Persian Poetry Tuesday: Forugh Farrokhzad’s “Grief”

Forugh Far­rokhzad was the most sig­nif­i­cant female Iran­ian poet of the twen­ti­eth cen­tury, cor­re­spond­ing most closely, in terms of Amer­i­can poetry, to Sylvia Plath and Anne Sex­ton. Her poems are polit­i­cal, fem­i­nist, sex­ual, erotic, break­ing almost every taboo that existed for women in the 1950s and 60s in her coun­try. For her com­mit­ment to her art and her vision, she earned the scorn of her soci­ety and her fam­ily. She was com­mit­ted to a men­tal insti­tu­tion and had her only bio­log­i­cal child removed from her cus­tody. Today, she is rec­og­nized for the great artist that she was, both in and out of Iran. A selec­tion of her work has been beau­ti­fully trans­lated by Sholeh Wolpe in the book Sin, pub­lished by The Uni­ver­sity of Arkansas Press. This poem, Grief, is from her book Asir (Cap­tive), which was pub­lished in 1955:

Grief

Like the disheveled locks of a woman
the Karun river spreads itself
on the naked shoul­ders of the shore.
The sun is gone, and the night’s hot breath
wafts over the water’s beat­ing heart.

Far in the dis­tance the river’s south­ern shore
is love-drunk in moonlight’s embrace.
The night with its mil­lion bril­liant blood­shot eyes
spies on beds of inno­cent lovers.

The cane field is fast asleep. A bird
shrieks from amid its dark­ness,
and the moon­beams rush to see
what fear has dri­ven it to such despair.

On the river’s skin, palm shad­ows
trem­ble at the sen­sual touch of the breeze,
and inside the silent secret deep of night,
frogs sing their loud frog songs.

In this rap­tur­ous night’s bliss
the dis­tant dream of your hands draws near,
your scent rushes in like a wave, your eyes
glim­mer on the water’s face, then go dark.

My piti­ful heart, eager and hope­ful,
fell cap­tive to the hands of your love.
You sailed away on your own river, left this land–
O snapped branch of my passion’s storm.

Persian Poetry Tuesday: Conversation in the Dark, by Nader Naderpour

Nader Nader­pour was born in 1929 in Tehran. He stud­ied lit­er­a­ture at the Sor­bonne in Paris dur­ing the 1950s and in Rome in the 1960s. He began pub­lish­ing his poems in the 1940s and is counted among the lead­ers of the Mod­ern Poetry move­ment in Iran, where he helped estab­lish the Asso­ci­a­tion of Writ­ers of Iran in 1968. Before he fled his coun­try in 1980, he worked for the Depart­ment of Arts and Cul­ture and Iran­ian National Radio and Tele­vi­sion; he also edited sev­eral lit­er­ary mag­a­zines. The Islamic Repub­lic of Iran banned pub­li­ca­tion and dis­tri­b­u­tion of all Naderpour’s works after he left the country.

In France, where he first lived after going into exile, he was elected to the Author’s Asso­ci­a­tion,  and then, in 1986, he moved to the United States, where he lived until his death in 2000. All told, Nader­pour is the author of ten vol­umes of poetry, and his work has been trans­lated into Eng­lish, French, Ger­man and Ital­ian. In 1993, he was awarded a Hellman/Hammett Grant by Human Rights Watch and he is said to have been a can­di­date for the Nobel Prize in Literature.

This gor­geous love poem, which Nader­pour ded­i­cated to his wife Jaleh, was trans­lated by Nilo­u­far Talebi and is included in her vol­ume Belong­ing: New Poetry by Ira­ni­ans Around the World, which is also my source for the brief biog­ra­phy of Nader­pour above.

Con­ver­sa­tion in the Dark

To my dear Jaleh

Mid nights, when I’m ill and awake
And no light is vis­i­ble even from a pin­hole
And the soft song of your deep­est breaths
Accom­pa­nies the tre­ble and bass of my heart
To the con­stant tick­ing of the clock,
Then I see that even if my thoughts are alone,
My heart, in the hol­low of my chest is not.

Softly, I bend my head over your bed­side
And lightly kiss your lashes, joined in sleep.
You feel the weight of this kiss on your eye and smile.
I kiss you cheek warm
And although the clamor of your laugh­ter echoes in my ear,
In the dark waves of night,
Your laugh­ing face does not manifest.

