But perhaps there is another, more personal reason for my disagreement with Rain: I cannot imagine myself feeling at home in a place that is indifferent to what has become my true home, a land with no borders and few restrictions, which I have taken to calling “the Republic of Imagination.” I think of it as Nabokov’s “somehow, somewhere” or Alice’s backyard, a world that runs parallel to the real one, whose occupants need no passport or documentation. The only requirements for entry are an open mind, a restless desire to know and an indefinable urge to escape the mundane.

— Azar Nafisi

Correlation between the growing lack of respect for ideas and the imagination and the increasing gap between rich and poor in America, reflected not just in the gulf between the salaries of CEOs and their employees but also in the high cost of education, the incredible divide between private and public schools that makes all the fine speeches by our policymakers— most of whom send their children to private schools anyway, just as they enjoy the benefits and perks of their jobs as servants of the people— all the more insidious and insincere.

— Azar Nafisi

Do not, under any circumstances, belittle a work of fiction by trying to turn it into a carbon copy of real life; what we search for in fiction is not so much reality but the epiphany of truth.

— Azar Nafisi

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

Don't let strangers touch you." And yet it is seldom strangers, I learned long before I was a teenager, who do you harm. It is always the ones closest to us: the suave chauffeur, the skilled photographer, the kind music teacher, the good friend's sober and dignified husband, the pious man of God. They are the ones your parents trust, whom they don't want to believe anything against.

— Azar Nafisi

Even the mild-mannered Sophia Western of Tom Jones and Richardson's annoyingly pious Clarissa Harlow distinguished themselves by saying no to the authority of their parents, their societies, and norms and demanding to marry the man they chose. Perhaps it was exactly because women were deprived of so much in their real lives that they became so subversive in the realm of fiction, refusing the authority imposed on them, breaking out of old structures, not submitting.

— Azar Nafisi

Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. 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. The affirmation lies in the way the author takes control of reality by retelling it in his own way, thus creating a new world. Every great work of art, I would declare pompously, is a celebration, an act of insubordination against the betrayals, horrors and infidelities of life. The perfection and beauty of form rebels against the ugliness and shabbiness of the subject. This is why we love "Madame Bovary" and cry for Emma, why we greedily read "Lolita" as our heart breaks for its small, vulgar, poetic and defiant orphaned heroine.

— Azar Nafisi

Had I been able to formulate my first impressions of the United States, I might have said that there was a place in America called Kansas, where people could find a magic land at the heart of a cyclone.

— Azar Nafisi

He is more rooted to the idea of home. He created this home...and established routines like watching the BBC and cooking barbecues for friends. It's much harder to dismantle that world and to rebuild it somewhere else.

— Azar Nafisi

I explained that most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed too immutable. I told my students I wanted them in their readings to consider in what ways these works unsettled them, made them a little uneasy, made them look around and consider the world, like Alice in Wonderland, through different eyes.

— Azar Nafisi