Dick Davis

So speaks one of the many distinctive voices in this new anthology of verse by women poets writing in Persian, most of whom have never been translated into English before; this is especially trueof the pre-modern poets, such as the unnamed author of the lines above, known simply as the daughter of Salar or the woman from Esfahan. One of the very first Persian poets was a woman (Rabeeh, who lived over a thousand years ago) and there have been women poets writing in Persian in virtually every generation since that time until the present. Before the twentieth century they tended to come from societys social extremes. Many were princesses, a good number were hired entertainers of one kind or another, and they were active in many different countries - Iran of course, but also India, Afghanistan, and areas of central Asia that are now Uzbekistan, Turkmenistan, and Tajikistan. Not surprisingly, a lot of their poetry sounds like that of their male counterparts, but a lot doesnt; there are distinctively bawdy and flirtatious poems by medieval women poets, poems from virtually every era in which the poet complains about her husband (sometimes light-heartedly, sometimes with poignant seriousness), touching poems on the death of a child, and many epigrams centered on little details that bring a life from hundreds of years ago vividly before our eyes. In the nineteenth century we begin to see political poems, often very angry ones, by women demanding both the independence of Middle-Eastern countries from Western governments and womens emancipation. Perhaps the most personal and intensely emotional poems are those of the last hundred years, in which we see local sensibilities rooted in a millennium of literary and social tradition responding to, and embracing or rejecting, the myriad multi-cultural strands that make up the modern world. The Mirror of My Heart is a unique and captivating collection introduced and translated by Dick Davis, an acclaimed scholar and translator of Persian literature as well as a gifted poet in his own right. In his introduction he provides fascinating background detail on Persian poetry written by women through the ages, including common themes and motifs and a brief overview of Iranian history showing how women poets have been affected by the changing dynasties. From Rabeeh in the tenth century to Fatemeh Ekhtesari in the twenty-first, each of the eighty-three poets in this volume is introduced in a short biographical note, while explanatory notes give further insight into the poems themselves.

A Thousand Years of Persian Poetry by Women

The Mirror of My Heart

Mirror of My Heart

Najmieh Batmanglij

Burke Owens

Wine at the Persian Table

From Persia to Napa

A giant of world literature, an eloquent princess, a dissolute satirist these are the three voices translated from fourteenth-century Persian by Dick Davis in Faces of Love. Together, they represent one of the most remarkable literary flowerings of any era. All three Hafez, Jahan Malek Khatun, and Obayd-e Zakani lived in Shiraz, a provincial capital in south-central Iran, and all drew support from arts-loving rulers at a time better known for invasions and political violence. Love was a frequent subject of their work: spiritual as well as secular, in varieties embracing every aspect of the human heart. They could hardly have been more different. Hafez destined to win fame throughout the world wrote lyrical poetry that was subtle, elusive, and rich in ambiguity. Jahan largely forgotten until recent decades was a privileged princess who could evoke passion, longing and heartbreak with uncanny power. (As Davis says: "To have this extraordinary poet's fascinating and often very beautiful poems emerge from six hundred years of virtual oblivion seems almost miraculous".) Obayd a satirist and truth-teller celebrated every pleasure of the flesh in language of astonishing and occasionally obscene honesty. In his introduction, Davis himself a gifted poet as well as an acclaimed translator and scholar of Persian literature describes the turbulent world of the three poets and recounts what is known of their lives. His scene-setting includes explanations of poetic conventions of the day: the rules of rhyming and meter, the stylised relationship between author and subject, and the way language sometimes hovers between male and female or between sacred and secular meanings. Detailed explanatory notes follow the poems, along with some personal reflections on the challenge of trying to catch the poetic genius of a culture distant in space and time. Dick Davis does it brilliantly: Faces of Love is a bridge that carries us to another age.

Hafez and the Poets of Shiraz

Faces of Love

Rabe`eh Balkhi

Farrokhzad Forugh

This new bilingual edition of The Mirror of My Heart - the poems in Persian and English on facing pages - is a unique and captivating collection introduced and translated by Dick Davis, an acclaimed scholar and translator of Persian literature as well as a gifted poet in his own right. In his introduction he provides fascinating background detail on Persian poetry written by women through the ages, including common themes and motifs and a brief overview of Iranian history showing how women poets have been affected by the changing dynasties. From Rabeeh in the tenth century to Fatemeh Ekhtesari in the twenty-first, each of the eighty-four poets in this volume is introduced in a short biographical note, while explanatory notes give further insight into the poems themselves. One of the very first Persian poets was a woman (Rabeeh, who lived over a thousand years ago) and there have been women poets writing in Persian in virtually every generation since that time until the present. Before the twentieth century they tended to come from societys social extremes. Many were princesses, a good number were hired entertainers of one kind or another, and they were active in many different countries - Iran of course, but also India, Afghanistan, and areas of central Asia that are now Uzbekistan, Turkmenistan, and Tajikistan. Not surprisingly, a lot of their poetry sounds like that of their male counterparts, but a lot doesnt; there are distinctively bawdy and flirtatious poems by medieval women poets, poems from virtually every era in which the poet complains about her husband (sometimes light-heartedly, sometimes with poignant seriousness), touching poems on the death of a child, and many epigrams centered on little details that bring a life from hundreds of years ago vividly before our eyes.

