全米図書賞のファイナリストに選ばれたカーヴェ・アクバルの『Martyr!』は、母親の死に囚われた、回復途上にあるイラン系アメリカ人の詩人を描いています。このニューヨーク・タイムズのベストセラーはローレン・グロフを魅了し、彼女は本作を「驚くほど独創的」と評しました。これは、文化を超えた喪失感、依存症、そして居場所を求める探求を綴った、魅惑的な物語です。
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コロンビア大学卒業生がサンフランシスコで開発
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"It is great for me to learn something from the book without reading it."
"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."
"Makes me feel smarter every time before going to work"
コロンビア大学卒業生がサンフランシスコで開発
"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."
"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."
"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."
"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."
"Reading used to feel like a chore. Now it’s just part of my lifestyle."
"Feels effortless compared to reading. I’ve finished 6 books this month already."
"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."
"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."
"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"
"It is great for me to learn something from the book without reading it."
"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."
"Makes me feel smarter every time before going to work"
"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."
"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."
"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."
"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."
"Reading used to feel like a chore. Now it’s just part of my lifestyle."
"Feels effortless compared to reading. I’ve finished 6 books this month already."
"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."
"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."
"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"
"It is great for me to learn something from the book without reading it."
"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."
"Makes me feel smarter every time before going to work"
"Instead of endless scrolling, I just hit play on BeFreed. It saves me so much time."
"I never knew where to start with nonfiction—BeFreed’s book lists turned into podcasts gave me a clear path."
"Perfect balance between learning and entertainment. Finished ‘Thinking, Fast and Slow’ on my commute this week."
"Crazy how much I learned while walking the dog. BeFreed = small habits → big gains."
"Reading used to feel like a chore. Now it’s just part of my lifestyle."
"Feels effortless compared to reading. I’ve finished 6 books this month already."
"BeFreed turned my guilty doomscrolling into something that feels productive and inspiring."
"BeFreed turned my commute into learning time. 20-min podcasts are perfect for finishing books I never had time for."
"BeFreed replaced my podcast queue. Imagine Spotify for books — that’s it. 🙌"
"It is great for me to learn something from the book without reading it."
"The themed book list podcasts help me connect ideas across authors—like a guided audio journey."
"Makes me feel smarter every time before going to work"
殉教者！の同じアイデアを、あなたに合う声・深さ・ペースで学べます。いつでも切り替えられます。
In a literary landscape increasingly dominated by commercial fiction, Kaveh Akbar's "Martyr!" arrives like a thunderclap-a profound meditation on identity, addiction, and the human desire for meaning that transcends death itself. This debut novel has garnered widespread acclaim, with The New York Times calling it "a dazzling exploration of the immigrant experience and the quest for spiritual fulfillment." Beloved by readers ranging from Ocean Vuong to Roxane Gay, "Martyr!" has quickly established itself as essential reading for those seeking to understand the complexities of Iranian-American identity in the 21st century. The novel's exploration of martyrdom-both literal and metaphorical-feels particularly resonant in our polarized times, offering a nuanced perspective on what it means to die for something greater than oneself.
At the heart of "Martyr!" is Cyrus Shams, a 29-year-old recovering alcoholic of Iranian descent who works as a medical actor at Keady University Hospital. Cyrus exists in a perpetual state of in-betweenness-neither fully Iranian nor American, neither Muslim nor not-Muslim, neither drunk nor fully comfortable in his sobriety. This liminality defines his entire existence, leaving him constantly searching for something solid to anchor himself to. In one particularly revealing scene, Cyrus portrays Sandra Kaufmann, a widowed high school math teacher, during a medical training session. When the nervous medical student asks if there's anyone they should call, Cyrus breaks character and shares his own story about contemplating suicide-how he once sat in his bathtub with Everclear alcohol, intending to light himself on fire, but stopped because he didn't want to harm others in his apartment building. He describes the persistent "doom organ" in his throat that pulses dread constantly, and how even sobriety only numbs it temporarily. This pattern of seeking and not finding permeates Cyrus's life. He attends AA meetings but feels disconnected from their spiritual framework. During one meeting, he shares his frustration that sobriety feels like "nothing in every direction." When his sponsor Gabe suggests finding meaning in his American identity rather than Persian mysticism or Islam, Cyrus admits what truly haunts him: "I want to die. I think I always have." More specifically, he wants his life and death to matter more than his parents' anonymous deaths. This obsession with meaningful death-martyrdom-becomes Cyrus's fixation. He compiles a document titled "BOOKOFMARTYRS.docx," filled with poems and reflections on historical figures who died for causes greater than themselves. Through this project, Cyrus attempts to understand what makes a death significant and how one might transcend the finality of mortality through sacrifice.
