Top 160 Azar Nafisi Quotes (2024 Update)
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101. “These are people who consciously choose failure in order to preserve their own sense of integrity. They are more elitist than mere snobs, because of their high standards.”

— Azar Nafisi

102. “Why is it that in novels with a message, the villains are so reduced that it is as if they come to us with a sign on their forehead saying: Beware, I am a monster? Doesn’t the Koran state that Satan is a seducer, a tempter with an insidious smile?”

— Azar Nafisi

103. “It is obvious that she is more interested in happiness than in the institution of marriage, in love and understanding than matrimony.”

— Azar Nafisi

104. “I went on and on, and as I continued, I became more righteous in my indignation. It was the sort of anger one gets high on, the kind one takes home to show off to family and friends.”

— Azar Nafisi

105. “It is amazing how everything can fall into a routine.”

— Azar Nafisi

106. “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

107. “A message was sent by the regime to the faithful: to survive they would have to be loyal to only one interpretation of the faith, and to accept the new political role of the clergy. Father felt that this spelled the end of Islam in our country, and he did have a point. ‘No foreign power,’ he said, ’could destroy Islam the way these people have.”

— Azar Nafisi

108. “A good novel is one that shows the complexity of individuals, and creates enough space for all these characters to have a voice; in this way a novel is called democratic – not that it advocates democracy but that by nature it is so. Empathy lies at the heart of Gatsby, like so many other great novels – the biggest sin is to be blind to others’ problems and pains. Not seeing them means denying their existence.”

— Azar Nafisi

109. “Our patents’ old age shocks us in the same manner that our children’s growth to maturity does, but without the joy.”

— Azar Nafisi

110. “Tehran looked the way most of its remaining citizens must have felt: sad, forlorn, and defenseless, yet not without a certain dignity. The adhesive tape pasted on the window-panes to prevent the implosion of shattered glass told the story of its suffering, a suffering made more poignant because of its newly recovered beauty, the fresh green of trees, washed by spring showers, the blossoms and the rising snowcapped mountains now so near, as if pasted across the sky.”

— Azar Nafisi

111. “My impulse now, as then, is to disagree. The majority of people in this country who haunt bookstores, go to readings and book festivals or simply read in the privacy of their homes are not traumatized exiles.”

— Azar Nafisi

112. “But it was women like Rudabeh who planted in my mind the idea of a different kind of woman whose courage is private and personal. Without making any grand claims, without aiming to save humanity or defeat the forces of Satan, these women were engaged in a quiet rebellion, courageous not because it would get them accolades, but because they could not be otherwise. If they were limited and vulnerable, it was an audacious vulnerability, transcending the misogyny of their creator and his times.”

— Azar Nafisi

113. “The truth is that James, like many other great writers and artists, had chosen his own loyalties and nationality. His true country, his home, was that of the imagination.”

— Azar Nafisi

114. “So few American novels have happy endings. Perhaps this is not surprising in a nation whose declaration of independence provides its citizens not with the right to happiness, but the right to its pursuit.”

— Azar Nafisi

115. “He was baffled by Hemingway, felt amibvalent about Fitzgerald, loved Twain and though we should have a national writer like him. I loved and admired Twain but thought all writers were national writers and that there was no such thing as a National Writer.”

— Azar Nafisi

116. “How can we protect ourselves from a culture of manipulation, where tastes and flavors are re-created chemically in laboratories and given to us as natural food, where religion is packaged, televised and tweeted and commercials influence us to such an extent that they dictate not only what we eat, wear, read and want but what and how we dream. We need the pristine beauty of truth as revealed to us in fiction, poetry, music and the arts: we need to retrieve the third eye of imagination.”

— Azar Nafisi

117. “How do you tell someone she has to learn to love herself and her own body before she can be loved or love?”

— Azar Nafisi

118. “Most people have a way of radiating their potential – not just what they are, but what they could become.”

— Azar Nafisi

119. “Brewing and serving tea is an aesthetic ritual in Iran, performed several times a day. We serve tea in transparent glasses, small and shapely, the most popular of which is called slim-waisted: round and full at the top, narrow in the middle and round and full at the bottom. The color of the tea and its subtle aroma are an indication of the brewer’s skill.”

— Azar Nafisi

120. “Imagination and the journey-quest is at the heart of every life well-lived.”

— Azar Nafisi

121. “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

122. “There, in jail, we dreamed of just being outside, free, but when I came out, I discovered that I missed the solidarity we had in jail, the sense of purpose, the way we tried to share memories and food. She said, More than anything else, I miss the hope. In jail, we had the hope that we might get out, go to college, have fun, go to the movies.”

— Azar Nafisi

123. “Our personal fears and emotions are at times stronger than public danger. By keeping them secret, we allow them to remain malignant. You need to be able to articulate something if you want it to go away, and to do that, you must acknowledge that it exists.”

— Azar Nafisi

124. “Einstein was articulate and well-read, a lover of classical music, and it was he who said, “I am enough of an artist to draw freely upon my imagination. Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world.”

— Azar Nafisi

125. “Some within the government and some former revolutionaries had finally realized that there was no way the Islamic regime could make us intellectuals vanish. In forcing us underground, it had also made us more appealing, more dangerous and, in a strange way, more powerful. It had made us scarce and, because of this, also in demand.”

