بازخوانی جلوه‌های فمینیسم در دو رمان الأسود یلیق بک أحلام مستغانمی و چراغ‌ها را من خاموش می‌کنم زویا پیرزاد

The postmodern novels "Black Suits You" by Ahlam Mosteghanemi and "I Turn Off the Lights" by Zoya Pirzad portray the lives of women suffering under patriarchal societies and struggling with the sorrow of unlived lives.
The significance of this study lies in the fact that both novels vividly illustrate the oppression faced by women, making them valuable resources for feminist analysis. Employing content analysis as its methodology, this research aims to highlight prominent examples of patriarchy and misogyny, the influence of male-dominated norms on the development of the main female characters, and women's efforts to reclaim feminist values within Algerian and Iranian contexts. Findings suggest that the major feminist themes in both novels include gender inequality, various forms of violence against women perpetrated by men, marriage as a perceived achievement for women, female participation in political life, and rivalry among women. In the first novel, psychological abuse by men is prevalent; in the second, women are depicted as fully submitting to men in pursuit of marriage. The third theme reflects women's awakening and their fight for rights, while the last illustrates how women uphold patriarchal norms due to internalized competition and conflict among themselves.
Introduction
In recent decades, comparative literature has garnered significant attention from critics, researchers, and students. As Ferdinand Brunetiere (1849–1906), the French literary scholar, famously stated, “We will never know ourselves if we only know ourselves.” This assertion highlights the essence of comparative literature as an academic discipline that transcends national boundaries and explores literary interactions across cultures. The present study adopts a comparative feminist approach to examine two contemporary novels written by female authors: "Black Suits You" by Algerian novelist Ahlam Mosteghanemi, and "I Turn Off the Lights" by Iranian-Armenian novelist Zoya Pirzad.
Both novels, classified within the postmodern literary tradition, provide profound insights into the lived experiences of women in patriarchal societies. They explore issues such as gender inequality, psychological violence, societal pressure to marry, political participation, and intra-gender rivalry. The significance of this research stems from the fact that both works are narrated from a female perspective and portray the oppression of women alongside their struggles to improve their circumstances. The primary research questions are: What are the most important feminist elements in these two novels? And how are these elements manifested in each work?

Method

This research employs a comparative-analytical method within the framework of feminist literary criticism. The theoretical foundation draws on key feminist thinkers, including Simone de Beauvoir, as well as contemporary feminist theorists such as Pamela Abbott and Claire Wallace. Feminism is understood here as a social and intellectual movement advocating for legal, economic, cultural, and political equality between women and men. The study also incorporates sociological perspectives on literature, particularly the notion that literature reflects social realities and can serve as a medium for critiquing patriarchal structures.
The research involves a close reading of both novels to identify and analyze recurring feminist themes. The selected novels were chosen because they represent contemporary women’s writing from two different Arab and Persian cultural contexts (Algeria and Iran), allowing for a meaningful comparative analysis. The analysis focuses on four key feminist themes derived from the theoretical framework: (1) gender inequality and various forms of violence against women, (2) marriage as a presumed achievement for women, (3) women’s active participation in political spheres, and (4) conflict and competition among women themselves.

Conclusion

The analysis of the two novels reveals several significant feminist manifestations:
3.1. Gender Inequality and Psychological Violence
In “I Turn Off the Lights,” the character Émil abruptly abandons Violet after his mother opposes their marriage. Violet is left in emotional turmoil, crying and wandering aimlessly. This act is interpreted as a form of psychological violence rooted in patriarchal authority. Similarly, in “Black Suits You,” the character Talal initially pursues Hala passionately but later ignores her, mocks her feelings, and ultimately ends their two-and-a-half-year relationship on a flimsy pretext. He takes pleasure in seeing her humiliated and in tears. The novel explicitly states, “It was enough for Hala to cry for Talal to be sure his dignity was preserved.” Both novels thus depict men using emotional withdrawal and neglect as tools of control and domination.
3.2. Marriage as a Crucial Achievement for Women
In both societies (Algerian and Iranian), marriage is portrayed as a fundamental goal for women. In Black suits you, Hala regrets not having married Mustafa, the man she truly loved. Her family pressures her to accept any suitor, regardless of compatibility, warning her that she will “wither” like a flower if she remains unmarried. Hala eventually feels that marriage would be like a crown making her a queen, giving her social value.
In I Turn Off the Lights, Violet seeks to remarry after a painful divorce in order to heal her wounded heart. When Émil rejects her, she falls into deep despair. Similarly, Alice, Clarice’s sister, is desperate to find a husband and envies married women. She constantly mocks Clarice for being too thin and claims that Artush (Clarice’s husband) wanted to marry her first. These examples show how patriarchal society defines female identity primarily through marital status.
3.3. Women’s Active Political Participation
Despite the constraints, some female characters demonstrate political agency. In “I Turn Off the Lights,” Mrs. Nourallahi is portrayed as an active woman who holds meetings and encourages women to demand their rights, including the right to vote. Clarice admires her and wishes she could play a similar role beyond household chores.
In “Black Suits You,” Hala uses her voice as a singer to protest against terrorism and oppression after her father is assassinated by terrorists. She performs in a black dress, symbolizing mourning, and uses her art to inspire people to rise up against injustice. The narrator states, “Hala, with all the talent in her throat, fought against the terrorists.” Her public performances serve as a form of political activism, breaking the silence imposed on women.
3.4. Conflict and Competition Among Women
Interestingly, both novels also depict women harming other women. In “I Turn Off the Lights,” Clarice’s mother constantly discourages her from translating books or engaging in intellectual work, insisting that a “real woman” only does housework. Alice ridicules another woman, Vazgen, for translating a book into Armenian. In “Black Suits You,” a female friend of Hala secretly contacts the composer of Hala’s new song and buys it for herself, betraying their friendship. Hala’s cousin Najla also humiliates her by implying that she is poor and only spends money because of Talal’s wealth. Additionally, Hala’s mother consistently opposes her concert plans, preferring “respectable bread and cheese” over income from her daughter’s singing. These examples illustrate how women internalize patriarchal norms and turn against one another, often defending male interests.

Results

This comparative feminist reading of Black suits you by Ahlam Mosteghanemi and I Turn Off the Lights by Zoya Pirzad leads to several important conclusions. Both novels powerfully depict psychological violence against women by men, who use emotional neglect, withdrawal, and humiliation to maintain control over relationships. The authors succeed in voicing a protest against male violence through detailed characterizations and plot structures.
Regarding marriage, both novels show that women are willing to endure humiliation and mistreatment just to secure a husband, even when the man has an ambivalent or avoidant attachment style (as seen in Talal and Émil). This pressure to marry at any cost is a direct product of patriarchal norms—norms that feminism seeks to dismantle.
In terms of political participation, both novels present positive role models: Hala uses her art as a form of political resistance, while Mrs. Nourallahi actively campaigns for women's voting rights. These characters embody feminist ideals of women's agency and public engagement.
Finally, the novels also reveal competition and conflict among women. Mothers, sisters, cousins, and friends often undermine each other’s achievements, mock intellectual or artistic pursuits, and defend male interests. This internalized misogyny, as noted by feminist scholars such as Phyllis Chesler, demonstrates how patriarchal structures persist partly through women’s hostility toward one another.
In summary, both novels serve as powerful feminist texts that critique patriarchal oppression, highlight women’s struggles and agency, and expose the complex web of relationships—both supportive and competitive—among women. They make a significant contribution to contemporary feminist literature in the Arab and Persian worlds.