Qui­etly, I strike a match
To illu­mi­nate your face,
But soon, the red sul­fu­ric spark,
Ris­ing and falling upon my two black­ened fin­gers,
Dies in the twist and turn of its dance
And again, dense dark­ness
Set­tles in our lit­tle bed­cham­ber.
I tell myself: Aside from that brief instant–
The moment I glimpsed your dear face
–My eye does not have for­tune enough to see.

Like a child fear­ing dark­ness,
I pave a path to your embrace
And pet­ri­fied of some­thing I can’t name,
I steal this whis­per in your ear:
Kinder than all the world’s kind­liest crea­tures!
Oh friend, sweet­heart, mother, com­pan­ion on this voy­age!
Scream away so even stone-hearted death
Does not undo us in the promised moment!
For we both know that in a riotous
World of swarm­ing crowds,
And of all that avails on the end­less hori­zon,
If we have a des­tiny, it is our loneliness.

And this house, smaller than a boat, sails us–
The dis­tressed – into the sea of exile.
But on the alarm­ing hori­zon of the sea,
Night pre­vails
And reveals no path in dark­ness
To tomorrow.

Husband Murder on the Rise in Iran

Saba Vasefi is an Iran­ian women’s and children’s rights activist who is now liv­ing in Aus­tralia. Her doc­u­men­tary, Do Not Bury My Heart–for which I have not been able to find much infor­ma­tion on the web – about the exe­cu­tion of minors in Iran was screened recently in the under­ground doc­u­men­tary sec­tion of the Copen­hagen Inter­na­tional Doc­u­men­tary Fes­ti­val. She’s writ­ten an arti­cle, which I found on the Tehran Bureau web­site and which was orig­i­nally pub­lished in Mianeh, about the increase in Iran of the num­ber of women accused of mur­der­ing their hus­bands. “This is,” she writes, “a sig­nif­i­cant shift in Iran­ian soci­ety, where mur­ders involv­ing spouses have in the past almost always involved men killing women, often in what is known as an ‘hon­our crime.’” More­over, these mur­ders are usu­ally, nom­i­nally, legal since “Arti­cle 630 of Iran’s Islam-based crim­i­nal code makes it legal for a man to kill both his wife and her part­ner if he finds them in the act, and it is con­sen­sual.” This bur­den of proof, she goes on to say, “is rarely met,” with most honor killings being more about “jeal­ousy, sus­pi­cion or merely a way of end­ing a marriage.”

One of the things I found most inter­est­ing about Vasefi’s arti­cle is the dif­fer­ence between what her research reveals about women who’ve been accused of mur­der­ing their hus­bands and what the avail­able research says.

In the case of wives who kill their hus­bands, the avail­able research indi­cates that two-thirds of cases are moti­vated by a desire for revenge for the hus­band being unfaithful.

The sur­vey that Moaz­zami and Ashouri con­ducted across 15 provinces of Iran showed that in 58 per­cent of cases, the women had been unable to get a divorce because their hus­bands or fam­i­lies would not agree to it, or had chil­dren and would have had no means of sup­port­ing them­selves if they had sep­a­rated from their spouses.

My own research indi­cates that many women who resort to vio­lence are them­selves vic­tims of abuse, and have been unable to find jus­tice through the legal system.

She points out that many of the women who mur­der their hus­bands fit the same pro­file: they are poor, rel­a­tively une­d­u­cated, often forced into mar­riage at an early age to men who are much older than they are, cir­cum­stances which com­bine to make much more dif­fi­cult for them to get help through the legal sys­tem or to find other ways out of their sit­u­a­tion. Mur­der is, for them, “a last act of desperation.”

Akram Mah­davi, one of the women Vasefi inter­viewed, is in Rajayi Shahr prison under a sus­pended death sen­tence for hir­ing a man to kill her hus­band, whom her father had forced her to marry – she was 20 and her hus­band was 75. Her motive? That she’d dis­cov­ered her hus­band was sex­u­ally abus­ing her daugh­ter and her attempts at secur­ing a divorce had failed. Yet it’s not that there aren’t peo­ple in Iran try­ing to call atten­tion to the plight of such women. Women’s rights activists have been call­ing on the gov­ern­ment to set up shel­ters for bat­tered women for years, but the gov­ern­ment has always refused, “cit­ing Islamic laws that state it is wrong for a woman to leave home with­out her husband’s per­mis­sion.” I con­fess that rea­son­ing leaves me almost speech­less, as it still does all these many years later when I remem­ber the cop who asked me, when I was six­teen and call­ing for help because my mother’s boyfriend had forced her into her bed­room and locked the door behind them because she’d finally asked him to leave and he didn’t want to,“Are you sure your mother’s in their against her will, son?”

