A Quote by Hooman Majd
I grew up thinking of myself as an American but also, because of my parents and the Iranian culture that was in our home, as an Iranian. So if there's any such thing as dual loyalty, then I have it - at least culturally.
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I was born in Iran, left at a very young age-less than a year old-and grew up and was educated in the West. I grew up thinking of myself as an American but also, because of my parents and the Iranian culture that was in our home, as an Iranian. So if there's any such thing as dual loyalty, then I have it-at least culturally.
I have strong sentiments toward Iran, since I distinguish between the Iranian regime and the Iranian people. I highly esteem Iranian music and culture.
I have traveled many times outside Iran, and have discussed the issue [of the Iranian nuclear project]. I have been asked for my opinion and that of the Iranian Jewish community, and I have always emphasized that the Iranian people has the right to obtain nuclear technology and energy for peaceful purposes. The Iranian people must not give up this right under any circumstances - and indeed, it will not.
My parents come from that immigrant culture that places a lot of emphasis on doing well scholastically. Being a comedian or an actor is such an American thing. The Iranian culture is not about dreaming. It's about taking over your father's business, falling into line.
No American soldier should be allowed to set foot on Iranian soil, regardless of the criticism we have of the Iranian government.
I think of myself, an Iranian/American artist, and wonder what would I want if I'm ever imprisoned by the Iranian government for the work that I make? I answer: I would hope that the United States government comes to my rescue.
The Iranian leaders describe the American government exactly the way American analysts describe the Iranian one, as an opaque, factionalized system with competing power centers, over which the president exercises very limited authority.
Our support for the Shah, the CIA coup in 1953 - has become infused into the Iranian political discourse. The regime that came to power in 1979 during the Iranian revolution actually defined itself as anti-American, and that's now a critical ingredient in the Iranian domestic political debate. That really is the source of our problems - the regime in Tehran continues to see itself as opposing the US. In their eyes, everything the US does is directed at them in a very malevolent way, and therefore they have to fight back against it.
My sister married an American and took his name, and my brother has shortened Sayrafiezadeh to Sayraf. So now he's Jacob Sayraf, or sometimes Jake Sayraf. He made the change when he was a teenager, prior to the Iranian revolution and the hostage crisis. So I don't think it was motivated by any anti-Iranian sentiment in the United States.
I don't see myself as a very important person. But I was the second woman to write a novel in Iran, and I have written most of the novels about Iranian women. In this way, maybe I have a good place in Iranian literature.
Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.
Every statement that comes out of Washington that is not respectful and is trying to intimidate the Iranian people - is trying to put pressure on the Iranian people - strikes that very, very sensitive chord in the Iranian psyche, and they immediately react.
Newspapers are closed if they print the wrong things in Iran. Iranian journalists or Iranian-American journalists, for that matter, I think are pressured in a lot of different ways, expected to give information to intelligence services. Americans can be thrown out of the country.
There is less gray area there, less doubt. There is a security in being some thing all the way. Our culture, too, encourages this way of being - exaggeration, for example, is the key to advertising success in the United States. But hyperbole also seems a big part of Iranian culture, as well.
I remember I went to an exhibition somewhere and one of the artists, an Iranian lady, said, "I wish we had somewhere that our paintings would stay forever." So this idea came to me. I said, "She's right, we should have a place to keep them, and not only Iranian art works, but also of foreign artists."
Since 1979, the majority of victims of the Iranian regime have been the Iranian people themselves.
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