Mandanipour started writing at fourteen and published his first short story,
Shadows of the Cave, in 1985 in the literary journal
Mofid Magazine. In 1989, his first collection of short stories was published under the same title. Regarded as one of the most accomplished and promising writers of contemporary Iranian literature, Mandanipour's creative approach to the use of symbols and metaphors, his inventive experimentation with language, time, and space, as well as his unique awareness of sequence and identity have made his work fascinating to critics and readers alike. In his stories, Mandanipour creates his unique surreal world in which illusion seems as natural as terrifying reality. The nightmares and realism of his stories are rooted in the historical horrors and sufferings of the people of Iran. At the outset, Mandanipour's stories are enigmatic. Yet, they jolt awake the reader's imagination and provoke him or her to peel away the intricately woven and fused layers in which past, present, tradition, and modernity collide. His characters do not conform to conventional molds. Traditional identities are blurred as the lines between right and wrong, friend and foe, and sanity and insanity become fluid. Often driven by the most basic human instincts of fear, survival, and loneliness, Mandanipour's characters struggle in a world of contradictions and ambiguities and grapple with self-identity, social dilemmas, and everyday life. In a collection of essays on creative writing, ''The Book of Shahrzad's Ghosts
(Ketab-e Arvāh-e Shahrzād''), Mandanipour discusses the elements of the story and the novel, as well as his theories on the nature of literature and the secrets of fiction. He writes, "Literature is the alchemy of transforming reality into words and creating a new phenomenon called fictional reality." His novel
The Courage of Love (
Del-e Del Dadegi), published in 1998, is structured around a love quadrangle with the four main characters representing earth, fire, water, and wind. The novel's events occur during two different periods of war and earthquakes. Mandanipour compares the devastation, savagery, futility, and dark consequences of war and earthquakes by placing the two timeframes laterally, like mirrors facing each other. In the novel, Mandanipour employs a stream of consciousness. Numerous critics, including
Houshang Golshiri, have regarded the 900-page work of fiction as a masterpiece of contemporary Iranian literature. In 2008, he cooperated in writing the screenplay of a documentary named Chahar Marge Yek Nevisandeh (Four Deaths of a Writer). It is about the life of a writer showing how he dies four times in his works, and the screenplay was directed by
Ali Zare Ghanat Nowi. In 2009, Mandanipour published
Censoring an Iranian Love Story, his first novel to be translated into English. Ostensibly a tale of romance, the book delves deeply into themes of censorship as the author struggles, in the text, with writing a love story that he'll be able to get past Iran's Ministry of Culture and Islamic Guidance's Office of Censorship to publish an account of life in post-Islamic Revolution Iran. In the novel, two narratives are intertwined. In one, we read of the difficulties, fears, and trepidations that surround the meeting of a young couple in modern-day Iran at a time when gender separation is forcefully imposed on society. Scene by scene, we become more familiar with their struggles to preserve their love and their creative schemes to lessen the risk of discovery and arrest. In a parallel storyline, Mandanipour enters as his alter ego and takes us along as he composes each sentence and scene, revealing his frustrations and his methods of battling against censorship. The penalties that the writer self-censors appear as strikethroughs in the text. The writer's comical efforts at surmounting censorship and advancing his story resemble the struggles of the young lovers to preserve their love. Translated into English by Sara Khalili,
Censoring an Iranian Love Story was well received by critics worldwide.
The New Yorker named it one of the Reviewers' favorites from 2009, and National Public Radio listed it as one of The Best Debut Fictions of 2009. In his review for
The New Yorker,
James Wood wrote, "Mandanipour's writing is exuberant, bonhomous, clever, profuse with puns and literary-political references."[2] For
The New York Times, Michiko Kakutani wrote, "Some of Mr. Mandanipour's efforts to inject his story with surreal, postmodern elements feel distinctly strained (the intermittent appearances of a hunchbacked midget, in particular, are annoyingly gratuitous and contrived), but he's managed, by the end of the book, to build a clever Rubik's Cube of a story, while at the same time giving readers a haunting portrait of life in the Islamic Republic of Iran: arduous, demoralizing and constricted even before the brutalities of the current crackdown." And writing in the Los Angeles Times, Susan Salter Reynolds commented, "Censorship, seen as its art form, is just another way of messing with reality. It's hard enough to generate ideas without someone else's superimposed over them. Still, the fictional Mandanipour tries ... He writes a love story that is convincingly, achingly impossible in a place where men and women cannot even look at each other in public. The effect (as every good Victorian understood) is deliriously sensual prose." ==Awards==