Translated from Persian by Ahmed Moussa and published by Manshourat Al-Rabaie in January 2025, Mostafa Mastour’s The Iranian Hospital is a work that defies easy categorization. While presented as a novel, some literary critics argue that the text functions more as a play or a hybrid form of fiction.
Regardless of its formal label, The Iranian Hospital aligns firmly with the literary trajectory of Mastour. Born in Ahvaz in 1964, the Tehran-based novelist famously abandoned a career in engineering to pursue literature, eventually becoming one of Iran’s most popular contemporary writers.
The essence of this latest work mirrors Mastour’s previous successes, such as his acclaimed Kiss the Lovely Face of God. It is a thought-provoking piece that probes profound questions regarding the meaning of life and death.
The narrative follows several men and a woman confined to a psychological rehabilitation centre, ostensibly to overcome deep-seated traumas. The unnamed protagonist struggles to grapple with the sudden loss of his wife and newborn daughter. The infant died of oxygen deprivation, leading to fatal organ damage, while the mother passed shortly after due to a severe postpartum hemorrhage.
Interaction among the residents is laden with inquiries into human relationships, love, aging, and the pervasive fear of both life and death. These dialogues are frequently overshadowed by the distant thunder of military drills at a nearby barracks.
Dominating these interactions is Kohi, the figure in charge. He appears neither as a doctor nor a nurse, but rather as a domineering presence. His name—unusual for a Persian male—is derived from the Persian words for "mountain" or "falcon."
In The Iranian Hospital, Kohi maintains a vigilant watch, urging residents to "cleanse their souls." He justifies his oppressive methods by claiming that "pressure is capable of changing the form of things... just as a child would change the shape of a piece of dough... the objective is to have your souls purified."
During a solar eclipse, the residents are forced to confront their deepest fear: being held against their will until death. This realization prompts desperate discussions about finding an exit—a daunting task given Kohi’s supreme surveillance.
Given Mastour’s history of criticizing the Tehran regime—including his support for the demonstrations preceding the American-Israeli war on Iran—it is difficult to ignore the work’s underlying political message. Mastour has frequently challenged the censorship imposed on Iranian literature and remains a staunch advocate for freedom of expression.
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