『殉教者！』の一語一語が音声に合わせてリアルタイムでハイライトされ、自然に読み進められます。
Cyrus's identity struggles are deeply rooted in his family history, a complex tapestry woven from tragedy, displacement, and unspoken truths. His mother Roya died when he was just months old, her plane - Iran Air Flight 655 - shot down by the USS Vincennes, a U.S. Navy warship, in 1988. The incident, which killed all 290 passengers, became a flashpoint in U.S.-Iran relations and left an indelible mark on countless families, including Cyrus's. His father Ali, suddenly a widower with an infant son, made the wrenching decision to emigrate to America, settling in the unlikely destination of Fort Wayne, Indiana, with their lives compressed into a single weathered trunk. Ali's approach to parenting reflected the complicated reality of being Iranian in post-revolution America. His love for Cyrus manifested in protection through erasure - he meticulously coached his son to respond to questions about his origins with the deliberately vague "I don't remember." This wasn't mere avoidance; it was a calculated strategy born from Ali's understanding of American suspicion toward Iranians, particularly in the aftermath of the hostage crisis. The phrase became a shield, but also a prison, teaching young Cyrus that safety lay in the deliberate forgetting of his heritage. This early lesson in self-erasure profoundly shaped Cyrus's fragmented identity. He learned to navigate American life as someone perpetually undefined, existing in a liminal space between cultures. When Ali died suddenly from a stroke during Cyrus's sophomore year at college, this carefully maintained balance collapsed. Cyrus, already untethered from his Iranian heritage, lost his last living connection to that world. He descended into a spiral of substance abuse - alcohol and drugs became his tools for numbing not just grief, but the overwhelming weight of his undefined identity. Throughout the narrative, Cyrus attempts to reconstruct his lost family through a series of imagined conversations, mixing memory with fantasy in increasingly surreal ways. In one particularly poignant scene, his mother Roya engages in a philosophical discussion with Lisa Simpson about the nature of the afterlife, insisting it isn't the simplified version of "flying around, smiling happily down from a cloud." These supernatural dialogues serve multiple purposes - they're attempts to know the mother he never met, to process his father's death, and to understand his own place in their story. The tragedy at the heart of Cyrus's story is that his understanding of his family history is fundamentally incomplete. What he doesn't know - what will eventually shatter his already fragile sense of self - is that his mother's identity contains layers of complexity he never imagined. The truth about Roya's life, her relationships, and the circumstances that led to her being on that fateful flight remains hidden from him, a mystery whose eventual unraveling will force him to reconstruct not just his understanding of his parents, but his entire sense of self and heritage.
The trajectory of Cyrus's life changes dramatically when he discovers the work of Orkideh, a terminally ill Iranian artist performing her final installation, "DEATH-SPEAK," at the Brooklyn Museum. Encouraged by his friend Zee, Cyrus travels to New York to meet her, drawn by her powerful artwork depicting martyrdom and death. Orkideh's exhibition is radical in its simplicity: as a dying woman, she simply makes herself available for conversation with museum visitors. When Cyrus meets her, he immediately confesses his suicidal thoughts and his obsession with martyrdom, explaining he wants to write about people who died for something larger than themselves. Orkideh challenges him about being "another death-obsessed Iranian man" while Cyrus insists his interest isn't cultural but personal. Their conversations become increasingly profound as Orkideh shares insights about Iranian identity and art. She tells Cyrus about Persian mirror art-how Safavid explorers brought shattered European mirrors back to Iran, creating mosaics that allowed Persians to see themselves in fragments. This, she suggests, taught Iranians to embrace complexity rather than the binary hero/villain narratives of Western culture. Orkideh refuses the label of "heroic," joking about her pain medication: "When you're dying they give you the really good stuff." They discuss the double-consciousness that W.E.B. Du Bois wrote about-how marginalized people must always see themselves through the eyes of those who hate them. Cyrus worries about being an Iranian Muslim man writing about martyrdom in America: "The people who hate me also own all the guns and all the prisons." As their final conversation ends, Orkideh asks if Cyrus can feel their connection mattering in the present moment, promising, "We won't grow old together, Cyrus. But can't you feel this mattering?" The next day, Cyrus learns that Orkideh has died, possibly from an overdose of pain pills. The news devastates him, but the true shock comes later when he discovers an unexpected connection between them that will transform his understanding of his own identity.
