Tehran earthquake shattered, but she is looking for a different solution

In a state of emergency, by Mohassa Mahbali, translated by Maryam Rahmani

Shady, a young woman addicted to opium, strives for her next success. In the early 2000s, an earthquake hit Tehran and it is unclear whether the tremor inside it is geological or physiological (possibly both). At home, her family disintegrates: mom howls in pain during a prayer rosary massage, grandmother is missing, dad is absent, probably a prankster. Shady closes her eyes and sucks hard at the remnants of her hiding place.

Mahsa Mahbeli credit … Bruges Ekry

Outside, the capital is in a state of pandemonium as the rich, the “rich kids with their Land Cruisers and their plastic noses”, are fleeing the city. Tehran appears as a tangle of moving objects – fight, comic, dance, sensual bath of sound, touch and smell. But the most vivid sensory experiences are more shady trips than the occasional drug trip:

“The little creature comes out of my legs and jumps in my stomach. It explodes into a thousand pieces, the pieces that vibrate in my stomach and roll down my legs and swim through my veins like tadpoles. The tadpoles descend down and then pull themselves back and free themselves in my pelvis, and a thousand of them darted down the channel in One small swamp.”

When Mahsa Mohebli’s In a State of Emergency was first published in Iran in 2008, its bizarre portrayal of a mind and a city on the edge of a precipice evoked feelings of piety. Written Persian, like Arabic, is an ornate, semi-formal language, and the book’s use of vernacular vernacular has shocked many critics as liberal and ambiguous—definitely non-literary. (The sex worker is referred to as “Cheetah Girl”; the original script is described as tiransfir-miransfir, a hybrid Persian-English pun.) The Ministry of Culture demanded 87 omissions from the text, the bulk of which is a curse word. More subtle profanity was avoided, including ich komme, or “I’m coming” in German. (One of the incidents of globalization is the popularity of German pornography in Iran.) The book was an unlikely success, printing six copies in six months. In 2010, she won the prestigious Houshang Golshiri Award in Iran.

Public discontent and disappointment are to blame for the emotional weather of Shady’s winding day in search of a solution. The people you encounter along the way reflect a misfit as misfits as they are bundled together, a generation trapped between the broken promises of revolution and the unventilation and nihilism of contemporary life. The image of unemployed, highly educated youth indulging in physical vice has been hidden in clichés in writing about contemporary Iran, where the rate of opium use per capita is higher than anywhere on earth. In some quarters, it is easier to achieve a better result than to get a decent meal.

In the aftermath of the earthquake, young people claimed that the city belonged to them. “Put your ear to the ground like me and listen,” Shady says. “Listen. The streets are talking. I can hear the sidewalk cracking. It drips and drips, cracking his knuckles after a long day.” Mohabli’s book was released a year before the streets of Tehran erupted in the largest anti-government protests since 1979, giving “In Case of Emergency” a prophetic flavor. At Friday prayers, a leaflet was distributed indicating that the book served as a blueprint for the demonstrators; It was banned shortly thereafter. The writer herself said the story was inspired by the tumultuous celebrations after the football match: the frightening yet exhilarating feeling that Tehran is sitting on a pile of matches, ready to set fire to any moment.

Using heavy and symbolic symbols to escape the scissors of excessive censorship is an old game, as in the Shah’s Iran as in the revolutionary regime that followed. And while the raging, earthquake-stricken city aptly evokes the spiritual malaise plaguing this nation of 83 million people, there is a danger in reading the phrase “in case of emergency” as a mere political fable. Doing so means giving up its literary and sensual qualities in the name of easy takeaway. Sheekasteh is the Persian expression for the kind of deep idiomatic slang that characterizes the prose of this book – gracefully translated here by the scholar Maryam Rahmani – but the word literally means “broken”. Perhaps the novel’s most immediate linguistic transcendence is the tectonic shift it represents in Iranian letters.

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