— Azar Nafisi

126. “In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance. This.”

— Azar Nafisi

127. “We do not read in order to turn great works of fiction into simplistic replicas of our own realities, we read for the pure, sensual, and unadulterated pleasure of reading. And if we do so, our reward is the discovery of the many hidden layers within these works that do not merely reflect reality but reveal a spectrum of truths, thus intrinsically going against the grain of totalitarian mindsets.”

— Azar Nafisi

128. “Fiction was not a panacea, but it did offer us a critical way of appraising and grasping the world – not just our world but that other world that had become the object of our desires.”

— Azar Nafisi

129. “My toe as a lethal weapon!”

— Azar Nafisi

130. “Look at these magnificent women, I thought, created in such misogynistic and hierarchical societies, yet they are the subversive centers around which the plot is shaped. Everything is supposed to revolve around the male hero. But it is the active presence of these women that changes events and diverts the man’s life from its traditional course, that shocks him into changing his very mode of existence. In the classical Iranian narrative, active women dominate the scene; they make things happen.”

— Azar Nafisi

131. “Love is love, but there are so many ways of articulating it.”

— Azar Nafisi

132. “Those who can afford private schooling need not worry about their children being deprived of art, music and literature in the classroom: they are more sheltered, for now, from the doctrine of efficiency that has been radically refashioning the public school curriculum.”

— Azar Nafisi

133. “The way we view fiction is a reflection of how we define ourselves as a nation. Works of the imagination are canaries in the coal mine, the measure by which we can evaluate the health of the rest of society.”

— Azar Nafisi

134. “All our lives my brother and I were caught by the fictions my parents told us – fictions about themselves as well as others. Each wanted us to judge the other in his or her favor. Sometimes I felt cheated, as if they never allowed us to have a story of our own. It is only now that I understand how much their story was also mine.”

— Azar Nafisi

135. “Only Catherine has the capacity to change and mature, although here... our heroine pays a dear price for this change. And she does take a form of revenge on both her father and her suitor: she refuses to give in to them. In the end, she has her triumph.”

— Azar Nafisi

136. “This is how you read a novel: you inhale the experience. So start breathing.”

— Azar Nafisi

137. “We were unhappy. We compared our situation to our own potentials, to what we could have had, and somehow there was little consolation in the fact that millions of people were unhappier than we were. Why should other people’s misery make us happier or more content?”

— Azar Nafisi

138. “Pragmatists are sometimes more prone to illusion than dreamers; when they fall for something, they fall hard, not knowing how to protect themselves, while we dreamers are more practiced in surviving the disillusionment that follows when we wake up from our dreams.”

— Azar Nafisi

139. “I left Tehran on June 24, 1997, for the green light that Gatsby once believed in.”

— Azar Nafisi

140. “I once heard my father tell a friend that his relationship with my mother reminded him of a story by Attar, the twelfth-century Persian mystic poet, about a man who fearlessly rode a ferocious lion. When the narrator followed this brave man to his home, he was shocked to see how easily he was cowed by his wife. How could a man who was not afraid of a fierce beast be so intimidated by his own wife? His host shot back: If it weren’t for what happens at home I could never ride a lion.”

— Azar Nafisi

141. “That was the first time I experienced the desperate orgiastic pleasure of this form of public mourning: it was the one place where people mingled and touched bodies and shared emotions without restraint or guilt. There was a wild, sexually flavored frenzy in the air. Later, when I saw a slogan by Khomeini saying that the Islamic Republic survives through its mourning ceremonies, I could testify to its truth.”

— Azar Nafisi

142. “Again she repeated that she would never get married, never ever. She said that for her a man always existed in books, that she would spend the rest of her life with Mr. Darcy – even in the books, there were few men for her.”

— Azar Nafisi

143. “Going away isn’t going to help as much as you think. The memory stays with you, and the stain. It’s not something you slough off once you leave.”

— Azar Nafisi

144. “The class went all right, and the ones after became easier. I was enthusiastic, naive and idealistic, and I was in love with my books.”

— Azar Nafisi

145. “There were no public articulations of these humiliations, so we took refuge in accidental occasions to weave our resentments and hatreds into little stories that lost their impact as soon as they were told.”

— Azar Nafisi

146. “I used to joke that we had prepared ourselves for a time like this by living with Mother. The problem with such a state of affairs was not that you did not get to do what you wanted – sometimes you did – but the effort to appease or resist the reigning deities left you so exhausted that it prevented you from ever really having fun. To this day having fun, just plain enjoying myself, comes at the cost of a conviction that I have committed an undetected crime.”

— Azar Nafisi

147. “I no longer believe that we can keep silent. We never really do, mind you.”

— Azar Nafisi

148. “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

149. “Every now and then I find myself thinking of something my daughter told me when she was in medical school: one sign that a patient is dying is that she feels no pain.”

— Azar Nafisi

150. “We the Readers are like Dorothy or Alice: we step into this magical world in order to return and retell the story through our own eyes, thus giving new meaning to the story as well as to our lives.”

— Azar Nafisi