“The Wolf”, penned by the modernist Persian writer and critic Hūshang Golshiri (1938–2000), first appeared in his collection My Little Prayer Room (1975). The English translation debuted in Stories from Iran: A Chicago Anthology (1992). The story is the tale of a young woman and her husband, a medical doctor who is assigned to manage a village clinic situated in a remote rural locale adjacent to a cemetery. The enigmatic narrative revolves around the gradual obsession of the doctor’s wife, Akhtar, with a solitary wolf and its recurring nocturnal visitations at their place, which is depicted in the focal image of a woman gazing out of the window at a solitary wolf staring at her in the moonlight. The weird lone wolf, the woman’s obsession, the doctor’s vain struggles to kill the wolf, and her subsequent inexplicable disappearance collectively blur the lines between reality and perception, leaving the reader in a state of unresolved tension—mirroring the characters’ own experiences within the tale. In essence, the story is a nonconventional and modern Gothic tale, which can be best understood through the lens of Golshiri’s adept employment of modernist techniques and the pervasive presence of grotesque elements. As a pioneer of modernist fiction in his homeland, Golshiri crafts an open-ended story through an unreliable narrator. Beyond his depiction of modernist techniques of narration, the story powerfully incorporates elements of grotesque fiction. The present study aims to discuss “The Wolf” as a tale of modern f Gothic, taking into consideration the modernist narrative style and the manifestation of grotesque elements within the narrative framework.