Collection at the level of interpretation.
The decade of fifty is a return to oneself. Or, to put it better, it is a decade of awakening and self-discovery, and a slow exploration of the past and roots. In this decade, as evidenced by many works, one of the sensitivities is the depiction of rural life. For the first time in works such as “Tangsir”, “Mourners of Bil”, “Cursed Land”, we see realistic symbolic stories, which in addition to being real, also have allegorical and symbolic aspects. The village is a symbolic environment that represents the whole country. In fact, in order to make relationships tangible, to trace the roots of problems, and to depict the intellectual state of people and find solutions to their struggles, we are facing a small society in the form of a village. In addition to “Tangsir”, three other prominent works by Chubak are published in this decade: “The First Day of the Grave”, “The Last Lamp”, and

1 – Superstitions.
Choubak refers to the superstitious beliefs that dominate the minds and relationships of humans in many of its stories. The collection discusses the topic of the Gorkan tribe in detail. In this story, we are faced with a poor and homeless girl who is also pregnant with an illegitimate child. Choubak is the impartial narrator of the story and the reader discovers the theme of the story through the dialogues between the villagers. Each character and their reaction to this event is a symbol of how society deals with such occurrences and their superstitious beliefs. For example, the children who are described at the beginning of the story, symbolize humans who blindly follow others without knowledge: “One of them, the boy with the carrot in his hand, blew air and asked the girl: What did this girl do? + She’s a bastard in her belly. – What’s a bastard? + Her father is unknown – Who is her father? + The father of the bastard child!

2 – Poverty.
The discourse of poverty and class conflict can perhaps be considered the dominant discourse of Sadegh Chubak’s stories. Many of his stories depict the lives of the poor class in society. Chubak has a class-conscious view of the entire society and it can even be seen that he considers Tehran as a superior class compared to other cities. In the story “Pache Khizak”, the suggestion of the Tehran boy is accepted and it is mentioned that: “The gendarme was a local and a student of a Tehran chauffeur and the gendarme would take account of him and was afraid of his heavy and rough Tehran accent.”
The story of “Aroosak Foroushi” in the collection of stories also discusses this topic. The writer presents a simple and unbiased report, as is the characteristic of Sadegh Chubak’s stories, of the class conflict in which there is no news of the inner world of people. In this story, Chub

3 – Loneliness.
Chobak (a famous Iranian writer) portrays the loneliness of humans in almost all of his works, some more and some less. Sometimes, this loneliness is directly mentioned in descriptions or dialogues, and other times we see characters seeking refuge in animals, showing a deep sense of loneliness. Here are some examples:

1-3 Direct references to loneliness:
– “The angry snow had made his body shiver and his heart was emptier than ever before. A Doll Seller
– “A haunting loneliness and alienation had engulfed him. He was utterly alone. He had no support to turn to. He didn’t know who to tell his inner pain to. His wife knew. His deputy knew… He was utterly alone.” A Bunch of Flowers
– “He searched his memory, hoping to find a close friend to confide in and share his heartache with, but he found no one.” A Bunch of Flowers
– “A painful loneliness had separated him from life

Collection at the level of explanation.
The characters in the stories of each era always have a direct connection with the attitudes of the people of that era. What Lucien Goldmann has deduced in “Sociology of the Novel” is to some extent based on this. The collection of “The First Day of the Tomb” was first published in 1344. In those days, the country was facing several issues, including a severe economic crisis and pressure from America for land reforms. The economic problems and external pressures led to the instability of the regime, and on the other hand, Savak was suppressing and destroying political parties. The number of strikes was increasing, and some, like the uprising of June 5, 1963, ended with bloody clashes between strikers and armed forces. Although the Shah was able to once again suppress the opposition and consolidate his power, the memory of the massacres of 1963 remained like a smoldering fire. (R.K. Abrahamian, 1998:

Conclusion.

Sadeq Choubak is one of the writers who has paid attention to both the form and content of his works. He has turned to the lives of people in the dark corners of society, who are usually overlooked and rarely written about, in order to describe the state of society. He has used the language of these people, which is colloquial and full of slang, to make the events and stories more tangible. Some of these colloquial language features have become his writing tricks and have become a characteristic of his style. This structural approach to the subject matter falls under the description section of Norman Fairclough’s critical discourse analysis. Sadeq Choubak also focuses on the individualistic perspective of social issues, rather than the social structures, and therefore makes many references to the characters’ psychological states, beliefs, and convictions. He tries to portray the social situation and its people in an unbiased narrative, using colloquial language and innovative techniques such as inner monologue to