Clarice and the sweet pea of her sexual desires

Abstract

In the aftermath of Iran's Islamic revolution, the representation and expression of women's sexuality have undergone stringent official censorship. Zoya Pirzad stands out among Iranian female authors for subtly challenging the Islamic regime's censorship of Iranian women's bodies and sexuality in her writings. In Things We Left Unsaid (2012), while articulating the sexual desires of her protagonist, Pirzad adeptly employed indirect writing techniques to safeguard her work from censorship. This article delves into the author's nuanced literary techniques, including similes, metaphors, idioms, symbols, allusions, haptic perception, and the portrayal of bodily effects, as means to subvert Iran's official censorship. Pirzad employs these literary tactics to discreetly depict her protagonist's illicit sexual relationship, interwoven with the author's critique of the government's repressive policies on women's rights. To understand the intricate dance between the said and unsaid in Pirzad's work, this article draws upon the insights of affect theory.