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Poet and refugee advocate Roya Hakakian talks about how words can help create change in Iran
Roya Hakakian is a poet, author, journalist and advocate for refugees. Every one of these roles is an offshoot of her own life experience as a child and teenager in pre- and post-revolutionary Iran and as an immigrant to the United States. Her poetry appears in many anthologies around the world, her books take a candid look at life under Iran’s fundamentalist Islamic regime and her documentaries tackle important issues like underage children in wars around the world. In our interview, we discuss what people can do to support the current uprising in Iran and the role poetry can play in revolutions.
These must be emotional times for you and the entire Iranian immigrant community. How are you holding up?
It is very exciting and also, as you can imagine, gut-wrenching to watch teenagers, children, and other people perform these great acts of courage and then suffer as a result of it. So, it’s a heroic time and, like all heroic times, whether in history or in epic stories that we read, it’s always associated with a great deal of tragedy too. And all of that is on full display. I wrote a memoir whose last chapter is called “1984.” It’s the last year I was in Iran, and I was describing what Iran had become and how the entire society was divided between two people—the regime and their allies, and then us, which were the ordinary citizens. I thought it was amazing how much time had passed, and yet nothing had changed in that division I described in that chapter. The circumstances, the frustrations, the inequalities, the injustices are the very issues that have brought a new generation of Iranians onto the street.
Iran once had a thriving Jewish population. Do you have any memories of what it was like to be a Jew in Iran before the revolution?
I was 12 years old when the revolution took place, and all my memories at the time before were happy childhood memories—going to the synagogue with my father. We lived within walking distance of a synagogue. I didn’t experience the sort of things that my father had talked about growing up, of the severe antisemitism that he had experienced as a child in a small village in central Iran. And I didn’t experience the sort of things my mother talked about. And she grew up in Hamadan, which is where the tomb of Esther and Mordechai are. The ’60s and the ’70s were the golden time of religious egalitarianism in Iran. And then came the revolution, and things quickly changed. And, you know, it wasn’t so much the ordinary citizens who were being antisemitic, but the regime gave a leg up to Shiite Muslims. So it wasn’t that Jews were barred from anything; it was that it was far more advantageous for you to be a Shiite Muslim.
You have been in danger from Iranian operatives in the United States. I think of Salman Rushdie, who refused to let threats intimidate him, but he ended up severely injured. Is this something you worry about?
The answer is yes for a variety of reasons, one of which is that the FBI came to my house a couple of years ago, warning that they had spotted my name on a list because of the work I do and the books I published, especially my memoir and the second book, which was about a series of murders that Iran had orchestrated in Europe. But I think what’s important, and something that What I hope to bring to the attention of the broader public in America is that everyone is in danger, that if the Iranian regime has gathered enough influence to go after the dissidents that they don’t like in the United States, then we become only the primary targets and everybody else will follow. And I’m incredibly concerned about that.
You recently testified before the Senate Foreign Relations Committee. What was your message? Also, what should the United States be doing to help the protesters in Iran?
My main message was that this movement that began in Iran in September is the most serious movement that Iran has seen in 40-plus years. Immediately a few senators afterward told me, “Oh, Iran has protests all the time, and the regime always suppresses them.” Well, this one has already proven to be different. It has certain qualities that none of the other protests in the past have had. This is a deeply secular movement; it’s a movement that demands the separation of government and religion. And none of the previous movements had these overtones.
For the past 20 years, we’ve only been interested in Iran from a nuclear perspective, and everything else has been in the shadows. Who are Iranians? What do they want? How are they different? What are their demands? The best thing we can do is to stop looking at Iran as just the nuclear program and begin to widen the perspective and recognize that if something changes in Iran, if these protests succeed, then so much else can follow.
Among your many identities are writer and poet. What is the role poetry can play in revolutions?
I became interested in the Iranian revolution in 1979 through poetry. Poetry was the language of that revolution, which in many ways, is why some of those poets who were so devoted to the uprising against the former Shah became far less popular in the aftermath of the 1979 revolution. Revolutions begin with certain social demands, but what fuels them, what keeps them going, is the power of the rhetoric poets and writers pour into them. That’s what literature has always been for me—a tool for grand ideas and grand expressions and, possibly, a tool for changing society for the better.
