The Iranian female scholar, Maryam Moein Kharazi, is fascinated with Nigerian literature. A specialist in comparative literature and cultural studies, her illuminating works on Nigerian literature include Food and Cultural Identity in the Selected Works of Three Nigerian Female Writers (PhD dissertation), “A Bourdieusian Study of Food and Socio-Cultural Identity in Chimamanda Ngozi Adichie’s Purple Hibiscus”, and “Food and Female Identity in Buchi Emecheta’s Double Yoke and Chimamanda Ngozi Adichie’s Americanah.”
HENRY AKUBUIRO chatted online with the Iranian on her deep interest in Nigerian literature, which has led to a fecund research harvest. Though she hasn’t been to Nigeria, she would relish an opportunity to try jollof rice, akara, agidi and pounded yam. She further takes us on a voyage into Persian literature and contemporary feminist conversations and how symbolic idioms have taken a new lease of life in Iran’s literature despite stifling censorship.
Your research interests as a scholar cover comparative literature and cultural studies, what experiences shaped your bent?
Comparative literature offers the opportunity to study the literature of different nations and cultures throughout the world and to analyse the differences or similarities between them. Cultural studies propose the advanced study of literary discourse, focusing on cultural perspective. I have always been interested in the literature and culture of nations.
Before completing your Ph.D. in English Language and Literature on Food and Cultural Identity in Selected Works of Three Nigerian Female Writers, you had written a similar topic on the works of Chimamanda Adichie and Buchi Emecheta, what informed your fascination with food and cultural identity, especially in the explored works of Emecheta and Chimamanda?
Food and eating habits are not merely reducible to nutrition. Beside fulfilling people’s biological needs, they also reflect a society in its social, economic, political, religious, and aesthetic aspects. The famous quotation, “Tell me what you eat: I will tell you what you are”, by the eighteenth-century gastronome, Brillat-Savarin, refers to the interrelation between food and identity. According to The Cambridge Companion to Literature and Food, the term “food studies” emerged in the 1990s when some disciplines including “anthropology, sociology, cultural geography, women’s studies, and history– began to analyse food and foodways” (Coghlan 2). Some of the most prominent theorists have been influential in the development of the field of food studies like Claude Lévi Strauss in The Raw and the Cooked (1964), Pierre Bourdieu in Distinction: A Social Judgment of Taste (1979), Mikhail Bakhtin in Rabelais and His World (1984), and Roland Barthes in Mythologies (1957).
Correspondingly, the field of culinary literary criticism has gathered interest among many scholars around the world. Some scholars explore the function of culinary images as a literary device such as a symbol. Others study food as a cultural sign, and they analyze how food can represent, construct or deconstruct identity. My dissertation analyses the trope of food and culinary practices in the selected works of Buchi Emecheta, Chimamanda Ngozi Adichie, and Nnedi Okorafor.
The seventh edition of The Oxford Companion to English Literature (2009), has entries dedicated to Buchi Emecheta (2595) and Chimamanda Ngozi Adichie (443). These writers’ works belong to postcolonial literature. Nigerian-born writers have produced dynamic, challenging, and thought-provoking works of literature in English. The oldest and the most significant works of Anglophone African literature belong to Nigerian writers like Chinua Achebe whose Things Fall Apart received worldwide critical acclaim in 1958.
The basic fact is that, right from the start, Nigerian writers have spoken to and entered into dialogue with British writers. Adiche begins her first novel, Purple Hibiscus, with the words “Things started to fall apart” reminding Achebe’s first novel and magnum opus, Things Fall Apart, which is a direct quotation from William Butler Yeats in his poem, “The Second Coming” (1920). Achebe’s aforementioned work was an answer to Mister Johnson (1939) written by an Anglo-Irish novelist and colonial official, Arthur Joyce Lunel Cary. In Cary’s novel racist attitudes and stereotypes of African backwardness abound. Therefore, Nigerian writing explicitly situates itself directly in contact with the conventional Anglo-Saxon canon. Achebe, like the other postcolonial writers, employs the language of the coloniser to enlighten them on the point of view of the colonised. That is what he elaborates on in his article, “Named for Victoria, Queen of England” (1973).
