From 17 April, 1900, to 6 June of that year, Pierre Loti travelled in a private capacity from Bushire on the Persian Gulf, northwards through Shiraz, Persepolis, Isfahan and Tehran, before returning via the Caspian Sea to Europe. This is the personal day-by-day account of his journey, the hardships of the mountainous terrain and the empty desert. Loti excels in his descriptions of the world around him: the sky, the mountains, the fertile plains, the deserted desert. His descriptions of the people he meets, their dress and manners are remarkable. Loti had come from India and on his way to the Gulf, he stopped off at Muscat and his account of this brief visit was published as 'En passant a Mascate' (Passing through Muscat). This is the first English translation of both texts.

From 17 April, 1900, to 6 June of that year, Pierre Loti travelled in a private capacity from Bushire on the Persian Gulf, northwards through Shiraz, Persepolis, Isfahan and Tehran, before returning via the Caspian Sea to Europe. This is the personal day-by-day account of his journey, the hardships of the mountainous terrain and the empty desert. Loti excels in his descriptions of the world around him: the sky, the mountains, the fertile plains, the deserted desert. His descriptions of the people he meets, their dress and manners are remarkable. Loti had come from India and on his way to the Gulf, he stopped off at Muscat and his account of this brief visit was published as 'En passant a Mascate' (Passing through Muscat). This is the first English translation of both texts.

In the seventeenth century, the Persian city of Isfahan was a crossroads of international trade and diplomacy. Manuscript paintings produced within the city’s various cultural, religious, and ethnic groups reveal the vibrant artistic legacy of the Safavid Empire. Published to coincide with an exhibition at the Getty Museum, Book Arts of Isfahan offers a fascinating account of the ways in which the artists of Isfahan used their art to record the life around them and at the same time define their own identities within a complex society.

A love story, set in Iran during the postwar 1940s, a time of burgeoning hopes and dangerous conflicts. Shirene is the green-eyed granddaughter of the empress of Persia. Jamshid is the blue-eyed son of working class parents and an organizer for the socialist Tudeh Party. They fall passionately in love with each other. Readers can expect surprises.

I.B. Tauris in association with the Institute of Ismaili Studies The exceptional intellectual richness of seventeenth-century Safavid Iran is epitomised by the philosophical school of Isfahan, and in particular by its ostensible founder, Mir Damad (d. 1631), and his great student Mulla Sadra (aka Sadr al-Din Shirazi, d. 1636). Equally important to the school is the apophatic wisdom of Rajab 'Ali Tabrizi that followed later (d. 1669/70). However, despite these philosophers' renown, the identification of the 'philosophical school of Isfahan' was only proposed in 1956, by the celebrated French Iranologist Henry Corbin, who noted the unifying Islamic Neoplatonist character of some 20 thinkers and spiritual figures; this grouping has subsequently remained unchallenged for some fifty years. In this highly original work, Janis Esots investigates the legitimacy of the term 'school', delving into the complex philosophies of these three major Shi'i figures and drawing comparisons between them. The author makes the case that Mulla Sadra's thought is independent and actually incompatible with the thoughts of Mir Damad and Rajab Ali Tabrizi. This not only presents a new way of thinking about how we understand the 'school of Isfahan', it also identifies Mir Damad and Rajab Ali Tabrizi as pioneers in their own right.

Household anthologies of seventeenth-century Isfahan collected everyday texts and objects, from portraits, letters, and poems to marriage contracts and talismans. With these family collections, Kathryn Babayan tells a new history of the city at the transformative moment it became a cosmopolitan center of imperial rule. Bringing into view people's lives from a city with no extant state or civic archives, Babayan reimagines the archive of anthologies to recover how residents shaped their communities and crafted their urban, religious, and sexual selves. Babayan highlights eight residents—from king to widow, painter to religious scholar, poet to bureaucrat—who anthologized their city, writing their engagements with friends and family, divulging the many dimensions of the social, cultural, and religious spheres of life in Isfahan. Through them, we see the gestures, manners, and sensibilities of a shared culture that configured their relations and negotiated the lines between friendship and eroticism. These entangled acts of seeing and reading, desiring and writing converge to fashion the refined urban self through the sensual and the sexual—and give us a new and enticing view of the city of Isfahan.