2 books by Kader Abdolah
Requirements: ePUB/MOBI reader, 2 MB
Overview: Kader Abdolah is the penname of Hossein Sadjadi Ghaemmaghami Farahani, an Iranian writer who also writes in Dutch. Abdolah has lived in the Netherlands since 1988.
He studied physics at the Arak College of Science and fled the country as a political refugee in 1988. Today he lives in Delft (The Netherlands), writing under a pseudonym made up of the names of two murdered friends. Het huis van de moskee (The House of the Mosque), catapulted Abdolah into the Dutch bestseller lists.
Genre: Historical Fiction > Iran
My Father’s Notebook
When he was a boy, Aga Akbar, the deaf-mute illegitimate son of a Persian nobleman, traveled with his uncle to a cave on nearby Saffron Mountain. Once there, he was to copy a three-thousand-year-old cuneiform inscription–an order of the first king of Persia–as a means of freeing himself from his emotional confinement. For the remainder of his life, Aga Akbar used these cuneiform characters to fill a notebook with writings only he could understand. Years later, his son, Ishmael–a political dissident in exile–is attempting to translate the notebook . . . and in the process tells his father’s story, his own, and the story of twentieth-century Iran. A stunning and ambitious novel by a singular literary talent, "My Father’s Notebook" is at once a masterful chronicle of a culture’s troubled voyage into modernity and the poignant, timeless tale of a son’s enduring love.
The King
A hypnotic page-turner about the grinding gears of historical change and ruthless palace intrigue in Persia, c. 1848.
The King, young Shah Naser, takes to the throne of Persia at a turning point of history: he inherits an enchanted medieval world of harems, eunuchs, and treasures as well as a palace of secret doors, sudden deaths, and hidden agendas. Within the court is danger enough: outside all manner of change threatens—industrialization, colonization. Russia and England conspire to open the King’s empire; his mother and his vizier take opposing sides. The poor King—almost an exact contemporary of Queen Victoria—is trapped. He likes some aspects of modernity (electricity, photography) but can’t embrace democracy. He must be a sovereign: he must keep his throne. The King cannot face change and he cannot escape it.
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