I don’t want to erase the dif­fer­ences between what hap­pened to my mother and what hap­pened to Akram Mah­davi, nor do I want to triv­i­al­ize the sig­nif­i­cance of the fact that, in Iran, the rea­son­ing that makes it so dif­fi­cult for bat­tered women, or women like Mah­davi, who was try­ing to pro­tect her daugh­ter from abuse, to find jus­tice is couched in an abso­lutist reli­gious rhetoric – though it’s not as if reli­gion has not been used here in the States to jus­tify treat­ing women, not to men­tion peo­ple of color, as sec­ond class cit­i­zens – but I find right now the sim­i­lar­i­ties more com­pelling than the dif­fer­ences. In each case, the woman’s auton­omy is under­stood to be cir­cum­scribed by the author­ity of the man who pos­sesses her sex­u­ally. In Islam, the hus­band must give her per­mis­sion to leave the sphere of his author­ity (and, there­fore, of his pro­tec­tion) with­out him1; in the case of the cop on the phone, his assump­tion was that I might have mis­taken some kind of sex­ual play, in which my mother was enjoy­ing the force her boyfriend was using to keep her in the room, for a sit­u­a­tion in which the boyfriend was unwill­ing to let my mother go out­side the sphere of his author­ity and in which he might turn – was already turn­ing – vio­lent because she did not obey him. That the author­ity is legal in the case of Islam and, for want of a bet­ter word, cul­tural in the case of my mother and her boyfriend, does not change the fact that the nature of the author­ity, a man’s right to rule his women, is the same.

  1. One of the odd­est expe­ri­ences I’ve had being mar­ried to a Mus­lim woman who occa­sion­ally trav­els to Iran has been the require­ment, imposed by the Iran­ian gov­ern­ment, that I write her a let­ter giv­ing her my offi­cial per­mis­sion to travel with­out me. []

Reza Aslan, Editor of “Tablet and Pen,” on The Colbert Report

Tablet and Pen: Lit­er­ary Land­scapes from the Mod­ern Mid­dle East, pub­lished by Nor­ton, is a new anthol­ogy of (obvi­ously) Mid­dle East­ern lit­er­a­ture. Here, the anthology’s edi­tor, Reza Aslan, is inter­viewed on The Col­bert Report. My favorite line is when Aslan says: “In all the secret Mus­lim gath­er­ings that we have where we dis­cuss how to bring down democ­racy, we’ve decided that it’s going to be through art.”

The Col­bert Report Mon — Thurs 11:30pm / 10:30c
Reza Aslan
www​.col​bert​na​tion​.com
Col­bert Report Full Episodes 2010 Elec­tion March to Keep Fear Alive

Persian Poetry Tuesday: A Quatrain by Rumi

If you don’t catch the scent, don’t walk down this lane.
If you won’t undress, don’t enter this river.
This is the source of all direc­tions.
Stay on your side, don’t come over here.

–Trans­lated by Iraj Anvar and Anne Twitty in Say Noth­ing: Poems of Jalal al-Din Rumi in Per­sian and Eng­lish.

Persian Arts Festival Shab-e She’r (Persian Poetry Night) at The Bowery Poetry Club

Per­sian Arts Fes­ti­val (PAF) revived Shab-e She’r, A Night of (Per­sian) Poetry, at the Bow­ery Poetry Club (BPC) but with a mod­ern spin. Our pro­gram expands what tends to be a very clas­si­cal Per­sian tra­di­tion to fea­ture mod­ern works of lit­er­a­ture, rang­ing from fic­tional nov­els to mem­oirs. PAF and BPC con­tinue to host read­ings of well-established and emerg­ing authors who are of Per­sian descent or spe­cial­ize in Per­sian lit­er­a­ture. Read­ers have included Nahid Rach­lin, Mani­jeh Nasrabadi and Joe Mar­tin to name a few. Please join us this month.

