Living in the Islamic Republic is like having sex with someone you loathe.

— Azar Nafisi

Look at these magnificent women, I thought, created in such misogynistic and hierarchical societies, yet they are the subversive centers around which the plot is shaped. Everything is supposed to revolve around the male hero. But it is the active presence of these women that changes events and diverts the man's life from its traditional course, that shocks him into changing his very mode of existence. In the classical Iranian narrative, active women dominate the scene; they make things happen.

— Azar Nafisi

Most great works of the imagination were meant to make you feel like a stranger in your own home. The best fiction always forced us to question what we took for granted. It questioned traditions and expectations when they seemed to immutable.

— Azar Nafisi

Most serious confrontations in life are not political, they are existential. One can agree with someone's political stance but disagree in a fundamental way with how they came to that position. It is a question of attitude, of moral configuration. My husband and I had plenty of grievances, but it all boiled down to a fundamental difference in the way we perceived life, the context within which we defined ourselves and our world. For that, there was no reconciliation or resolution, there was only separation or surrender.

— Azar Nafisi

My toe as a lethal weapon!

— Azar Nafisi

Nabokov calls every great novel a fairy tale, I said. Well, I would agree. First, let me remind you that fairy tales abound with frightening witches who eat children and wicked stepmothers who poison their beautiful stepdaughters and weak fathers who leave their children behind in forests. But the magic comes from the power of good, that force which tells us we need not give in to the limitations and restrictions imposed on us by Fate, as Nabokov called it. Every fairy tale offers the potential to surpass present limits, so in a sense the fairy tale offers you freedoms that reality denies. In all great works of fiction, regardless of the grim reality they present, there is an affirmation of life against the transience of that life, an essential defiance.

— Azar Nafisi

. . . None of us are as sophisticated in these matters as you think. You know I always feel, with every new person, as if I am starting anew. These things are instinctive. What you need to learn is to lay aside your inhibitions, to go back to your childhood when you played marbles or whatever with boys and never thought anything of it.

— Azar Nafisi

Once evil is individualized, becoming part of everyday life, the way of resisting it also becomes individual. How does the soul survive? Is the essential question. And the response is: through love and imagination.

— Azar Nafisi

Once we know of atrocities we cannot remain silent, and knowledge inevitably leads to an urge to protect the innocent.

— Azar Nafisi

One of the most wonderful things about Pride and Prejudice is the variety of voices it embodies. There are so many different forms of dialogue: between several people, between two people, internal dialogue and dialogue through letters. All tensions are created and resolved through dialogue. Austen's ability to create such multivocality, such diverse voices and intonations in relation and in confrontation within a cohesive structure, is one of the best examples of the democratic aspect of the novel. In Austen's novels, there are spaces for oppositions that do not need to eliminate each other in order to exist. There is also space - not just space but a necessity - for self-reflection and self-criticism. Such reflection is the cause of change. We needed no message, no outright call for plurality, to prove our point. All we needed was to reach and appreciate the cacophony of voices to understand its democratic imperative. There was where Austen's danger lay.

— Azar Nafisi