Throughout "Martyr!" Akbar explores the complexities of Iranian-American identity with remarkable nuance. Cyrus reflects on his ability to pass as white-American, feeling like the superhero Blade-a "day-walker" who can move between identities, Iranian when it suits him, American when it doesn't. This ability to shift between worlds is both privilege and burden, allowing him to avoid certain forms of discrimination while intensifying his sense of rootlessness. The novel doesn't shy away from addressing the stereotypes and prejudices faced by Iranians in America. When Cyrus mentions his interest in martyrdom to his AA sponsor Gabe, the conversation quickly turns hostile, with Gabe making a racist comment about "strapping on a bomb." This moment highlights the persistent association of Middle Eastern identity with terrorism in the American imagination. Cyrus's relationship with his Iranian heritage is further complicated by his limited knowledge of the country and culture. Having left Iran as an infant, his connection to his homeland exists primarily through his father's sparse stories and his own research. He struggles with Farsi, relies on translations of Persian poetry, and has never visited Iran. His Iranian identity is thus both central to his sense of self and fundamentally incomplete. Through Orkideh, the novel introduces a different perspective on Iranian identity. Unlike Cyrus, she lived much of her life in Iran before coming to America as an adult. Her art directly engages with Iranian history and cultural traditions, particularly the concept of martyrdom so central to Shi'a Islam. For her, being Iranian in America is not about passing or hiding but about transforming the pain of displacement into powerful art. The contrast between these characters illustrates the diversity of the Iranian diaspora experience, challenging monolithic representations of Middle Eastern immigrants in American culture. Through their stories, Akbar suggests that identity is not fixed but constantly negotiated through relationships, art, and the stories we tell about ourselves.
Addiction and recovery form a central thread in "Martyr!" Cyrus's alcoholism began in college and intensified after his father's death. His eventual sobriety, while physically healing, leaves him spiritually adrift, searching for meaning in a world that suddenly seems flat and colorless. The novel offers a profound meditation on the nature of recovery, comparing it not to mere abstinence but to building an entirely new personality: "For alcoholics, recovery isn't mere abstinence but building an entirely new personality-learning how to eat, speak, walk, and simply sit still. It's like moving into a trashed house, ripping up piss-carpet and filling holes while also remembering to feed yourself." This metaphor captures the comprehensive transformation required in recovery. It's not enough to stop drinking; one must construct a new way of being in the world. For Cyrus, this reconstruction proves especially challenging because alcohol had been his primary coping mechanism for dealing with his fractured identity and unresolved grief. The novel also explores how addiction affects relationships. Cyrus's friendship with Zee is marked by their shared history of substance abuse and subsequent attempts at recovery. Their dynamic shifts dramatically when Cyrus gets sober while Zee continues to struggle, creating an imbalance that threatens their connection. In one particularly powerful scene, Cyrus recalls a moment from his active addiction when he and Zee were high on fentanyl, chopping wood at a strange man's house for money. When Cyrus accidentally struck his foot with an axe, creating a quarter-sized gash, he remained eerily calm, discussing Islamic stories about Noah while bleeding profusely. This incident illustrates both the dangerous detachment addiction creates from one's own body and the strange, distorted intimacy it can foster between fellow users. Through Cyrus's journey, Akbar suggests that recovery, like martyrdom, requires a kind of death-the death of the addicted self-to make way for rebirth. The question that haunts Cyrus is whether this new, sober self can find meaning and purpose without the numbing comfort of substances.