Wednes­day, Nov 10, 7 pm – 9:30 pm

Bow­ery Poetry Club / 308 Bow­ery / NYC 10012 / Sub­way to 2nd Avenue F train

SholehWolpeSholeh Wolpé is the author of Rooftops of Tehran, The Scar Saloon, and Sin: Selected Poems of Forugh Far­rokhzad for which she was awarded the Lois Roth Trans­la­tion Prize in 2010. Sholeh is a regional edi­tor of Tablet & Pen: Lit­er­ary Land­scapes from the Mod­ern Mid­dle East edited by Reza Aslan (Nor­ton), the poetry edi­tor of the Lev­an­tine Review (an online jour­nal about the Mid­dle East,) and the guest edi­tor of 2010 Iran issue of the Atlanta Review which imme­di­ately became the journal’s best­selling issue. Her poems, trans­la­tions, essays and reviews have appeared in scores of lit­er­ary jour­nals, peri­od­i­cals and antholo­gies world­wide, and have been trans­lated into sev­eral lan­guages. Born in Iran, Sholeh presently lives in Los Angeles.

Layout 1Zohra Saed was born in Jalal­abad came to Brook­lyn as a child by way of Riyadh. She received her MFA in Poetry at Brook­lyn Col­lege. She is a doc­toral can­di­date in Eng­lish Lit­er­a­ture at The City Uni­ver­sity of New York Grad­u­ate Cen­ter. Her work has appeared most recently in Shat­ter­ing Stereo­types; Cheers to Muses; and Speak­ing for Myself: Asian Women’s Writ­ings. She has per­formed as part of the cast of the leg­endary the­ater direc­tor Ping Chong’s Unde­sir­able Ele­ments in 2000 and in 2007, where the ensem­ble caste per­formed at the first National Asian Amer­i­can The­ater Fes­ti­val. She is co-founder of the Asso­ci­a­tion of Afghan Amer­i­can Writ­ers (AAAW).

Sahar Muradi was born in Kabul, Afghanistan. She and her fam­ily emi­grated to the United States when she was three years old. She grew up in New York and Florida. Sahar received her B.A. in Lit­er­a­ture and Cre­ative Writ­ing from Hamp­shire Col­lege, and her M.P.A. in Inter­na­tional Devel­op­ment from New York Uni­ver­sity. Sahar has writ­ten exten­sively about her fam­ily expe­ri­ences, as well as reported on cur­rent events in Afghanistan. Her writ­ing has been fea­tured in lit­er­ary mag­a­zines, news­pa­pers, as well as read on pub­lic radio. In 2003, Sahar returned to her native Kabul to work for two years. She helped coör­di­nate a donor con­fer­ence with the For­eign Min­istry, as well as man­aged a small grant pro­gram for civil soci­ety devel­op­ment. She is co-founder of the Asso­ci­a­tion of Afghan Amer­i­can Writ­ers (AAWW) and an Orga­niz­ing Fel­low for the Open City Project, a community-based writ­ing project through the Asian Amer­i­can Writ­ers’ Work­shop.

Went to See Maz Jobrani Last Night

I took my wife and my son for their birth­days, which are a day apart later this month, to see the Iranian-American comic Maz Jobrani last night at Town Hall. He is very tal­ented and very funny. One of the things he does to great effect is bring the audi­ence into dia­logue with him as part of his show, and so – since part of this agenda is quite explic­itly polit­i­cal, i.e., to use com­edy as a way of call­ing out and break­ing down stereo­types and other kinds of bar­ri­ers between dif­fer­ent kinds of peo­ple – he asks mem­bers of dif­fer­ent groups to iden­tify them­selves in the audi­ence: Ira­ni­ans (obvi­ously), white peo­ple, Arabs (mak­ing sure to spec­ify which coun­try they come from, to make the point, you know, that the Arab Mid­dle East is not all one coun­try), Jews, Lati­nos, etc. Per­haps my favorite joke of the evening resulted from this – not that it was the fun­ni­est, but it was my favorite.

He was talk­ing to some Pales­tin­ian women sit­ting in the front and then – I don’t remem­ber exactly who said what – iden­ti­fied some Jew­ish peo­ple sit­ting in the same row, more or less, but across the aisle. He asked them to wave at each other, which they did, and made the pre­dictable joke about the peace process start­ing right there as part of the Maz Jobrani show. There fol­lowed some other pat­ter and then he said, address­ing him­self to some­one else in the audi­ence, say­ing some­thing like, “See, now, we need to start with a wave. Can’t go too far too soon; there’s just too much dis­trust.” Then he turned to the Pales­tini­ans and said, “Please, now, don’t go throw­ing any­thing at them; I don’t know what you brought with you, but don’t throw it. Not tonight.” And then he turned to the Jews and said, “And don’t you go tak­ing her seat; it’s her seat. Okay?”

