"Kianpars Building" is a book by Zahra Heidari that was published last year by Khate Moqadam publication.This book includes interviews with the wives of the commanders who were involved in the war and lived in the Kianpars building at various times.* Where did the original inspiration for this book's creation come from?After the publication of books concentrating on women in the field of sacred defense in the 2000s, greater attention was devoted to women's stories in this field.

A large number of interviews were held with female warriors and locals of war towns, rescue workers, doctors, nurses, service forces behind the front lines, and the wives and mothers of martyrs.

Some of these interviews eventually became books, and others were preserved in the archive.Several Kermani women who resided in an apartment building in Ahvaz for the final three years of the war were the subject of an unfinished interview in 2009.

They moved there voluntarily and resided in an apartment that the Army had provided for the families of its commanders.

The audio of the interviews was given to me by the publisher.

The interviews were about women's sufferings, the tragedy of the war, and all the harsh and amusing aspects of their lives in that building.

I thus got to work on them.* Why do we frequently encounter the censorship of emotions and feelings as well as the depiction of married life in martyrs' memoirs that are narrated by their wives?It is not a thing that is exclusively for this genre.

Rarely in our literature do we find a work where the author totally recounts his inner feelings.

The narrator shares this viewpoint and is less honest when describing his inner state and personal emotions since he believes that doing so equals breaking taboos, especially when he is aware that the words he uses will be read by the general public.* The stories resembled one another a lot.

Wouldn't it be better if all of these memories were put together into a novel with exciting incidents and events?My focus in the "Kianpars Building" was on the anthropology of war and women's stories—the daily life of a woman who was put into a difficult circumstance.

Also, because documentation and realism should not be mistaken with fiction, I was severely constrained in this work in terms of form creativity.

To prevent changes in the documentation, creativity in this field should be made in the types of questions and interviews.