Modern Hindi poetry is often described as an outcome of Indian tradition and Western influences. The aim of the article is to propose a possible answer to a general question of how the works of cotemporary Hindi poetry should/could be read and analyzed. The proposition is supported with a sample analysis of the poem Uṣā by Shamsher Bahadur Singh.
 

Modern Persian literature can be assessed as an internally integrated system of interrelated texts which engage in mutual inspirations, dialogues and references. How it occurs is demonstrated on the example of three short stories by three 20th century authors: Hedāyat, Āl-e Ahmad and Dānešvar. The stories are connected through their common motif of a mother abandoning her child; their mutual relationship is of a dialogical and partly also polemical character.
 

The history of books that were rejected, condemned, banned or censored in various parts of the world for political, social, religious or sexual reasons is very long. Whereas, however, people in the West have learned to value controversial literature despite its contentious or provocative nature, the societies in the Middle East still have problems with accepting certain sorts of literary works. There are many publications in the Arab World that sum up to a category I call unwanted literature because the conservative society in which they were produced doesn’t want to accept them as their own heritage. One of the most recent and striking examples of such divergence of opinion between the Western and Eastern readers are the works of the Moroccan author Mohamed Choukri and especially his autobiography al-Ëubz al-ÍÁfÐ published in 1973 in English translation by Paul Bowles as For Bread Alone long before the Arabic version could appear.

This article aims to show that Fattâne Hâjj Seyyed Javâdi’s novel Bâmdâd-e khomâr (“The Morning After”) is not a trivial novel, as some literary critics have it, but a modernist, well-written novel that treats modern conceptions of love, sexuality and tradition in an indirect, but still obvious way.
 

This article addresses the potency of semantics of space in Modern Iranian literature by analyzing a novel by Moniru Ravanipur, one of the most distinguished  authors of the post-revolutionary period, The Gypsy by the Fire (Kouli-ye kenar-e atash). It argues that spatial dimensions become the constructional axis of the novel, binding together its different components. Just as skillfully Ravanipur operates between classical Persian literary notions of space and Modern psychological and cultural theories of place and travel, proving both the worldliness of  her own craft and Modern Iranian Fiction.
 

In his modern novella, King of the Benighted (Shāh-e siyāh-pushān), an Iranian writer, Hushang Golshiri grafts a twelfth-century Nezāmi’s epic, Seven Beauties (Haft Peykar), into an Iranian contemporary context, which strongly implies that the fate of Iranian revolution of 1979 has been foretold by a medieval tale.