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Emerson in Iran: The American Appropriation of Persian Poetry

I read Roger Sedarat’s Emerson in Iran: The American Appropriation of Persian Poetry with curiosity and interest. I was familiar with some of the earlier studies of Ralph Waldo Emerson’s engagement with classical Persian poetry, works such as J. D. Yohannan’s “The Influence of Persian Poetry Upon Emerson’s Work,” “Emerson’s Translations of Persian Poetry from German Sources,” as well as the chapter in his Persian Poetry in England and America, Paul Kane’s “Emerson and Hafiz: The Figure of the Religious Poet,” and the essays by Mansur Ekhtiyar, Marwan M. Obeidat, Parvin Loloi, and Farhang Jahanpour in Mehdi Aminrazavi’s critical edition, Sufism and American Literary Masters. But I was not aware of any single book-length study of Emerson’s appropriation of Persia’s poetic traditions. In that sense, I found the scale of Emerson in Iran to be one of its notable features; the