Naqd, Taḥlīl va Barrisī-yi Chand Rumān-i Mu'tabar-i Jahān (Jild-i Sivvum): Persian 1392

Years later, when literary historians open the file of Iranian fiction in the 1980s, they will report the emergence of a middle-aged novelist and critic in this decade who wrote under a pseudonym for many years, but from 2002 onwards decided to publish his writings under his real name, Fathollah Biniyaz. Future literary historians will portray Sima Biniyaz as a prolific writer and meticulous critic who has had a continuous presence in the field of Iranian fiction for more than a decade and has tried to breathe new life into it with his novels and reviews. Whatever judgment they may have about Biniyaz’s literary and critical work, they will not doubt one point, and that point is the unparalleled position of the five-volume collection “Criticism, Analysis and Interpretation of Several Authentic Stories from the World”; a collection published in the early 1990s by Afraz Publishing and consisting of Biniyaz’s writings on short stories and novels created in different languages ​​by writers from all over the world. Undoubtedly, in Persian, there is rarely a collection written by an Iranian writer that deals with the world's fiction literature in such a broad manner. What is astonishing about Binyaz's writings is the large volume of his readings. Another point that attracts the attention of every reader in this collection is Binyaz's openness to novels and short stories by writers of different nationalities and languages, meaning that he sets aside the prevailing assumptions when facing literary works, does not deal only with works that are usually considered masterpieces, and looks at each literary text as a passage in which a human experience is stored, even though he, as a critic, clearly knows that different texts do not have the same literary value, and accordingly, as the title of this collection suggests, he has focused his attention on "authentic" stories. The first four volumes of this collection are dedicated to the criticism, analysis, and interpretation of novels, and the fifth volume is dedicated to short stories. Together, we read part of the memorable introduction to this collection by Benjid: "Undoubtedly, most readers of this book have read or heard that a large number of writers astonishingly read books; from fiction to history, philosophy, and sociology. What do the limits of Kafka's studies and his knowledge of social views and theories, Nabokov's vast knowledge, the depth of David Herbert Lawrence's literary and social studies, the strange borders of knowledge and information of Llosa and Fuentes, the contemplation of Natalia Ginzburg and Susan Sontag in various social fields mean to us? One does not know whether to rely on the knowledge of Toni Morrison, the experience and mental accumulation of Saramago, or the mountain of thought of Umberto Eco. This point leads us to the conclusion that unless a person is immersed in books, his creativity will not manifest itself."