In the same way, other Nigerian-born writers, including the selected writers of my research, have employed English to transmit the African experience. For instance, Emecheta, in The Rape of Shavi and Adichie in Half of a Yellow Sun, illustrate how things fall apart when the West coerces and brutalises civilised people into destroying themselves. Emecheta and Adichie are among the inheritors of the tradition inaugurated by Chinua Achebe in his fiction. Emecheta is regarded as a prominent female writer in the second generation of Anglophone writers from Nigeria. Adichie is the leading voice of the third generation and Okorafor is a significant writer of African-based science fiction, fantasy, and magical realism in the same generation. The selected writers are best-selling novelists who have won major international literary awards.
It seems that most people do not have enough information about Nigerian cuisine and foodways. The way some food journalists and restaurant reviewers with inadequate knowledge or dystopian views toward Africa, write about Nigerian cuisine or other African cuisines is usually loaded with negative stereotypes. One can get interested in Nigerian food by reading the works of fiction written by the writers. Some Nigerian chefs have also been successful to introduce Nigerian food to the world. For instance, according to a BBC article, Chef Ayo Balogun of the Dept of Culture has introduced North-Central Nigerian cuisine to American palates, and his restaurant is booked for months.
Your Ph.D. dissertation on food and cultural identity in the selected works of three female Nigerian writers must be tasking for an Iranian scholar outside of Africa, what challenges did you encounter?
Choosing the topic of my study was challenging. I did not have enough information about the works of the diasporic Nigerian writers. I did a lot of research and read a lot about everything I needed to know to be able to do my research. I did not have access to all the books I needed in my country. I could download some books, articles, and dissertations, but I had to search and find other works. The selection of the works of fiction was one of the challenges I met. I had to read the works of fiction closely and extract the culinary motifs while classifying them according to their significance. My study utilises an eclectic approach, and its theoretical basis lies on the intersections of food, class, race, and gender. Choosing the theoretical framework of the research was also challenging, and I had to find the relations between both the selected critics’ views and the critics’ and the writers’ views in my work.
All in all, I am highly thankful to God for blessing me with the strength to overcome all the difficulties. I owe a great debt of gratitude to my wonderful parents, Zahra Fotovatkhah, and Mohammadreza Moein Kharazi for their unconditional love, support, encouragement, and unceasing patience, especially during this long and arduous process. I express my hearty thanks to all my dear professors, especially Dr. Sara Catherine Ilkhani, and Dr. Hasan Javadi for their assistance and unwavering support. I also appreciate my dear friends, especially my Portuguese friend, Raul Máximo da Silva, for everything, including his suggestion for this interview. He was also born in Africa.
What unique findings did you arrive at in your study of the three authors? How would they contribute to the study of world literature?
Numerous works have been done in English literature under the light of culinary literary criticism. Some scholars have analysed postcolonial works based on a gastrocritical approach. However, the amount of work done on the works of Nigerian diasporic writers who write in English is inadequate. Therefore, my dissertation provides a new reading of the selected works of fiction under the light of culinary literary criticism. Food is pivotal in the work of the selected writers. These writers highlight the significance of their national food and eating practices through the culinary imagery they use in their works, making the foreign readers familiar with their culture.
I have worked on fourteen works of fiction and, due to the large scope of my study, I do not want to bother you with the details here. In sum, the relation between food and socio-cultural identity is studied in the selected works, and it is argued how the culinary practices among the characters signify their habitus, their related field, and the form and amount of capital available to them. The characters’ relationships with the food of their motherland in both diasporic and non-diasporic spaces are explored. The characters’ racial affiliations are also examined through their relationships to food, including how they either articulate or resist manifesting their ethnic identities and legacies through their choice of food in the context of diaspora and their encounter with their Otherness.
The relation between food and gender identity is traced in the selected works based on the notions of ‘food and the ideal body image’ and ‘cooking and gender roles’. It is observed that the writers, more significantly Adichie, in the selected works, criticise the characters’ obsession and excess to shape their bodies according to the gendered ideals and their turning to docile bodies and also question the issue of cooking as a gendered micropractice. Therefore, the dissertation analyses how the three writers present the motifs of food and cooking to depict the social, racial, and gender aspects of the fictional characters’ identities.
