Latest Crime Stories in the Frame of Islamic Geometry; Lineup of Mystery Fiction Books at the 36th Tehran Book Fair

At the 36th Tehran International Book Fair, prominent crime genre works inspired by the recurring geometric motifs of Iranian-Islamic art have become available to enthusiasts for the first time. In this report, we highlight the latest releases from publishers Noon, Nimaj, and Amut, as reviewed by the artistic news agency *Boraq Hamim*.

According to Boraq Hamim—in the corridors of ancient mosques, the replicated repetition of arched niches and arabesque patterns once invited audiences to decode their mysteries. Now, at **Noon**’s booth in the 36th Tehran Book Fair, rows of enigmatic crime novels come alive with the same puzzle-like essence of Iranian-Islamic motifs.

Noon’s new releases this year include three titles:
– *A Perfect Couple* (Ruth Ware; translated by Hadi Salarzehi): The tangled relationships of two couples at a remote island resort, much like the cross-hatched lines of arabesque art, ensnare readers in an aura of darkness.
– The Accident (Freida McFadden; translated by Nash’at Rahmani-Nejad): Snowy scenes and the traps of life amid a storm starkly contrast light and shadow at the heart of the narrative.
– *Ugly Beauty* (Alice Feeney; translated by Rafi’ Rafi’i Safa’i): Set in the silence following a scream, this work prompts readers to contemplate the interplay of hidden and revealed truths.

Nimaj elevates the fair’s mysterious atmosphere to new heights of complexity and surprise with:
– *The Red Queen* (Juan Gómez-Jurado; translated by Alireza Shafiei-Nasab),
– *Holly* (Stephen King; translated by Saghare Sabzevari), and
– *The Spies* (Luís Fernando Verissimo; translated by Mohammad Reza Amiri).
The geometric patterns of Iranian palaces are mirrored in the sharp intellect of the detectives in these works.

At **Amut**’s booth, the following titles immerse readers in ambiguity and the brilliance of hidden schemes through plays of light, shadow, and disaster-cloaked atmospheres:
– *The Special Audience* (Freida McFadden; translated by Reza Eskandari Azar),
– *I Will Find You* (Harlan Coben; translated by Mohaddeseh Ahmadi),
– *The Night Shift* (Alex Finlay; translated by Maryam Rafiei), and
– *The Only Survivor* (Riley Sager; translated by Sareh Khosravi).

The symbolic arabesque networks in these works, akin to the orderly lines of Iranian mosque architecture, invite audiences to seek truth beyond the story’s layers. Each pattern and shadow serves as a clue to unraveling the ultimate mystery.