The ‘day after’ the revolution has been a temporal distortion: a prolonged present bent back toward the past. Events have appeared less as ruptures than as echoes. Instead of discrete moments of dissent, the protests of 1999, 2009, 2019, 2022, and 2026 have repeatedly reinterpreted the excesses and losses of the 1979 revolution. Likewise, the debris of the wars of 2025 and 2026 has lingered as re-inscriptions of the Iran-Iraq war of the 1980s. In between these echoes, Iranians have found themselves in a contradictory condition, between wounds and dreams, hopes and fears, caught in a negative dialectic of origin and destiny, where both life and death are delayed.
I think hard times are coming, when we will be wanting the voices of writers who can see alternatives to how we live now, and can see through our fear-stricken society and its obsessive technologies, to other ways of being. And even imagine some real grounds for hope. We will need writers who can remember freedom: poets, visionaries— the realists of a larger reality . Right now, I think we need writers who know the difference between production of a market commodity and the practice of an art. The profit motive is often in conflict with the aims of art. We live in capitalism. Its power seems inescapable; so did the divine right of kings. … Power can be resisted and changed by human beings; resistance and change often begin in art, and very often in our art—the art of words. I’ve had a long career and a good one, in good company, and here, at the end of it, I really don’t want to watch American literature get sold down the river. ... The name of our beautiful reward is ...
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