Holy Defense Memories of Authors

Mohammadali Fatemi
Translated by Natalie Haghverdian

2019-12-10


"Ta Pelak 140[1]: Holy Defense Memories of Authors" is the name of a 543-page book. The book's back cover states: "This book is the result of three years of collecting effort (Azar Khaza'i Sarcheshmeh) to gather the memory of 140 artists and writers who have lived through the war with the aim of illustrating the course of Iranian people's lives during the Holy Defense from their non-fictional narratives, and diaries and notes. The narrators of this series each narrate from their perspective the events in which they were present and touched closely. ”

The book "Ta Pelak 140" has been published by the General Directorate of Conservation and Publication of the Sacred Defense Values of Tehran Province and Sarir Publication according to its ID. This book was released in mid-autumn 2019 and unveiled in the Ghasr-e Shirin Hall of the Islamic Revolution and the Holy Defense Museum (Tehran's Holy Defense Museum) on November 30.

The preface to the book, "Memory, the closest literary genre to war and the fronts," is taken from the book "Pouyeh Paydari[2]" by Alireza Kamri, author and researcher of history and literature. Azar Khaza'i Sarcheshmeh also wrote in the preface how "Ta Pelak 140" came to life. "Some of the memoirs in the series were arranged in the form of conversation and interview, which were changed to the written language with the co-ordination of the narrators," she recalled. "Some of the memories are in the form of notes that are not separated in this book."

A review of the memoirs shows that the narrator is briefly introduced before each memory is narrated. Sometimes this introduction is written by the narrator; from their point of view or indirectly, but clearly their prose is involved. Some narrators have dedicated more than one memory. The arrangement of memories in the book is also shaped in alphabetical order based on the surnames of the narrators. The book ends with some handwritten illustrations by some narrators, written for "Ta Pelak 140 ".