『殉教者！』の一語一語が音声に合わせてリアルタイムでハイライトされ、自然に読み進められます。
Art and literature serve as powerful vehicles for transcendence throughout "Martyr!" Cyrus's ambitious "BOOKOFMARTYRS.docx" project represents his deeply personal attempt to understand death and sacrifice through poetry. His meticulously researched verses span centuries of martyrdom, from Bobby Sands to Hypatia of Alexandria, revealing his growing preoccupation with the concept of meaningful death and the enduring legacy of sacrifice. Each poem delves into the historical context while drawing parallels to contemporary struggles, creating a tapestry of human resistance and transformation. The Bobby Sands poem stands as a centerpiece of the collection, masterfully connecting Ireland and Iran through their "interchangeable mythos" of resistance and sacrifice. The existence of Bobby Sands Street in Tehran serves as a powerful symbol of this cross-cultural resonance. Through careful analysis, Cyrus explores how Sands' hunger strike was controversially labeled "violence" by the Catholic church while Margaret Thatcher deliberately minimized it as merely "a convicted criminal who chose to take his own life." This tension illuminates the complex political dimension of martyrdom - how acts of self-sacrifice become battlegrounds of interpretation, with the same deed characterized as heroism or terrorism depending on the observer's political stance and cultural context. Orkideh's artistic journey offers a contrasting but equally profound approach to transcendence. Her culminating installation, "DEATH-SPEAK," radically transforms her personal dying process into a public meditation on mortality. By making herself physically present and available for conversation during her final days, she creates an unprecedented space for intimate connections with strangers, deliberately challenging Western culture's tendency to isolate and sanitize death. Visitors to the installation report profound experiences of connection and transformation, suggesting that confronting death openly can paradoxically affirm life. Her earlier work "Comprehension Density" demonstrates the evolution of her artistic vision. The installation features two imposing copper monoliths positioned face-to-face, with a small television between them displaying her marathon fifty-six-hour reading of the Shahnameh, alternating seamlessly between English and Farsi. This piece masterfully explores the intricate relationships between language, cultural identity, and human understanding - themes that weave throughout the novel. The physical arrangement of the monoliths suggests both confrontation and reflection, while the durational aspect of the performance emphasizes the persistence of cultural memory. Through these diverse artistic expressions, Akbar presents art as an alternative form of martyrdom - one that doesn't demand physical death but instead requires a different kind of sacrifice: the willingness to transform personal experience into universal truth. For both Cyrus and Orkideh, creative expression becomes not just a means of processing individual trauma but a bridge connecting disparate human experiences across cultural, linguistic, and temporal boundaries. Their work suggests that true transcendence might lie not in dying for a cause, but in creating works that continue to speak to future generations about the complexity of human existence.
One of the most powerful revelations in "Martyr!" concerns the hidden love story between Roya (Cyrus's mother) and Leila (Orkideh's former identity). Their relationship, set against the tumultuous backdrop of Tehran in 1987, unfolds through intricate flashbacks that reveal a passionate connection that defied both social norms and political realities of post-revolutionary Iran. The author masterfully weaves their story through fragments of memory, stolen moments, and dangerous encounters that highlight the precarious nature of forbidden love in a restrictive society. In one particularly vivid scene, Leila takes Roya to a secluded spot where they discover giraffes at the Tehran zoo - a moment that becomes emblematic of their relationship's otherworldly nature. When a security guard discovers them perched atop the wall they've climbed, Leila demonstrates quick thinking and remarkable courage by impersonating a male soldier. Her performance is both terrifying and exhilarating, showcasing the daily risks they took to be together. Despite her terror, Roya remains steadfast beside Leila, who eventually rests her head on Roya's shoulder as they watch the peaceful animals. This moment of shared transgression becomes symbolic of their entire relationship - beautiful, dangerous, and existing outside conventional boundaries, much like the exotic creatures they observe in secret. Their love story reaches its emotional crescendo in a powerful scene where they dance to the Rolling Stones' "I Want You Back Again" playing on Roya's "puke-green turntable." The scene masterfully captures both the universal and specific elements of their romance - the familiar comfort of pop music contrasting with the particular dangers of their situation. As Mick Jagger's voice fills the room, Roya finally breaks down and confesses her exhaustion with trying to be "good" in a society that demands constant performance of propriety. Leila's response - holding her tight - speaks to the sanctuary they've created for each other amid chaos. When the music finally stops, the author describes a silence "louder than the music had been," and they find themselves touching everywhere, with no separation between their bodies - "not music or country or clothes. Not fear. Not even history." This intimate moment transcends the political and social barriers that threaten to keep them apart, creating a temporary space where their love exists outside of time and circumstance. The discovery of this relationship forces Cyrus to radically reconsider everything he thought he knew about his mother. The woman he had simplified into a symbol - a victim of American imperialism whose plane was shot down by a U.S. warship - emerges as someone far more complex, with agency and passion, who made difficult choices in pursuit of love. This complication of his mother's narrative parallels Cyrus's own journey toward a more nuanced understanding of identity and purpose, challenging his previously held beliefs about nationalism, sacrifice, and the nature of truth itself. Through this revelation, the novel explores how personal histories often defy the neat categories we try to impose upon them, and how love - in all its forms - can transcend the boundaries of politics, gender, and social convention.