The audi­ence exploded with laugh­ter. It was not his fun­ni­est joke of the evening, but it was in some ways his most point­edly polit­i­cal, and he car­ried it off so lightly, so well, I was clap­ping as much in admi­ra­tion as I was in laugh­ter. It made me won­der what he would have done with us had we been sit­ting close enough: a Jew­ish Amer­i­can man, a Mus­lim Iran­ian woman and our son. It also reminded me, for some rea­son, of one of my favorite poems by the 12th cen­tury Iran­ian poet Saadi. Here it is in my tranlsation:

Every­one thinks his own think­ing is per­fect and that his child is the most beautiful.

I watched a Mus­lim and a Jew debate
and shook with laugh­ter at their child­ish­ness.
The Mus­lim swore, “If what I’ve done is wrong,
may God cause me to die a Jew.” The Jew
swore as well, “If what I’ve said is false,
I swear by the holy Torah that I will die
a Mus­lim, like you.” If tomor­row the earth
fell sud­denly void of all wis­dom
no one would admit that it was gone.

Call for Papers: Investigating the Scope of Persian/Iranian Literatures

42nd Annual Con­ven­tion, North­east Mod­ern Lan­guage Asso­ci­a­tion (NeMLA)

April 7 – 10, 2011

New Brunswick, NJ – Hyatt New Brunswick
Host Insti­tu­tion:  Rut­gers Uni­ver­sity
Keynote Speaker:  Junot Diaz

This panel wel­comes papers on any aspect of Persian/Iranian lit­er­a­ture, of any time period, defined to include not only work writ­ten in Iran and works in trans­la­tion, but also work writ­ten in Per­sian by Iran­ian writ­ers in exile, in Eng­lish by Iran­ian Amer­i­can writ­ers, in French (Mar­jane Satrapi) and/or in any other lan­guage in which peo­ple of Iran­ian descent choose to write. Please sub­mit 250 – 300 word pro­pos­als to Richard Jef­frey New­man at richard.​newman@​ncc.​edu

Dead­line:  Sep­tem­ber 30, 2010

Please include with your abstract:
Name and Affil­i­a­tion
Email address
Postal address
Tele­phone num­ber
A/V require­ments (if any; $10 han­dling fee with registration)

The 42nd Annual Con­ven­tion will fea­ture approx­i­mately 360 ses­sions, as well as pre-conference work­shops, dynamic speak­ers and cul­tural events.  Details and the com­plete Call for Papers for the 2011 Con­ven­tion will be posted in June: www​.nemla​.org.

Inter­ested par­tic­i­pants may sub­mit abstracts to more than one NeMLA ses­sion; how­ever pan­elists can only present one paper (panel or sem­i­nar).  Con­ven­tion par­tic­i­pants may present a paper at a panel and also present at a cre­ative ses­sion or par­tic­i­pate in a round­table.  Do not accept a slot if you may can­cel to present on another ses­sion

If Iranian Lesbian Kiana Firouz is deported from the U.K., she faces certain death in Iran.

From the Every­One website:

Kiana Firouz, 27 years old, actress and les­bian activist from Teheran, Iran, has long been engaged in the bat­tle against the dis­crim­i­na­tion and per­se­cu­tion of homo­sex­u­als by the Ahmadine­jad régime. After pho­tograms of her video doc­u­men­tary on the con­di­tion of les­bians and gays fell into the hands of the Iran­ian intel­li­gence, agents began to fol­low and intim­i­date her. Con­cerned about her safety, Kiana left Teheran and sought refuge in the U.K., where she could con­tinue her work and studies.

She filed for asy­lum but her appli­ca­tion was rejected by the Home Office even though the Min­istry rec­og­nized her being per­se­cuted for her sex­ual ori­en­ta­tion and despite the fact that the Min­istry is well aware that under Islamic law homo­sex­u­al­ity is con­sid­ered a heinous crime pun­ish­able by hang­ing and that gays and les­bians are ene­mies of Allah. In Iran, pun­ish­ment for an adult con­sent­ing les­bian of healthy mind and is 100 whip­pings. If the act is repeated three times and pun­ished each time, the death sen­tence is applied the fourth time (Art. 127, 129, 130).

Hat tip: thef­bomb

If you have a mind to, please sign the peti­tion.