A NEW YORK TIMES BESTSELLER Set in the aftermath of Iran's fraudulent elections of 2009, Zahra's Paradise is the fictional graphic novel of the search for Mehdi, a young protestor who has vanished into an extrajudicial twilight zone. What's keeping his memory from being obliterated is not the law. It is the grit and guts of his mother, who refuses to surrender her son to fate, and the tenacity of his brother, a blogger, who fuses tradition and technology to explore and explode the void in which Mehdi has vanished.
Zahra's Paradise weaves together fiction and real people and events. As the world witnessed the aftermath of Iran's fraudulent elections, through YouTube videos, on Twitter, and in blogs, this story came into being. The global response to this gripping tale has been passionate—an echo of the global outcry during the political upheaval of the summer of 2009.
Zahra's Paradise is a first on the internet, a first for graphic novels, and a first in the history of political dissidence. Zahra's Paradise is being serialized online.
Zahra's Paradise is a Publishers Weekly Best Comics title for 2011.

Amir's profile page

Khalil's profile page

• Long-listed, YALSA Great Graphic Novels for Teens
• Long-listed, YALSA Great Graphic Novel for Teens
• Graphic Novel Reporter Great GN of Fall 2011
• Winner, Graphic Novel Reporter Best GN of the Year
• Graphic Novel Reporter Great GN of Fall 2011
• Long-listed, Publishers Weekly Best Books of the Year
• Publishers Weekly Best Children's Books of the Year

Amir is an Iranian-American human rights activist, journalist and documentary filmmaker. He has lived and worked in the United States, Canada, Europe, and Afghanistan. His essays and articles have appeared far and wide in the press. Khalil's work as a fine artist has been much praised. He has been cartooning since he was very young. Zahra's Paradise is his first graphic novel. Both Amir and Khalil have chosen to remain anonymous for political reasons.

"Powerful...Through acerbic dialogue and black-and-white comic-book style drawings—sometimes dramatic, sometimes tongue-in-cheek—the authors set out to expose the repressive workings of the state and the ruin it visits on individual lives." —The New York Review of Books