Are you contemplating researching other Nigerian or African writers, especially male writers? If so, who have caught your fancy?
In the beginning, I had considered adding Ben Okri’s The Famished Road to my study. Then I limited the scope of my work to those of female writers. I am not researching other Nigerian or African male writers these days, but I am interested in the works of diasporic Nigerian writers. I also like the literary style of Chinua Achebe, Wole Soyinka, Ngugi wa Thiong’o, and Nadine Gordimer. They criticise negative social and political practices.
What’s the reception of Nigerian literature in Iran like?
Some works by Nigerian writers have been translated into Persian. Emecheta’s Bride Price, almost all of Adichie’s works, and Okorafor’s the Binti Trilogy, and Akata Witch have been translated into Persian. Other works by Nigerian writers have been translated into Persian. To name a few: Things Fall Apart by Chinua Achebe, A Dance of the Forests, The Swamp Dwellers, and The strong breed by Wole Soyinka, The Famished Road by Ben Okri, and The Fisherman by Chigozie Obioma. It is not easy to find all works of Nigerian literature in Iranian bookstores so downloading the works of Nigerian authors is the best solution for those who want to read them.
Are there similarities between Nigerian literature with what obtains in Iran?
I have only studied the works by Emecheta, Adichie, and Okorafor. Therefore, I do not have enough knowledge to speak about Nigerian literature. However, from what I have studied, I know that some Nigerian writers, like other writers of the world, criticise socio-political and cultural issues in their works. Many Iranian writers do the same.
If you like to learn more about Persian literature, I suggest you study the works by Dr. Hasan Javadi. Dr. Javadi is the author and translator of numerous books, including Satire in Persian Literature, and Persian Literary Influence on English Literature, etc. Two of his numerous translations include The Education of Women and The Vices of Men: Two Qajar Tracts (Modern Intellectual and Political History of the Middle East), and Forough Farrokhzad’s Another Birth and Other Poems.
Persian literature is one of the world’s oldest and richest literary traditions. There are many interesting books about Persian Literature, from which I suggest a few: Persian Poets (Everyman’s Library Pocket Poets Series) ( 2000 ) edited by Peter Washington, Twelve Centuries of Persian Poetry & History (2022) by Parviz Nezami, A Millennium of Classical Persian Poetry: A Guide to the Reading and Understanding of Persian Poetry from the Tenth to the Twentieth Century (1994) by Wheeler M. Thackston, and The Mirror of My Heart: A Thousand Years of Persian Poetry by Women (2019) by Dick Davis.
Which works of contemporary writers in Iran appeal to you most?
Shahrnush Parsipur is the novelist that I like best. Parsipur is an Iranian author known for her unique and captivating novels. Her works often challenge societal norms and explore themes such as gender, sexuality, and the coexistence of reality and fantasy. While each of her novels is distinct, several main attractions can be found across her body of work:
One of the notable features of Parsipur’s novels is the portrayal of strong, independent female characters. Her protagonists often defy traditional gender roles and challenge the societal expectations placed upon women. Through their stories, Parsipur explores the struggles and triumphs of women in Iranian society.
Parsipur’s novels provide a critical examination of Iranian society, particularly its treatment of women. She delves into themes of patriarchy and the limitations imposed on individuals, highlighting the social and cultural issues prevalent in Iran. Her works offer insightful commentary on the challenges faced by women in a restrictive society.
Parsipur’s novels often incorporate elements of magical realism, blending fantasy and reality. Through this literary technique, she explores the complexities of human experience and cultural traditions. The inclusion of magical elements adds a layer of enchantment and symbolism to her narratives.
Parsipur experiments with narrative structure, using unconventional storytelling techniques. Her novels may feature multiple narrators, nonlinear timelines, and fragmented narratives. This unique approach creates a sense of mystery and adds depth to the reading experience.
Also, Parsipur’s novels are deeply rooted in Iranian history and culture. She explores the country’s turbulent past and its impact on the lives of individuals. Through her stories, she sheds light on important events and cultural traditions, offering readers a deeper understanding of Iran’s socio-political landscape.