What do you plan on discussing at the Z3 conference?
I want to talk about my own journey back to defining myself as a Jewish person after leaving Iran and coming to the US. It wasn’t my issue, antisemitism wasn’t my issue, Jewish identity wasn’t my issue because I was a writer. I didn’t have to think about these things. Over the years, have rediscovered my own relationship with Judaism. That is basically what I want to talk about.
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VIDEO: A Hasid gives us a tour of Morocco in Yiddish
דער ירושלימער יוטוב־שטערן וועלוול קירשנבוים האָט לעצטנס אַרויסגעשטעלט אַ ווידעאָ אויף ייִדיש פֿון אַ פּרעכטיקן וויזיט, וואָס ער האָט געמאַכט אין מאַראָקאָ. עס באַגלייט אים זײַן חבֿר אַבֿרהם פּרץ.
אינעם ווידעאָ זעט מען ווי קירשנבוים דאַוונט שחרית מיט די אָרטיקע ייִדן און באַזוכט אַ גוט אָפּגעהיטענעם בית־עולם, וווּ עס ליגן באַערדיקט גרויסע צדיקים ווי למשל הרבֿ חיים בן עתר (1696–1743), באַקאַנט ווי דער „אור החיים“. „מענטשן מיינען, אַז נאָר אין אייראָפּע זענען דאָ קבֿרים פֿון צדיקים!“ זאָגט קירשנבוים.
מיר זעען אַ גרויסע, שיינע שיל מיט אַ פֿײַנער אַרכיטעקטור אין קאַזאַבלאַנקאַ; דעם גרויסן אַראַבישן שוק, וווּ קירשנבוים קויפֿט זיך אײַן מלבושים פּונקט ווי די מאַראָקאַנער גייען אָנגעטאָן. ער באַוווּנדערט אויך די שיינע טיי־גלעזער און טשײַניקן, וואָס מע פֿאַרקויפֿט דאָרט, און באַקענט זיך מיט אַ ייִדישן סוחר וואָס האַנדלט מיט זילבער און גאָלד, פּונקט אַזוי ווי זײַן טאַטע און זיידע האָבן געטאָן פֿאַר דור־דורות.
The post VIDEO: A Hasid gives us a tour of Morocco in Yiddish appeared first on The Forward.
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Conservative and Christian movies are coming for Hollywood
A star-studded new movie set in a Soviet prison is coming out in November. James Franco and Rob Lowe anchor the cast of Confession, playing a brutal prison guard and an imprisoned dissident professor, and a disheveled Nick Nolte appears as a fellow prisoner.
These actors were once huge gets, and their names could convey legitimacy to a project. Nolte and Franco both have received Academy Award nominations. Lowe was a member of the Brat Pack, and was a regular on The West Wing.
Confession, written by Ben Shapiro and produced by the rightwing tabloid-esque news site The Daily Wire, is not the expected fare for actors with that kind of name recognition; Shapiro’s screenwriting aspirations have been the target of ridicule for years.
Nevertheless, this isn’t the only Daily Wire production getting big names; Danny Trejo signed onto a pro-ICE movie about Minneapolis in the aftermath of the Renee Good shooting, and Jonathan Majors led Run, Fight, Hide: Infidels earlier this year.
Each one of these actors has been, in some way, canceled or in career doldrums so may have been more open to working with The Daily Wire. And some have claimed that they did not know who Shapiro was, or what his politics were; Trejo’s son, Gilbert, said his 82-year-old father did not endorse ICE and was misled about the movie before he signed his contract.
Movie studios have struggled through the pandemic and the streaming era, both of which have tanked box office receipts, leaving the field open for movies from offbeat production studios. In addition to The Daily Wire, there has been a whole ream of Christian movies attempting to shift the stereotype of bible movies — that they’re preachy, low-budget straight-to-TV affairs with cardboard acting — to something more prestigious, or at least profitable.
The Christian company Angel Studios has been placing screenings of the half philo-semitic, half-antisemitic Jesus TV series The Chosen in movie theaters across the country, produced the right-wing hit The Sound of Freedom and is pumping out faith-based movies like the animated King of Kings Christmas story and David, a kiddie movie about the biblical king. Recently, Pinnacle Peak Pictures, another faith-based production company, premiered Daniel and the Fiery Furnace, another bible movie that was notable enough to merit a review in The New York Times. (Though admittedly it wasn’t a particularly positive one.)