The Mirror of My Heart (Bilingual Edition): A Thousand Years of Persian Poetry by Women

Firdawsī

Firdawsi

The Legend of Seyavash comes from the middle section of the Shahnameh, Iran's national epic by the poet Ferdowsi (c940-c1020) and presents a world of warfare, military prowess, romance, guile, and fierce tribal loyalty. Ferdowsi's epic style and mastery of poetic organisation, however, is matched by the psychological and ethical depth of his insight and his concerns for the primal struggle between good and evil, and man's continual attempt to create justice and civilized order out of the chaos of human greed and cruelty. The Legend of Seyavash begins with the stuff of romance -- a foreign girl of royal blood, found as a fugitive and introduced into the king's harem, gives birth to a son, Seyavash, who is raised not by his father the king, but by the great hero Rostam. On Seyavash's return home Sudabeh, his stepmother, attempts to seduce him, and when he spurns her she accuses him of having attempted to rape her. He undergoes a trial by fire to prove his innocence, and goes on to battle successfully against Iran's rival, Turan, concluding a truce with the Turanian king, Afrasyab, on amicable terms. But Seyavash's father, Kavus, insists that Seyavash surrender the Turanian hostages to slaughter, and with a conflicted conscience and no one to turn to, Seyavash flees to the Turanian court, where he is first given safe harbour, but is once again abandoned. Dick Davis has made a masterful translation of the poem and written a penetrating introduction.

The Legend of Seyavash

Iran's national epic, the Shahnameh of Ferdowsi, has traditionally been regarded by both Persians and Westerners as a poem celebrating the the central role of monarchy in Persian history. In this groundbreaking book, Dick Davis argues that the poem is far more than a patriotic chronicle of kingly deeds. Rather, it is a subtle and highly ambiguous discussion of authority, and far from being a celebration of monarchy, its most famous episodes and heroes amount to a radical critique of the institution. Davis demonstrates that the public world of kingly authority is shadowed in the poem by a series of tragic father-son relationships, and that in both the royal and familial spheres, authority figures are invariably presented as morally inferior to those whom they govern. The Shahnameh's complex aesthetic structure and its tragic resolution of problems of authority and hierarchy make it an artistic artifact able to take its rightful place beside the major masterpieces of world literature.

The Case of Ferdowsi's Shahnameh

Epic and Sedition

A pioneer in the financial media, Dick Davis has interacted with the investing public for over forty years. With his new book, he continues this trend. The first part of The Dick Davis Dividend contains an easy-to-read, yet profound discussion of the essentials of investing—focusing on the savvy veteran’s often unconventional, core beliefs. While the second part of this engaging guide makes a compelling case for combining both passive investing via index funds and active investing via stocks and mutual funds.

Straight Talk on Making Money from 40 Years on Wall Street

The Dick Davis Dividend

Wine is seen as the natural partner of many great cuisines, but few people associate it with Persian food, one of the world's most sophisticated culinary traditions. The ties, in fact, are age-old. From Persia to Napa: Wine at the Persian Table (Mage; $50; 264 pages, with 160 color photos) weaves together history, poetry, a look at modern viniculture, and a wealth of recipes and wine pairings to celebrate the rightful relationship of wine and food on the Persian table. "Whoever seeks the origins of wine must be crazy," a Persian poet once declared, implying that simple enjoyment of this greatest gift of the grape ought to be enough. Since he wrote those words, however, winemaking has been traced all the way back to the northern uplands of the Fertile Crescent some seven millennia ago, the start of a journey that would take it across the Near East and then into Europe in the dawning years of civilization. Iran was one of the nurseries of the wine grape, and, as empires rose and fell there, princes, priests, poets and people in ordinary walks of life all embraced wine in various ways. After Islam came to Iran, wine drinking sometimes slipped from public view, but it never disappeared. In this lavishly illustrated book, Najmieh Batmanglij explores that long and eventful history, then shifts her story to California's famed Napa Valley, half a world away. There, in a kind of up-to-the-minute homage to the past, an Iranian-American named Darioush Khaledi uses the latest vinicultural techniques to make superb wines at a winery reminiscent of Persepolis, the ceremonial capital of the ancient Persian empire. The final section of the book offers 80 recipes, a guide to Persian hospitality, both old and new, and seasonal menus for various occasions. Grapes play a role in most of the recipes, whether in the form of the fruit, the leaf, the juice, the syrup, unripe grapes or their juice (verjuice), vinegar or wine. Although these recipes are presented for the modern table, they are traditional--based on sources as various as a tenth-century Persian cookbook or the culinary archives of a sixteenth-century Persian court. The book has two special sections. One, written by Dick Davis, a leading authority on Persian literature, discusses the unique links between poetry and wine-drinking in Persian culture. The other, by wine-and-food expert Burke Owens, offers guidelines for pairing wine with the distinctive ingredients used in Persian cooking. He has also provided wine suggestions for each recipe.

From Persia to Napa: Wine at the Persian Table

In his new collection of poems, Dick Davis, the acclaimed author of Belonging, addresses themes that he has long worked with—travel, the experience of being a stranger, the clash of cultures, the vagaries of love, the pleasures and epiphanies of meaning that art allows us. But A Trick of Sunlight introduces a new theme that revolves around the idea of happiness—is it possible, must it be illusory, is its fleetingness an essential part of its nature so that disillusion is inevitable? Many of the poems are shaded by the poet’s awareness of growing older, and by the ways that this both shuts down many of life’s possibilities and frees us from their demands. The levity of some verses here is something of a departure for Davis, but his insights can be mordant too, revealing darknesses as often as they invoke frivolity. As Davis’s readers have come to expect, the poems in A Trick of Sunlight. aim at the aesthetic satisfactions that accompany accurate observations expressed with wit, intelligence, and grace. But they achieve as well an immediacy and rawness of vision that seem to belie his careful craft.

Poems

A Trick of Sunlight

Īraj Pizishkzād

A satire on Iranian society featuring an eccentric uncle, a snob with an invented heroic past who worships Napoleon, Hitler and hates the English. It is narrated by his nephew, who is in love with his daughter. The novel was made into a TV series.

Dick Davis

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