Overall, the main attractions of Shahrnush Parsipur’s novels lie in her thought-provoking exploration of gender dynamics, her social critique of Iranian society, the infusion of magical realism, her experimental narrative structures, and her portrayal of strong female characters. Her works provide readers with a unique perspective on Iranian culture and the challenges faced by women within it.
How vibrant is feminist literature in Iran?
Feminist literature in Iran has a vibrant and resilient presence despite facing challenges and restrictions. Iranian feminist writers and authors have been actively engaged in addressing gender inequality and advocating for women’s rights through their literary works. They employ various forms of expression, including novels, short stories, poetry, and essays, to explore and challenge social norms, patriarchal structures, and the experiences of women in Iranian society.
However, it is important to note that the landscape for feminist literature in Iran is complex due to censorship and societal pressures. Despite these challenges, feminist literature in Iran continues to thrive underground and within alternative spaces. Writers often use allegory, symbolism, and indirect narratives to convey their feminist messages while circumventing censorship. They explore themes such as women’s rights, gender inequality, sexuality, family dynamics, and the intersectionality of gender with other social issues.
Feminist literary works in Iran have gained recognition both within the country and internationally. Iranian authors, like Shahrnush Parsipur, Moniru Ravanipur, and Zoya Pirzad, have made significant contributions to feminist literature, using their voices to challenge prevailing norms and shed light on the experiences of women.
As an outspoken advocate for women’s rights, the Iranian poet, lyricist, and activist Simin Behbahani, also known as the “Lioness of Iran,” played a significant role in the advancement of Iranian feminism. She used her poetry as a medium to address gender inequality, challenge traditional gender roles, and shed light on the struggles faced by women in Iranian society. Behbahani’s poems resonated with many Iranian women, as she eloquently captured their experiences and aspirations.
Throughout her career, Simin Behbahani faced censorship and restrictions. Despite these challenges, she remained steadfast in her commitment to using her voice to advocate for women’s rights. Her poetry became a source of inspiration for many feminists and activists, both within Iran and internationally.
Behbahani’s work also reflected the broader feminist movement in Iran. Iranian feminism encompasses a diverse range of perspectives and approaches, but it generally seeks to address gender-based discrimination and promote gender equality within the framework of Iranian culture and society. Simin Behbahani’s legacy as a poet and feminist icon continues to inspire and empower Iranian feminists and women around the world. Her courageous and powerful voice serves as a reminder of the ongoing struggle for gender equality and social justice in Iran.
While feminist literature in Iran faces obstacles and limitations, it continues to play a vital role in promoting gender equality and challenging oppressive structures. It serves as a platform for women’s voices, encouraging discussions, raising awareness, and inspiring change within Iranian society.
Have you been to Nigeria before? Are you thinking of visiting one day, and which places interest you the most?
I have never been to Nigeria. Who knows? Maybe one day, I shall go to Nigeria to visit some of the Nigerian settings of the works of fiction I have read. I would like to visit The Lekki Conservation Centre in Lagos, and Olumo Rock in the city of Abeokuta, Ogun State. I like to explore new places and immerse myself in diverse cultures. The African continent is regarded as the cradle of the human race. Iran, the ancient Persia, is the cradle of ancient civilizations. I suggest you travel to Iran which is called a four-season country. This enchanting, diverse, and ancient country is home to a myriad of stunning natural wonders and one of the world’s oldest continuous major civilizations.
Which Nigerian food would you like to try?
Trying the food of various cultures is very enjoyable. Nigerian food is aromatic and spicy.
In “Organic Fantasy”, Nnedi Okorafor mentions that some food like “egusi soup is not a dish to start off with” when one is first trying Nigerian food. She recommends trying “something tamer like fried plantain (sliced diagonally) and some spicy jallof rice” (279). I think jollof rice somehow looks similar to an Iranian food called Kate Gojefarangi or Dami Goje “Tomato Rice”. I like to try jollof rice, akara, agidi, and also garri and pounded yam, which are Nigerian starchy staples.
I suggest you travel to Iran and enjoy Iranian food which is beyond delicious.