- Taschenbuch: 393 Seiten
- Verlag: Little, Brown and Company (2007)
- Sprache: Englisch
- ISBN-10: 0316007978
- ISBN-13: 978-0316007979
- Größe und/oder Gewicht: 22,9 x 15,2 x 3 cm
- Durchschnittliche Kundenbewertung: 4.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
The Blood Of Flowers
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0 von 1 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
A very nice story about a girl in Iran - It seems that not much has changed in the last few centuries...
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48 von 51 Kunden fanden die folgende Rezension hilfreich
A Persian treasure...
19. August 2007
Format:Gebundene Ausgabe
Anita Amirrezvani has provided us with a superb effort in her very first novel, The Blood of Flowers. In fact, The Blood of Flowers is one of the best books that I've read this year.
The Blood of Flowers is seen through the eyes of a 14 year old village girl who lives in 17th Century Persia. This young girl (who remains nameless throughout) is looking forward to becoming engaged before the end of the year. She is also a talented but amateur carpet maker. A comet proves to be a bad omen and the young girl's fortunes soon change for the worst. When her father dies suddenly, she and her mother are forced to travel to Isfahan to live with her father's half-brother, Gostaham. Arriving in this bustling city, they are no more than peasants and their uncle's wife, Gordiyeh, treats them not much better than servants. The one bright spot in the young girl's life is that Gostaham is a carpet maker for the shah, and she is thrilled to have a mentor to teach her the finer aspects of this art form. Gostaham has never seen a person with her passion, himself excepted. His only regret is that she is not a boy.
Conflicts arise with the young girl, her mother and Gordiyeh, and their future in tenuous. Only a suitable marriage can guarantee their future security. Unfortunately, the only option presented to the young girl has the potential to be lucrative but unsuitable. She and her mother are forced to make a difficult choice.
The Blood of Flowers is a story of love, loss, learning and sacrifice. The young girl often makes rash, immature decisions and takes extreme risks--something unusual in a Muslim girl in 17th Century Persia. Some of these risks pay dividends, while others bring great misery. This book is also a coming of age story as the young girl moves to womanhood and especially, discovers the pleasures of the flesh.
Amirrezvani wants her readers to see the true beauty of Iran. She paints a vivid picture of the beautiful Isfahan with her river, her bridges, her mosques, her gardens, her bazaar and her hammams. She also details the food, dress and customs of the day. But the author saves her most descriptive writing for the carpets! She provides a fascinating look at how the carpets are planned, sketched out, how the wools and silks are selected, how they're knotted, etc. They're not just floor coverings, but wall hangings, furniture and most of all, works of art.
A carpet is put together knot by knot and row by row to create a true treasure. Amirrezvani has also created a true Persian treasure, word by word, line by line and story by story.
The Blood of Flowers is seen through the eyes of a 14 year old village girl who lives in 17th Century Persia. This young girl (who remains nameless throughout) is looking forward to becoming engaged before the end of the year. She is also a talented but amateur carpet maker. A comet proves to be a bad omen and the young girl's fortunes soon change for the worst. When her father dies suddenly, she and her mother are forced to travel to Isfahan to live with her father's half-brother, Gostaham. Arriving in this bustling city, they are no more than peasants and their uncle's wife, Gordiyeh, treats them not much better than servants. The one bright spot in the young girl's life is that Gostaham is a carpet maker for the shah, and she is thrilled to have a mentor to teach her the finer aspects of this art form. Gostaham has never seen a person with her passion, himself excepted. His only regret is that she is not a boy.
Conflicts arise with the young girl, her mother and Gordiyeh, and their future in tenuous. Only a suitable marriage can guarantee their future security. Unfortunately, the only option presented to the young girl has the potential to be lucrative but unsuitable. She and her mother are forced to make a difficult choice.
The Blood of Flowers is a story of love, loss, learning and sacrifice. The young girl often makes rash, immature decisions and takes extreme risks--something unusual in a Muslim girl in 17th Century Persia. Some of these risks pay dividends, while others bring great misery. This book is also a coming of age story as the young girl moves to womanhood and especially, discovers the pleasures of the flesh.
Amirrezvani wants her readers to see the true beauty of Iran. She paints a vivid picture of the beautiful Isfahan with her river, her bridges, her mosques, her gardens, her bazaar and her hammams. She also details the food, dress and customs of the day. But the author saves her most descriptive writing for the carpets! She provides a fascinating look at how the carpets are planned, sketched out, how the wools and silks are selected, how they're knotted, etc. They're not just floor coverings, but wall hangings, furniture and most of all, works of art.
A carpet is put together knot by knot and row by row to create a true treasure. Amirrezvani has also created a true Persian treasure, word by word, line by line and story by story.
37 von 39 Kunden fanden die folgende Rezension hilfreich
Good solid read.....
