I Go So I Can Reach the Concert
I Go So I Can Reach the Concert ( Original Persian title می روم که به کنسرت برسم ) is the third novel by Shams Langeroodi, which is published by Ofogh Publication in 2025, and was welcomed by readers as the best seller in less than a month.
This novel is a monologue-driven narrative that follows a solitary narrator. As the narrator moves through the city, the external route becomes increasingly secondary to an internal one: memories, observations, and reflections surface, shaping the text into a continuous flow of thought. The story contains few outward events; instead, it traces a psychological passage through everyday life, social pressure, and private longing.
From this ]narrative framework, Shams Langeroudi constructs a postmodern story that deliberately departs from classical conventions of plot and action. Storytelling is released from linear progression and grounded instead in interiority, uncertainty, and the instability of meaning. The narrative rests on an extended interior monologue that functions simultaneously as story, reflection, and quiet resistance.
The narrator’s consciousness has been formed—and constrained—within a patriarchal social order, whose unspoken rules shape desire, movement, and self-expression. In this context, the primary action does not occur in physical space but within awareness itself. Thinking, remembering, and questioning replace event-driven development, and meaning emerges from the tension between aspiration and limitation.
The title functions as a distinctly postmodern metaphor. “Reaching the concert” is never guaranteed; movement itself becomes the destination. The concert, representing art and music, appears as an imagined site of freedom—a temporary refuge from structures of domination that regulate voice, body, and longing. Yet this escape remains incomplete, and it is precisely in this incompletion that the text locates its emotional and philosophical weight.
Throughout the story, the boundary between lived reality and mental experience remains fluid. The narrator is neither a traditional hero nor a passive victim, but a self-aware, fragile subject negotiating existence within imposed limits. Langeroudi’s restrained, lyrical prose avoids ornamentation, allowing intimacy and immediacy to emerge through simplicity.
I Go So I Can Reach the Concert resists closure and refuses fixed meanings. In keeping with postmodern narrative logic, it offers no definitive resolution, instead inviting the reader into a space of multiple interpretations, where meaning is not delivered but actively produced.