In this entry, I will focus on Hedayat’s The Blind Owl and consider its few urban descriptions and treatments of Rayy (ancient Tehran). It turns out that as a modern novella, it is not separated from urbanity and the city, butthe way it is connected with urban spaces is minimally and peculiarly untypical and in line with Hedayat’s “psycho-fictions. ”The city and its treatment thus become crooked and dark, in line with its perceiver (the narrator), and sometimes peculiarly/bitterly dignified.