Reviewing the names of the narrators of the book is another way to introduce this set of memories. The names are for enthusiasts who are curious to know what their favorite characters have to share from the days of Saddam's military imposed war on the Islamic Republic of Iran: Jafar Ebrahimi (Shahed), Habib Ahmadzadeh, Hassan Ahmadi, Mohammad Kazem Akhavan, Asghar Ostan Hassan Memar, Hossein Esrafili , Reza Esmaeili, Alireza Ashtari, Iraj Afshari Asl, Javad Afhami, Ahmad Akbarpour, Ezzatollah Alvandi, Gholamreza Emami, Seyed Mohsen Emamian, Davood Amirian, Ismail Amini, Amir Hossein Anbardaran, Tahereh Ebod, Amir Ismail Azar, Ali Aghaghaffar, Mohammadali Aghamirzaie, Khossro Babakhani, Golali Babaie, Amirkavus Balazadeh, Abbas Ali Baratipour, Maryam Basiri, Hedayatollah Behboodi Kalhori, Mohammad Ali Bahmani, Saeed Biabanaki, Musa Bidej, Parviz Beigi Habibabadi, Kourosh Parsanejad, Kamran Parsinejad, Tayebeh Partoui Rad, Majid Pouruli Kalashtari, Razieh Tojjar, Zahra Ta’ajob, Jafar Touzandehjani, Yaghoub Tavakkoli, Mohammad Javad Jozeini, Golestan Jafarian, Leila Joleini, Jamshid Khanian, Mostafa Jamshidi, Mahmoud Javanbakht, Mehdi Chamran, Reza Hajiabadi, Seyed Habib Habibpour, Hamid Hassam, Ebrahim Hassanbeigi, Seyed Hassan Hosseini Arsanjani, Mohammad Hanif, Giti Khameneh, Mohammad Khamehyar, Azar Khazai Sarcheshmeh, Jahangir Khosrowshahi, Shamsi Khosravi, Hadi Khorshahian, Hamidreza Dadashi, Ali Davoodi, Vartan Davoodian, Mohammad Dehdashti, Ahmad Dehghan, Majid Rasti, Mojtaba Rahmandoust, Mostafa Rahmandoust, Hassan Rahimpour, Mostafa Rahimi, Ali Rostami, Mohammad Mehdi Rasooli, Meysam Rashidi Mehrabadi, Rahim Zarian, Hossein Nasrollah Zanjani, Zahra Zavvarian, Vajiheh Samani, Morteza Sarhanghi, Abdolrahim Saeedi Rad, Mohammad Reza Songori, Seyed Abdollah Haji Sayed Hassan, Sedigheh Shahsavan, Kamran Sharafshahi, Shahram Shafiei, Abdolrahman Shalilian, Mohammad Reza Shams, Mahboob Shahbazi, Saeed Sadeghi, Akbar Sahraie, Ehssan Abbassloo, Ahmad Arabloo, Afshin Ala, Saeed Alamian, Yousef Alikhani, Ghasem Gholami, Mahnaz Fatahi, Saeed Fakhrzadeh, Hossein Fadaei Hossein, Fatemeh Foroughi, Mohammad Ghasem Foroughi Jahromi, Mirshamseddin Fallah Hashemi, Nasser Feiz, Mohammad Ghasemipour, Ali Ghane, Yadollah Ghaempanah, Mohammad Ghobadi, Mohammad Hossein Ghadami, Alireza Ghazveh, Farzaneh Ghalevand, Yousef Ghujogh, Majid Gheisari, Seyyedali Kazemdavar, Abdoljabar Kakaie, Javad Kamor Bakhshayesh, Einullah Kavandi, Elaheh Kasmaie, Javad Kalateh Arabi, Seyyed Majid Golmohammad, Afsaneh Goodarzi, Mohammad Ali Goodini, Mustafa Mohadasi Khorasani, Nosratollah Mahmoudzadeh, Mahmmad Mahmoudi Noorabadi, Rahim Mahmoudi Shorbiani, Marali Moradi Salimi, Mohssen Motlagh, Buyuk Maleki, Mohsen Momeni Sharif, Ali Mehr, Ezzatollah Mehravaran, Seyyed Akbar Mir Jafari, Seyyed Mohammad Mir-Kazemi, Seyyed Ahmad Nademi, Sasan Nategh, Abdul Majid Najafi, Mohammad Sa'id Naghashiyan, Ali Akbar Valayi, Simindokht Vahidi, Seyyed Vali Hashemi, Seyyed Yasser Hashtroudi, Sirus Hemmati.

 


[1] Up to building No. 140

[2] Sustainability Efforts



 
Number of Visits: 5295


Comments

 
Full Name:
Email:
Comment:
Captcha (9 + 8) :
 

Validation: Challenges and Necessities

Where does truth stand in oral history? How can the correctness of a narrative be recognized? Does fact-checking matter? If there is exaggeration in the reporting of some accounts, how can it be detected? Is it possible to record an event accurately through the recording of a narrative? Readers and users of oral history works are often faced with these questions, and sometimes encounter doubts about some oral history works.
A Portion of Abbas Douzduzani’s Memoirs

From Revolutionary Circles to the Military Arm of the Islamic Government

In those days, it became clear that certain institutions had to be established very quickly—institutions suited to the temperament, expectations, and lingering aspirations of the younger generation; young people who had been politically active before the Revolution and, in some cases, had been directly entangled in arrests, imprisonment, ...

Authenticating Oral History: From Possibility to Necessity

The use of oral history as one of the historical sources has long been one of the principal challenges facing oral historians and those who employ it in contemporary historiography. The development of international standards for oral history, as well as IRIB standards, was intended to address the criticisms raised in this regard. The relationship between Diplomatics in written records and oral history is reciprocal.
Experts Answer to Oral History Questions

100 Questions/27

What is the place of research ethics in compiling oral history?
We asked several researchers and activists in the field of oral history to express their views on oral history questions. The names of each participant are listed at the beginning of their answers, and the text of all answers will be published on this portal by the end of the week.