Setting the Atmosphere of Ahl-e Gharq by Relying on Signs of Tradition and Modernity

The presence of modernity in Iran and the loss of indigenous traditions are among the factors contributing to the emergence of climate literature. Ahl-e Gharq is one of the climate novels related to the southern region, written by Maniro Ravanipour. By publishing it, she seeks to preserve the traditions and native values of her hometown, Jafreh. Jafreh symbolizes that era in Iran. "Ahl-e Gharq" is written in the style of magical realism. The results show that throughout the story, the author creates three distinct types of special spaces. First, the atmosphere that is related; second, the atmosphere created with the advent of modernity; and third, the space formed in the confrontation between tradition and modernity. The author, in the traditional period, exaggerates the beliefs of superstitious characters to give the story a haunted and scary atmosphere. At the same time, the atmosphere governing the relationships among the villagers is very pure and friendly. When modernity first arrives in the village, the mood is initially humorous; however, it soon gives way to a darker, unethical, and unsafe environment. During the ensuing confrontation between tradition and modernity, depicted through magical realism, a revolutionary and combative atmosphere emerges, reflecting the cultural, social, and political awakening of the people.
Introduction:
The novel Ahl-e Gharq by Moniro Ravanipour, a writer from the village of Jofreh in Bushehr Province, is a distinguished example of Iranian regional literature. Using the style of magical realism, it vividly portrays the culture, beliefs, and traditions of southern Iran.
Published in 1988, the novel centers on the lives of southern Iranian communities and the tension between tradition and modernity, portraying diverse settings that reflect the social, cultural, and political transformations within Iranian society. Ravanipour incorporates regional elements such as the sea, palm groves, folk beliefs, and superstitions, alongside the influences of modernity—such as the oil industry and the presence of foreigners—to create multifaceted and often contrasting settings within the narrative. This abstract explores the novel’s spatial construction across three main periods: traditional, modern, and the fusion of tradition and modernity, as well as the role of magical realism in shaping these spaces.
Regional literature, as a genre that emphasizes the geographical, cultural, and local characteristics of a region, is vividly depicted in Ahl-e Gharq through the portrayal of life in Jofreh and the effects of modernity, including the oil industry, foreign presence, and social changes. The advent of modernity in Iran, particularly in the south with the arrival of oil companies and colonial influences, posed a threat to local traditions and culture. Regional writers, including Ravanipour, addressed these challenges through their works to preserve indigenous values.
Methodology:
This study devised based on two major principles. The style of magical realism and spatial construction in the novel. Magical realism (a style that seamlessly blends reality with supernatural elements without explanation or justification) is employed in Ahl-e Gharq to depict the social and political realities of Jofreh in the face of modernity. Spatial construction, as a key narrative element, conveys emotional and psychological states to the reader, engaging them with the story by creating expectations and foreshadowing events.
Results and Discussion:
The arrival of modernity—through the oil industry, foreign presence, and social changes—transforms the story’s setting:
Humorous Spaces: The introduction of modern tools like radios and alcohol, which seem alien and magical to Jofreh’s people, creates a humorous atmosphere. For example, the villagers’ perception of a radio as a box imprisoning humans illustrates a bitter irony in the clash between tradition and modernity.
Bleak Spaces: Industrial modernity, marked by the destruction of palm groves, environmental pollution, and displacement, creates a somber and tragic atmosphere. The sea changes from green to gray, and traditional life gives way to industrialization.
 
Immoral and Insecure Spaces: The presence of foreigners and newcomers, such as teachers and tailors, along with illicit relationships and betrayal, fosters an atmosphere of moral instability and insecurity.
Traditional beliefs do not entirely vanish with the advent of modernity. Initially, the people of Jofreh replace traditional beliefs with modern symbols (e.g., blonde women instead of mermaids). However, upon realizing the colonial nature of modernity and its destructive impacts, they rise against governmental and colonial forces. During this period, fictional characters like Mah Jamal and mermaids join the people in their fight against enemies, creating a revolutionary and fantastical atmosphere. This confrontation between tradition and modernity symbolizes the broader struggles of Iranian society against colonialism.
The novel Ahl-e Gharq, through its use of magical realism and focus on the tension between tradition and modernity, creates diverse and impactful settings that depict the fate of Jofreh’s traditional society in the face of colonial modernity. Traditional spaces, marked by elements like busalmeh and mermaids, are eerie yet intimate, reflecting indigenous culture. Modern spaces, characterized by oil and foreigners, are humorous, bleak, and morally unstable, illustrating the decline of traditions. The fused spaces, blending tradition and modernity, are revolutionary and fantastical, highlighting the people’s resistance. Through masterful spatial construction, Ravanipour not only preserves southern Iran’s culture but also offers a profound critique of colonial modernity, demonstrating how communities can resist by reconstructing their traditions. The novel presents Jofreh as a symbol of Iranian society as a whole, dynamically narrating the transition from superstition to awareness.
Conclusion:
The story begins in the village of Jofreh, characterized by a traditional setting steeped in superstitious beliefs, such as faith in sea spirits (abiyan), mermaids, jinn, talismans, and creatures like busalmeh and dizangaru. These spaces are divided into two types:
Fearful Spaces: From the outset, the title Ahl-e Gharq (referring to the drowned who, according to Jofreh’s beliefs, live in the depths of the sea) creates a chilling atmosphere. Descriptions of creatures like earthquakes, and sacrificial rituals to appease the sea evoke fear and anxiety in the reader. For instance, the depiction of earthquakes as the wrath of the dead who have lost their way to their graves creates an eerie, magical atmosphere.
Spaces of Innocence and Intimacy: Despite the fear and superstitions, the relationships among Jofreh’s people are simple, sincere, and filled with love and respect. Romantic relationships, such as the love story between Mah Jamal and the mermaid, imbue the narrative with a romantic and emotional tone despite the underlying fear and anxiety.