The novel's climactic revelation comes when Cyrus learns that Orkideh was actually his biological mother - not Roya, whom he had known as his mother his entire life. This devastating truth emerges in the aftermath of Orkideh's death through her gallerist Sang Linh, who served not only as her artistic collaborator but also as her confidant and former lover. Sang Linh's detailed account unravels decades of carefully maintained secrets, forcing Cyrus to reconstruct his entire understanding of his family history. The story that unfolds is layered with complexity and tragedy: Roya and Leila (Orkideh's original identity) had fallen deeply in love in Tehran during the tumultuous years following the Islamic Revolution. Their relationship flourished in secret until Leila's conservative husband discovered their affair, triggering a desperate chain of events. The women were forced to orchestrate an elaborate escape plan that involved a complete exchange of identities. Roya assumed Orkideh's identity and fled with young Cyrus, while the real Orkideh (formerly Leila) had to craft an entirely new persona, sacrificing her maternal bond in exchange for their collective safety. Throughout the years, Orkideh channeled her grief into her artwork, creating installations that explored themes of martyrdom, loss, and transformation. Her most famous pieces - including the haunting "Mirrors of Martyrdom" series - took on new meaning with this revelation, as they were actually chronicles of her own symbolic death and separation from her child. Her art became both a confession and a way to maintain a connection to the son who didn't know her true identity. This revelation forces Cyrus to confront not only the fragmentary nature of identity and memory but also the complex web of love, sacrifice, and survival that shaped his existence. The mother he had mourned - whose death aboard Iran Air Flight 655 had become the cornerstone of his identity and his academic work on martyrdom - was not his biological mother. Meanwhile, his birth mother had been alive all this time, creating powerful artworks that spoke directly to their shared loss while maintaining her painful silence. The irony cuts deep for Cyrus: while he had devoted his academic career to studying martyrdom and sacrifice in Iranian culture, he had unknowingly been in the presence of his mother - a woman who had experienced perhaps the most profound form of martyrdom by sacrificing her maternal identity and relationship with her child for their safety. As Orkideh notes in one of her final interviews, she experienced her first symbolic death when Roya assumed her identity, leaving her in a liminal space between existence and non-existence - bearing all the pain of loss without the finality or potential peace of actual death. This revelation provides no neat resolution for Cyrus. Instead, it multiplies the questions about his identity, heritage, and understanding of family. Like the Persian mirror mosaics that featured prominently in Orkideh's installations, the truth comes to him in sharp, reflective fragments - each piece showing a different aspect of reality, creating a kaleidoscopic view that resists simple interpretation or cohesion. The narrative suggests that perhaps this fragmentary understanding is the only honest way to approach the complexity of identity and memory in the context of exile and forced reinvention.
The novel concludes with a surreal, transformative sequence that suggests the possibility of reconciliation and meaning beyond rational understanding. After learning the truth about his mother, Cyrus wanders through Prospect Park in a state of emotional turmoil. When Zee joins him, they experience what appears to be a shared hallucination or spiritual vision: trees bloom out of season, the ground hums beneath them, and horses gallop past, led by a black stallion with a cloaked rider reminiscent of Arash's role as an "angel" during the Iran-Iraq War. As this mystical experience unfolds, Cyrus and Zee kneel by a golden pool that has formed in the ground. When Cyrus reaches his hand into the warm light, he feels another hand grab his as birds and blossoms fall around them like snow. This moment suggests a connection that transcends the physical world-perhaps with his mother, with his heritage, or with something divine. The novel's epilogue shifts to 1997, showing Sang and Roya dismantling Orkideh's third exhibition, "Why We Put Mirrors in Birdcages." As they work alongside Sang's son Duy, they share a moment of profound joy and laughter that feels eternal: "nothing could splinter us into shards, nothing could smear us off the map." This final image suggests that true transcendence might be found not in dramatic acts of martyrdom but in moments of genuine connection and joy that temporarily lift us beyond our individual concerns. Through Cyrus's journey, "Martyr!" ultimately suggests that meaning emerges not from grand sacrifices or perfect understanding, but from embracing the complexity of identity and finding moments of authentic connection across the boundaries that separate us. Like the Persian mirror mosaics that allow viewers to see themselves in fragments, the novel offers not a single, coherent truth but a kaleidoscopic vision of what it means to be human in all our contradictory, fractured glory.
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