Leili could not have imagined that arriving late to Islamic morals class would change the course of her life. But her arrival catches the eye of a young man, and a chance meeting soon draws Leili into a new circle of friends and artists. Gathering in the cafes of Tehran, these young college students come together to create an underground play that will wake up their generation. They play with fire, literally and figuratively, igniting a drama both personal and political to perform their play-just once. From the wealthy suburbs and chic coffee shops of Tehran to subterranean spaces teeming with drugs and prostitution to spiritual lodges and saints' tombs in the mountains high above the city, Last Scene Underground presents an Iran rarely seen. Young Tehranis navigate their way through politics, art, and the meaning of home and in the process learn hard lessons about censorship, creativity, and love. Their dangerous discoveries ultimately lead to finding themselves. Written in the hopeful wake of Iran's Green Movement and against the long shadow of the Iran-Iraq war, this unique novel deepens our understanding of an elusive country that is full of misunderstood contradictions and wonder.
"Amazing and wonderful! Roxanne Varzi brings together her own Iranian heritage, excellent ethnographic research, and deep insights-all in a gripping read. In opening a new genre, the ethnographic novel, Varzi conveys the emotions, desires, creativity, and frustrations of so many young people in Iran."
Author of Days of Revolution: Political Unrest in an Iranian Village
"Last Scene Underground offers a thought-provoking and powerful story about our collective attempts to re-imagine the world. Writing with an inspiring combination of creativity and criticality, Roxanne Varzi has crafted an exceptionally memorable portrait of Iran, bringing both Tehran and its young people to life."
University of Pennsylvania
"Varzi plays the role of what the anthropologist Renato Rosaldo has called a positioned observer, trying to make sense of life long after the ethnographer's duty of detailed description has been completed. Clifford Geertz has described creative ethnographers such as Varzi as novelists manqué, and she captures what I elsewhere have theorized as ethnographic surfeit. This surfeit is what remains aft