For decades, Hollywood, and the media industry at large, has been associated with liberalism, progressive politics and diversity. (This is part of why conservative conspiracy theorists often insist that Jews control the media.) Even when conservatives are in power, satirical movies have poked fun at the ruling class — Team America: World Police spoofed George W. Bush’s foreign policy, while M*A*S*H critiqued Richard Nixon. During the current Trump administration, we’ve seen One Battle After Another lambasting immigration policies and rising white nationalism, Eddington on misinformation and populism, and The Apprentice depicting Trump directly.
But a rising number of higher-budget, bigger releases from the right wing, whether The Daily Wire’s conservative political parables or the Christian fables, are bringing a new kind of messaging — about the importance of God and country, about gender roles, about about the centrality of Jesus to the U.S. — to the American movie-going public.
This is no accident. A group of powerful conservative Christians, many of whom worked on Project 2025, are proponents of the Seven Mountains Mandate, a blueprint for Christian nationalism that instructs Christians to gain influence and control over the “seven mountains” of society — which include media, entertainment and the arts. The Mandate is part of the New Apostolic Reformation, a decentralized evangelical movement embraced by millions of Americans.
Jeremy Boreing, the director of many Daily Wire movies — though he has since left the company — said on a podcast hosted by businessman Patrick Bet-David that “It had always been part of our strategy to move into making culture, not just criticizing culture” as a way of proving that “there is a future where conservatives aren’t losing. There’s a future where we have political power and cultural power.”
Cultural power, of course, requires more than just a lot of movies; they have to be well-done, or at least appear to be. Previous Daily Wire productions, as well as other right-wing, MAGA movie ventures, have been hacky. Lady Ballers, about an unsuccessful men’s basketball team pretending to be women so they can dominate the league, was an unsubtle, unfunny and ultimately unwatchable spoof of transgender athletes. And even plenty of higher-budget attempts, like Daniel and the Fiery Furnace, can still fall victim to wooden acting and writing.
But now, with the financial success of movies like The Sound of Freedom and biblical parables like The Chosen, bigger stars are being drawn to projects like the Daily Wire’s lineup of pro-ICE, anti-immigration and anti-LGBTQ movies. With those bigger stars may come new audiences who might not have watched a Christian movie or Daily Wire project otherwise. And where there is money and viewers, mainstream Hollywood will go, too, no matter how progressive people expect the industry to be. We’ve already gotten a biblical epic from Amazon Prime, with The House of David, and there are likely to be many more to come.
After all, it wasn’t so long ago, after all, that Cecil DeMille’s The Ten Commandments was the biggest movie in town.
The post Conservative and Christian movies are coming for Hollywood appeared first on The Forward.
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‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons
If there was something off about the logo the Atlanta Falcons unveiled on social media Wednesday, whoever runs their accounts did, uh, not see it.
Behind the black falcon graphic that began appearing on the football team’s helmets in the 1960s was a new background — a flag of red, tan, black and white vertical stripes. To thousands of people who responded to the logo, it looked distinctly German — in a 1930s kind of way.
“The Atlanta Falcons are preparing to invade Poland,” one fan wrote.
A day after its posting, the new profile picture had unleashed a deluge of Nazi memes in the 4,000-plus replies on X. One picture swapped in the logo for Nazi flags in the background of a historical photo of a Hitler rally. Another edited the Falcon claw to look like a Nazi salute.
Others depicted Hitler in a Falcons cap, references to Inglourious Basterds and the Battle of the Bulge and a World War II joke invoking a blown lead in Super Bowl LI.
“Falcons were up 28-3 at Dunkirk,” that tweet read.
The Falcons’ snafu enters a small but growing catalogue of Reich-coded brand mixups. Who can forget the German national soccer team’s ‘44’ soccer jerseys? There was also the swastika-emblazoned Hallmark gift wrap; the accidental Hitler mugs; and (for my money) the worst of the bunch, Zara’s concentration camp uniform shirt.
All of those have been addressed; so far, the Falcons’ has not. We’ve reached out to them for comment.
The post ‘Heil’ Mary? New Atlanta Falcons logo inspires Nazi comparisons appeared first on The Forward.