17. Oktober 2007
Format:Gebundene Ausgabe
As a lover of historical fiction, I was eager to read this book; the topic sounded interesting and different, and I'm always curious to read stories about women in other civilivations. While I was not disappointed at all, and really enjoyed the novel, there were two things that bothered me about the book (dont worry, I won't give anything away), which prevented me from giving it a higher rating. First, throughout the novel there are small vignettes in which the narrator disgresses and a short story/tale is told. While the author's intention is clear - in each instance, the vignette is conveyed to shed additional insight into a character or situation, I felt these digressions from the plot did absolutely nothing to enhance the story and rather were a huge distraction which broke the continuity of the writing. I think the author's main storyline/plot was so well-written, that she simply didn't need to include the vignettes to help tell her tale. Second, I though the ending was rushed and wished it would have been drawn-out more. I was so captivated and immersed in the story and the lives of the narrator and those around her, that I didnt want it to be wrapped up in such an abbreviated manner. I felt the vast majority of the book was perfectly paced, yet the last forty pages or so rushed through too much time in order to finish the story. I just wish it had gone on longer, as I was eager to read more.
Overall, I thought it was a very good book and well-written. I found the time/place/culture so interesting to learn about, and it is obvious a tremendous amount of research went into creating this novel. I would defintiely recommend it to others, especially those who enjoy historical fiction, and look forward to hopefully reading more by this author!
Overall, I thought it was a very good book and well-written. I found the time/place/culture so interesting to learn about, and it is obvious a tremendous amount of research went into creating this novel. I would defintiely recommend it to others, especially those who enjoy historical fiction, and look forward to hopefully reading more by this author!
33 von 38 Kunden fanden die folgende Rezension hilfreich
"Every thread in a carpet had been dipped in the blood of flowers."
6. Juni 2007
Format:Gebundene Ausgabe
Set in 17th century Persia, it is significant that the protagonist in this thought-provoking novel remains unnamed, indeed a hostage to her fate. Although her family is not wealthy, the girl is valued beyond measure by her family, an only child. Suddenly an inauspicious comet sends the village into paroxysms of dread as the mullah announces potential lapses in moral behavior: "On the topic of marriages, those contracted later this year will be full of passion and strife." Of marriageable age at fourteen, the girl is anxious about her future, eventually soothed by her father's promises. But the happy family is sundered by the unexpected death of the father, widow and child barely eking out sustenance in the village until they are accepted into the household of Gostaham, their only living relative in Isfahan.
Gostaham is a master of the ancient art of carpet making, one of a skilled few favored by the shah. Gostaham has made a fortune with his extraordinary designs and myriad colors, delighted to find that his new young charge is adept at the art of carpet making as well. He explains the philosophy of artisans such as himself: "our response to cruelty, suffering and sorrow is to remind the world of the face of beauty." Although mother and daughter are subject to the harsh restrictions of Gostaham's wife's household demands, the man agrees to train the girl. Watching his student bloom under his tutelage, the master is thrilled, wishing she were a male to carry on his line. Although she acquires one close friend, the beautiful Naheed, the girl is consumed by a love of her art, an avid student, soaking up instruction like a thirsty sponge, eager for more. Her work is indeed valuable and gratifying.
With no prospects and no dowry, the girl's only value is her virtue. Unlikely to make a propitious marriage, she accepts the advice of her relatives and accepts a sigheh, a three month marriage contract with a wealthy man. She learns the pleasures and pitfalls of such a union at the cost of a lifetime commitment and a dear friendship. With no financial independence, she is at the mercy of a society that views her as insignificant, her gender a hindrance in her chosen field. Cast into abject poverty, the young woman takes hold of her future, pursuing a life of creativity, honing the skills Gostaham has nurtured. At a crossroads between despair and hope, she finds the strength to deny the expected in favor of possibility. In a haunting tale, woven through with ancient fables, a young girl of no value carves a place in an indifferent world, invisible in her womanhood, but magnificent in her courage, rising above her circumstances to fulfill her destiny. Luan Gaines/2007.
Gostaham is a master of the ancient art of carpet making, one of a skilled few favored by the shah. Gostaham has made a fortune with his extraordinary designs and myriad colors, delighted to find that his new young charge is adept at the art of carpet making as well. He explains the philosophy of artisans such as himself: "our response to cruelty, suffering and sorrow is to remind the world of the face of beauty." Although mother and daughter are subject to the harsh restrictions of Gostaham's wife's household demands, the man agrees to train the girl. Watching his student bloom under his tutelage, the master is thrilled, wishing she were a male to carry on his line. Although she acquires one close friend, the beautiful Naheed, the girl is consumed by a love of her art, an avid student, soaking up instruction like a thirsty sponge, eager for more. Her work is indeed valuable and gratifying.
With no prospects and no dowry, the girl's only value is her virtue. Unlikely to make a propitious marriage, she accepts the advice of her relatives and accepts a sigheh, a three month marriage contract with a wealthy man. She learns the pleasures and pitfalls of such a union at the cost of a lifetime commitment and a dear friendship. With no financial independence, she is at the mercy of a society that views her as insignificant, her gender a hindrance in her chosen field. Cast into abject poverty, the young woman takes hold of her future, pursuing a life of creativity, honing the skills Gostaham has nurtured. At a crossroads between despair and hope, she finds the strength to deny the expected in favor of possibility. In a haunting tale, woven through with ancient fables, a young girl of no value carves a place in an indifferent world, invisible in her womanhood, but magnificent in her courage, rising above her circumstances to fulfill her destiny. Luan Gaines/2007.
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