Age, Biography and Wiki

Shahriar Mandanipour was born on 15 February, 1957 in Shiraz, Iran, is an Iranian writer. Discover Shahriar Mandanipour's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 67 years old?

Popular As N/A
Occupation N/A
Age 67 years old
Zodiac Sign Aquarius
Born 15 February 1957
Birthday 15 February
Birthplace Shiraz, Iran
Nationality Iran

We recommend you to check the complete list of Famous People born on 15 February. He is a member of famous writer with the age 67 years old group.

Shahriar Mandanipour Height, Weight & Measurements

At 67 years old, Shahriar Mandanipour height not available right now. We will update Shahriar Mandanipour's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Shahriar Mandanipour Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Shahriar Mandanipour worth at the age of 67 years old? Shahriar Mandanipour’s income source is mostly from being a successful writer. He is from Iran. We have estimated Shahriar Mandanipour's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
House Not Available
Cars Not Available
Source of Income writer

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Timeline

1957

Shahriar Mandanipour (also Shahriar Mondanipour (February 15, 1957), Shiraz, Iran, is an Iranian writer, journalist and literary theorist.

Mandanipour was born and raised in Shiraz, Iran.

1975

In 1975 he moved to Tehran and studied Political Sciences at the University of Tehran, graduating in 1980.

1981

In 1981, he enlisted in the army for his military service.

To experience war and to write about it, he volunteered to join the front during the Iran-Iraq war and served there as an officer for eighteen months.

Following his military service, Mandanipour returned to Shiraz, where he worked as director of the Hafiz Research Center and National Library of Fars.

1985

Mandanipour started writing at fourteen and published his first short story, Shadows of the Cave, in 1985 in the literary journal Mofid Magazine.

1989

In 1989, his first collection of short stories was published under the same title.

Regarded as one of the most accomplished and promising writers of contemporary Iranian literature, Mandanipour's creative approach to the use of symbols and metaphors, his inventive experimentation with language, time, and space, as well as his unique awareness of sequence and identity have made his work fascinating to critics and readers alike.

In his stories, Mandanipour creates his unique surreal world in which illusion seems as natural as terrifying reality.

The nightmares and realism of his stories are rooted in the historical horrors and sufferings of the people of Iran.

At the outset, Mandanipour's stories are enigmatic.

Yet, they jolt awake the reader's imagination and provoke him or her to peel away the intricately woven and fused layers in which past, present, tradition, and modernity collide.

His characters do not conform to conventional molds.

Traditional identities are blurred as the lines between right and wrong, friend and foe, and sanity and insanity become fluid.

Often driven by the most basic human instincts of fear, survival, and loneliness, Mandanipour's characters struggle in a world of contradictions and ambiguities and grapple with self-identity, social dilemmas, and everyday life.

In a collection of essays on creative writing, The Book of Shahrzad's Ghosts (Ketab-e Arvāh-e Shahrzād), Mandanipour discusses the elements of the story and the novel, as well as his theories on the nature of literature and the secrets of fiction.

He writes, "Literature is the alchemy of transforming reality into words and creating a new phenomenon called fictional reality."

1998

In 1998, he became chief editor of Asr-e Panjshanbeh (Thursday Evening), a monthly literary journal.

His novel The Courage of Love (Del-e Del Dadegi), published in 1998, is structured around a love quadrangle with the four main characters representing earth, fire, water, and wind.

The novel's events occur during two different periods of war and earthquakes.

Mandanipour compares the devastation, savagery, futility, and dark consequences of war and earthquakes by placing the two timeframes laterally, like mirrors facing each other.

In the novel, Mandanipour employs a stream of consciousness.

Numerous critics, including Houshang Golshiri, have regarded the 900-page work of fiction as a masterpiece of contemporary Iranian literature.

2006

In 2006, Mandanipour traveled to the United States as an International Writers Project Fellow at Brown University.

2007

In 2007 and 2008, he was a writer in residence at Harvard University and in 2009 at Boston College.

2008

In 2008, he cooperated in writing the screenplay of a documentary named Chahar Marge Yek Nevisandeh (Four Deaths of a Writer).

It is about the life of a writer showing how he dies four times in his works, and the screenplay was directed by Ali Zare Ghanat Nowi.

2009

In 2009, Mandanipour published Censoring an Iranian Love Story, his first novel to be translated into English.

Ostensibly a tale of romance, the book delves deeply into themes of censorship as the author struggles, in the text, with writing a love story that he'll be able to get past Iran's Ministry of Culture and Islamic Guidance's Office of Censorship to publish an account of life in post-Islamic Revolution Iran.

In the novel, two narratives are intertwined.

In one, we read of the difficulties, fears, and trepidations that surround the meeting of a young couple in modern-day Iran at a time when gender separation is forcefully imposed on society.

Scene by scene, we become more familiar with their struggles to preserve their love and their creative schemes to lessen the risk of discovery and arrest.

In a parallel storyline, Mandanipour enters as his alter ego and takes us along as he composes each sentence and scene, revealing his frustrations and his methods of battling against censorship.

The penalties that the writer self-censors appear as strikethroughs in the text.

The writer's comical efforts at surmounting censorship and advancing his story resemble the struggles of the young lovers to preserve their love.

Translated into English by Sara Khalili, Censoring an Iranian Love Story was well received by critics worldwide.

The New Yorker named it one of the Reviewers' favorites from 2009, and National Public Radio listed it as one of The Best Debut Fictions of 2009.

2011

In September 2011, Mandanipour returned to Brown University as a visiting literary arts professor, teaching contemporary Persian literature and modern Iranian cinema.

He is now a Professor of Practice at Tufts University.