My main focus in this book was on the unresolved problem of why Parvīn's poetic talent and her lasting popularity remained a mysterious miracle in the patriarchal Muslim-Iranian culture. I also investigated how Parvīn, who was patronised and ostracised due to patriarchal gender norms, gained immense popularity with the patriarchal ruling system of Iran and was predominantly used in school curricula. I hypothesised that the unresolved mystery of Parvīn's authorship and her popularity with the education system of the Islamic Republic of Iran are due to the fact that a pivotal element in her poetry and literary identity as a female poet has remained unexplored. This pivotal element is Parvīn's transgression of gender limits defined by the patriarchal Iranian-Muslim gender construct of femininity. I surveyed this construct and identified the feminine performative acts according to which the Iranian-Muslim culture defined femininity. Then I used these performative acts in my contextualisation of Parvīn's poetry and her literary identity and achieved the following outcomes.

A main outcome of this book is that Parvīn's composition of fine Persian poetry in the classical style, publishing it, and gaining immense popularity were perceived as indigestible because the Iranian-Muslim gender construct defined femininity in terms of performative acts of silence, seclusion, and procreation. Fundamental socio-political transformations that started after the Constitutional Revolution of 1905-1911 heralded progress and developments in the miserable situation of women in the Iranian-Muslim culture. Although these transformations remoulded women into companionate wives and mothers as educators of children to push Persia toward progress, the deeply ingrained patriarchal gender construct barred women from performing the masculine acts of writing and publishing. I also demonstrated that by exploiting the classical style of poetry, Parvīn transgressed other gender boundaries. Since mystic-didactic themes are central to Persian classical poetry, Parvīn's prowess in using the mystical and didactic repertoire of Persian poetry was another act of transgression. As a woman, Parvīn's spiritual and religious predilections were not recognisable for male literary scholars and critics.

Through the close reading of ‘God's Weaver’, which is one of Parvīn's famous debate poems, I analysed other transgressive aspects of her authorship as a woman. Apart from entering the masculine realm of classical Persian poetry, Parvīn's revival of Persian debate poetry (munāẓara) is a transgressive act because she used a genre developed and exploited by prominent male poets.