Nakhjavani's treatment of the historical figure is not so much to paint her as an eloquent proponent of the nascent faith but to apply her considerable narrative dexterity to an imaginative novel portraying the life and times of a woman with a strong voice in mid-nineteenth-century Iran who dared remove her veil in public and engage men in religious polemic. It is an engrossing story; to this day, Iranian society has not resolved publicly the social and political rights of women, nor has it clarified the status of religious and ethnic minorities.-Gayatri Devi, World Literature Today
'History is filled with screams that are best ignored,' Bahiyyih Nakhjavani writes in The Woman Who Read Too Much. Yet this mordant and seethingly intelligent story of palace intrigue in late 19th-century Persia echoes with the cries of the forgotten dead - and good luck ignoring them.-Sam Sacks, Wall Street Journal
Bahiyyih Nakhjavani's . . . visual storytelling is so enticing that it allows your imagination to shape, plot, and cast the narrative like episodes from a modern-day House of Cards. . . . This book chronicles the haunting, rebellious lives of Qajar women . . . [and] reminds us all that whether Tudor, Qajar, or Clinton, behind every throne is a queen mother, wife, and sister who runs the show.-Davar Ardalan, Washington Independent Review
Bahiyyih Nakhjavani has chosen to construct, around the figure of Tahirih, a complex fragmented portrait that brings to literary life not only the remarkable personality of someone little known in the west, but also the convoluted Persia of the 19th century, treacherous and bloodthirsty . . . In a beautifully unobtrusive and graceful style, Nakhjavani succeeds in portraying these currents and countercurrents, and the many conflicting characters, in a narrative that is breathtaking in its scope and wonderfully illuminating. Above all, the figure of Tahirih . . . becomes one of the most powerfully convincing characters in recent historical fiction.-Alberto Manguel, The Guardian
Although set in the Victorian era, Nakhjavani's portrait is as contemporary as anything making headlines today, filled with issues ranging from women's subjugation and gender inequality to political violence and religious fundamentalism. Internationally acclaimed for her fiction and her nonfiction about religion and education, Nakjavani offers a philosophically complex yet lyrically wrought examination of the eternal struggle for women's rights.-Carol Haggas, Booklist
A mid-19th-century Persian poetess clashes against old-world gender expectations, religious orthodoxy, and politics in this exquisite tale, based on the actual life of poet and theologian Tahirih Qurratu'l-Ayn . . . Nakhjavani deftly transforms an incomplete history into legend. An ambitious effort produces an expertly crafted epic.-Kirkus Reviews
Praise for The Saddlebag and Paper: Nakhjavani displays a love of storytelling almost for its own sake.-Literary Review
Nakhjavani's anachronistic style sets the novel apart from the bulk of contemporary literary fiction and adds immensely to its charm.-Publishers Weekly
Bahiyyih Nakhjavani is best-really very effective-when she writes of the sandstorms and delusions of our own imperfect Earth.-The Washington Post
Nakhjavani's language has a subtly wrought simplicity that serves to emphasize her themes, and her argument for the sanctity of the written word is tightly woven into a vivid tapestry of characters and situations.-Times Literary Supplement
Nakhjavani throws into her tale such a mixture of humor, exotic sensuousness and lofty omniscience that I was left spellbound like Scheherezade's sultan.-Tablet
Nakhjavani's rich, poetic narrative . . . is a delight to read and her words just dance across the page, dazzling even the casual reader . . . A remarkable first novel that expands like the overlapping petals of a flower.-The Big Issue
A first novel of astonishing power and originality . . . [T]his is both a thriller and a meditation on the ultimate goal of human existence and most of all it is a celebration of storytelling.-The Good Book Guide
