The Interview : Faridoun Farrokh

Rachna Singh, Editor of The Wise Owl, speaks with Dr. Faridoun Farrokh, acclaimed translator, literary scholar, and former Professor of English at Texas  International University. Dedicated to bringing Persian literature to a global readership, Farrokh is best known for his celebrated English translation of Shahrnush Parsipur’s Women Without Men, a landmark feminist novella that blends political critique with magical realism. Praised for preserving the power and nuance of the original Persian text, his translation has introduced Parsipur’s work to new audiences worldwide. The Penguin edition was longlisted for the 2026 International Booker Prize, earning international recognition and acclaim.

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Thank you Dr Farrokh for taking time out of your busy schedule to talk with The Wise Owl.

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RS: What first drew you to literary translation, and how did you come to see it as an important part of your scholarly and creative work?

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FF: Growing up in Iran in the mid-1940s, when the country was being overrun with Western influence, a major part of my cultural awakening was shaped by reading translations of European and Russian major literary works.  Even from the early years of high school I was involved, in a minor way, in translation. During those years, when the gramophone had found its way into the Iranian social and cultural atmosphere of Iran, I was often asked by businesses in my hometown that imported gramophone records, mostly from Britain, to translate the notes in the back of the album covers for their marketing purposes.  I also translated Sommerset Maugham and popular Mark Twain stories as well as Chekov for local magazines. My desire to translate was influenced by a commitment to enlarge and expand the worldview of my native culture and its civilization. My doctorate in 18th century English literature facilitated the achievement of this aim as I began translating with a special interest in Iranian women writers.

RS: What was it about Shahrnush Parsipur’s novel, Women Without Men, that compelled you to undertake its translation? Was there a particular aspect of its themes, style, or political significance that resonated with you most strongly?

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FF: My literary translations  began with my friend Goli Taraghi’s short stories and her major novel, A Mansion in the Sky, which were popular in Iran at the time. I discovered Parsipur’s writing and her novel  Women without Men through contacts with other Iranian academics and was drawn to her remarkably perceptive exploration of the intricacies of gender relations in Iranian culture. She demonstrates a unique understanding and a psychological analysis of characters within her story. Her political commentary, though not overt, examines the inferior treatment of womanhood in Iranian culture and inspires change. To the extent that my translation of this work will impact the reading population of our host culture, my motive was political. Women should be able to fully participate in society.

RS: The novel blends realism, allegory, folklore, mysticism, and social critique. What were some of the most rewarding and challenging aspects of conveying these multiple layers to an English-speaking readership?

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FF: The novel delves profoundly in the intricacies arising from the intermingling of the inner sentiments of each character with those of others, as well as the cultural dictates of the society in which women are immersed. Parsipour’s use of folklore reveals universal patterns across cultures.  Her use of allegory presents women as shifting symbols in Iranian culture.  Outside of the creative and inventive use of magical realism, her character’s attitudes and actions provide a comprehensive view of the way women are forced to orient and and even reimagine their existence within the confines of their society.

RS: Women Without Men was banned shortly after its publication in 1989 for its portrayal of female agency and freedom. In your view, how does the novel continue to speak to contemporary readers, both within and beyond Iran?

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FF: Frankly, I was not initially aware of the impact of the novel on the current political or social environment. What drew me to Parsipur’s work is the fluency of her prose and the realism in her creation of characters.  Parsipur’s work highlights the plight of oppressed women in Iran and across the world.  I was intrigued by the delicacy with which she explores human relations within the framework of its plot and I tried to remain faithful to it.  That said, the rise of interest in the literature of Iranian women is the result of the expansion of liberal mentality in the last half century not only in Iran but across the world.  Like women elsewhere, the women in this novel break with tradition to create a vision of independence. The significant role played by Parsipur cannot be under-rated. Her penetrating insight into the intricacies of the man/woman relationship and its social background provides a roadmap to this end.

RS: As a translator, how do you balance fidelity to the original text with the need to create a work that feels alive and accessible in another language? Were there passages in this novel that demanded particularly difficult choices?

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FF: It is important to infuse the translation with the linguistic specifics of the target audience. Since language does not translate with exact meaning, one must find idioms in the translated language that convey the conceptional equivalent.  Having an intricate knowledge of both languages and cultures is key to achieving the reader’s expected response.  This is easier to do as I lived in Iran for forty plus years and have lived and taught in the U.S. for as long; therefore, I have been fully immersed in both cultures.

RS: The novel’s five women are united by their search for autonomy, dignity, and belonging. What do you hope readers today will take away from their journeys and from Parsipur’s vision of resistance and transformation?

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FF: My goal is that the novel creates increased sensitivity to the variation of individual characters.  Hopefully, readers of the novel in both Iranian and English speaking cultures are able to identify with Parsipur’s characters and are inspired to follow their example of transformation and resistance.

RS: Translation often serves as a bridge between cultures, histories, andliterary traditions. In an increasingly interconnected world, what role do you believe literary translation plays in fostering empathy and deeper cross-cultural understanding?

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FF: Translation per se has always been the instrument of intercultural understanding and development and will continue to serve this function in the future.  With ongoing world conflicts between races, cultures, and religions today, the translation of literature is vital.  It illustrates the universality of life, its shared human traits, and as such, provides a much needed path to understanding and empathy among humans.

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Thank you so much Dr Farrokh for talking to The Wise Owl about your book, creativity and the process of translation. We wish you the very best in all your future creative endeavours.