Farewell, Aylis

“Reading Farewell, Aylis is like sitting by the fire at night with the older men of the village and listening to their stories, which in truth are the oral history of a people and a region, which in truth could turn out to be prophecies of our own lives. … In [the essay Farewell, Aylis, Aylisli] writes, ‘And I want to serve my motherland not as a patriot but as a writer.’ And that is what he has done with these stories, making him perhaps the true patriot who does what is truly needed for his country and not what pleases and flatters. One, however, needs to read him first and foremost as a writer and be enamored of the allure of his storytelling.” —Poupeh Missaghi, Asymptote

~Poupeh Missaghi

“Working from Russian translations of the original Azeri (two by the author himself), Young has given great attention to Aylisli’s unique style that combines elements of socialist realism, Middle Eastern and Persian tales, and social satire. Each piece is set in a different time and place and is populated by different protagonists, yet a continuity exists across the whole. What unites these four works is their engagement with historic trauma and the way hushed-up violence and wrongdoing are transmitted through generations, destroying not only individual lives but also the character of the village, region, and country that guilty people inhabit. … A writer, Aylisli teaches us, has no allegiances to a country, an ethnicity, a religion, not even to his own birthplace. ‘But he’s always responsible for the moral appearance of his own people, for the spiritual state of his own fellow citizens.’ And this writer has found the spiritual state of his fellow citizens to be in a dire condition. … As Farewell, Aylis concludes, it leaves a reader with a sense that an individual voice trying to resist the culture of violence is powerless against the status quo; nonetheless, Aylisli’s voice feels necessary and urgent.” —Olga Zilberbourg, The Common

~Olga Zilberbourg