Sound Museum

Praise for Sound Museum

“As much as readers might squirm as the narrator uses works opposed to torture to justify torture, the overall effect is one of a horror in which everyone is complicit. A taut, searing tour of modern atrocities.” —Kirkus, starred review

“Unflinching and unsettling, this book speaks to bystander culture, witnessing, violence and power.” —Karla J. Strand, Ms. Magazine

“Missaghi toes the line between dark humor and horror in this transfixing story about a museum of torture in Iran. This is as smart as it is uncompromising.” —Publishers Weekly

“To read Sound Museum is to watch The Zone of Interest fall into gentle banter with Tár on an elevator, bringing us so close to the mouth of evil that we can feel her breath. I left this book so unsure how to define character or cruelty, I could barely remember how to walk across the room.” —Aisha Sabatini Sloan, author of Borealis

"Reading poupeh missaghi’s courageous Sound Museum is an astonishing experience of profound significance. It is magnificent." —Rikki Ducornet, author of The Plotinus

“Immersive, propulsive, and thoroughly unsettling. To read this chilling novella is to sit across from your complicity as the weak tea of lean-in feminism and institutional DEI is spilled slowly down your shirt.” —Anna Moschovakis, author of An Earthquake is A Shaking of the Surface of the Earth

"In a furious mixtape of feminist theory and scholarship on torture, missaghi constructs a universe beyond clearly recognizable sides of good and evil. Sound Museum turns the mirror back toward its readers, who, unbeknownst to themselves, have entered the Sound Museum and may never leave again." —Yanara Friedland, author of Groundswell

"Ignoring the rules of political correctness, poupeh missaghi confronts horror and violence in a direct way, generating an uncomfortable but necessary book that stands in the middle of the unacceptable to intelligently question the forms that atrocity takes and the double standard and Western hypocrisy towards these practices." —Carlos Soto-Román, author of Alternative Set of Procedures

Past Praise:

Praise for trans(re)lating house one

Library Journal, “Best Debut Novels Fall/Winter 2019”
The Millions, “Most Anticipated 2020”

“trans(re)lating house one is an experimental hybrid work that combines a traditional novel narrative with quotes from theorists and writers, dossier-style notes on people who have been made to disappear after death, and poetry. The unnamed protagonist’s journey through Tehran—its teahouses, gardens of private homes, and streets—takes the reader along on her quest.”—Ploughshares

“Missaghi, a writer, translator, editor and teacher, uses a fragmented style, veering from journalism to magical realism, to tell a fragmented story that produces no answers, only questions: ‘Will the trauma ever stop being inherited? Will humans ever change?’” —The Millions

“A haunting political cartography, trans(re)lating house one is an evocative hybrid novel about the struggle to map the scars of our dead and disappeared.” —Azareen Van der Vliet Oloomi, PEN/Faulkner Award-winning author of Call Me Zebra

“trans(re)lating house one resonates with recent masterworks about disappearance, such as Sara Uribe’s Antígona González or Patricio Guzmán’s Nostalgia for the Light, where the search to find the disappeared becomes inseparable from how we understand the hemisphere, the nation, and even the universe itself. This is a rare and remarkable book.” —Daniel Borzutzky, National Book Award-winning author of The Performance of Becoming Human