'Saeed has not returned to Iran after publishing his novel The Imaginary Narrative of a Real Murder for fear of political persecution. He is surprised when Ismael, his father who has never left Iran, announces that he is travelling to Adelaide to visit him. During his short stay, Ismael tells Saeed the story of his unrequited love for Forugh Farrokhzad—the most controversial poet of modern Iran. The story makes Saeed see his father in a new light, and leaves him with the haunting question: had his father, unwittingly, played a role in Forugh’s death?' (Publication summary)
'Much-lauded Praiseworthy joins works by Gregory Day, André Dao, Sanya Rushdi, Jen Craig and Hossein Asgari competing for Australia’s highest literary honour'
'In the final pages of Only Sound Remains, Iranian-Australian writer Hossein Asgari posits the ‘impossible metamorphosis of body and soul’ as ‘the only possible cure’ for ‘despair rooted in [his] body … which fed and grew on everything that preceded it: history, culture, and all the surrounding factors’. The lines are uttered by Saeed, the protagonist of Asgari’s debut novel, and they might be thought of as the book’s thesis statement. Arising amidst the death and loss depicted throughout the novel, the note of despair accompanies a detailed and thoughtful engagement with Iranian history and culture (cinema, philosophy, and – most essentially – poetry) throughout the twentieth and twenty-first centuries. Though the novel’s allusions are sufficiently rich and lively to limit the pervasive sense of anguish plaguing Saeed, the pain proves ultimately incurable; this is the tension at the novel’s core.' (Introduction)
'In the final pages of Only Sound Remains, Iranian-Australian writer Hossein Asgari posits the ‘impossible metamorphosis of body and soul’ as ‘the only possible cure’ for ‘despair rooted in [his] body … which fed and grew on everything that preceded it: history, culture, and all the surrounding factors’. The lines are uttered by Saeed, the protagonist of Asgari’s debut novel, and they might be thought of as the book’s thesis statement. Arising amidst the death and loss depicted throughout the novel, the note of despair accompanies a detailed and thoughtful engagement with Iranian history and culture (cinema, philosophy, and – most essentially – poetry) throughout the twentieth and twenty-first centuries. Though the novel’s allusions are sufficiently rich and lively to limit the pervasive sense of anguish plaguing Saeed, the pain proves ultimately incurable; this is the tension at the novel’s core.' (Introduction)
'Much-lauded Praiseworthy joins works by Gregory Day, André Dao, Sanya Rushdi, Jen Craig and Hossein Asgari competing for Australia’s highest literary honour'
