianism was mostly due to the rising spirit of nationalism in Iran. Jamalzadeh, however, dislikes not the idea of religion but the manifestations of arbitrary and inhuman application of religious tenets by their zealous and bigoted interpreters and adherents. In a broader context, while Hedayat does not believe in life after death, Jamalzadeh, insists on his metaphysical beliefs. Ironically, Hedayat who dreaded frailty committed suicide at a relatively young age, while Jamalzadeh, 105 years old at his deathbed, still lamented the approaching end.
A Critique on Dar ol-Majanin
Jamalzadeh did not write fiction for twenty years after the publication of his path-breaking collection of short stories, Yeki Bud va Yeki Nabud, which, in a genuinely literary style, criticized important aspects of Iran's culture and society. It was only in 1941 that he wrote Dar al-Majanin [Lunatic Asylum], a novel which largely concentrates on its characters' psyches and existential problems, although--as in almost all of Jamalzadeh's works--the social framework is never out of sight.
widespread belief that Jamalzadeh never wrote another good work, after his first
collection of short stories was published, stems partly from the fact that the literary
quality of his numerous short stories and novels varies to an unusual degree. This
judgement may also be based on the fact that his first work--unlike the rest-- was
uniquely innovative. Most importantly, Jamalzadeh refused to follow the fashionable
currents of the time either in politics or in trendy "committed" literature,
although he went on writing "realistic" fictions which were critical of Iranian
social mores and political culture.