{"id":11427,"date":"2022-11-15T11:22:24","date_gmt":"2022-11-15T09:22:24","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=11427"},"modified":"2022-12-25T11:21:37","modified_gmt":"2022-12-25T09:21:37","slug":"5-poems-a-video-essential-voices-poetry-of-iran-and-its-diaspora","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/5-poems-a-video-essential-voices-poetry-of-iran-and-its-diaspora\/","title":{"rendered":"5 Poems &#038; a Video\u2014<em>Essential Voices: Poetry of Iran and Its Diaspora<\/em>"},"content":{"rendered":"<figure id=\"attachment_11463\" aria-describedby=\"caption-attachment-11463\" style=\"width: 1100px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/rassouli.com\/Transmission.html\"><img decoding=\"async\" class=\"size-full wp-image-11463\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021.jpg\" alt=\"\" width=\"1100\" height=\"1100\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021.jpg 1100w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-450x450.jpg 450w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-100x100.jpg 100w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-600x600.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-300x300.jpg 300w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-1024x1024.jpg 1024w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-150x150.jpg 150w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Freydoun-Rassouli_Secret_Transmission-oil-on-canvas-32-x-32-inch-2021-768x768.jpg 768w\" sizes=\"(max-width: 1100px) 100vw, 1100px\" \/><\/a><figcaption id=\"caption-attachment-11463\" class=\"wp-caption-text\">Freydoun Rassouli, &#8220;Secret Transmission,&#8221; oil on canvas, 32&#215;32&#8243;, 2021 (courtesy <a href=\"https:\/\/rassouli.com\/Transmission.html\" target=\"_blank\" rel=\"noopener\">Freydoun Rassouli<\/a>).<\/figcaption><\/figure>\n<h4>\u00a0<\/h4>\n<h4><em>Essential Voices \u2013 Poetry of Iran and Its Diaspora: <\/em>poems from Reza Baraheni, Persis Karim, Garous Abdolmalekian, Fereshteh Sari and Sohrab Sepehri, selected by Sholeh Wolp\u00e9.<\/h4>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" title=\"Editor of &amp;quot;Essential Voices of Iran and Its Diaspora,&amp;quot; Christopher Nelson for Poetry Markaz.\" src=\"https:\/\/player.vimeo.com\/video\/770657009?h=ab8f835891&amp;dnt=1&amp;app_id=122963\" width=\"750\" height=\"422\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Introduction by Kaveh Bassiri<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>The 20th century had a transformative effect on Iranian poetry. The media for the dissemination of poems expanded and evolved from newspapers and journals to the Internet and social media. Iranian authors and readers found themselves in conversation with Western and socialist thought and literature. The population of literate readers grew exponentially, as did the number of poets and poetry books. On the other hand, poetry was no longer the primary medium of art in Iran as it had been for centuries. Prose and film are now dominant popular arts. Censorship, which was a new paradigm for authors in the Pahlavi era, became even more institutionalized and extensive under the Islamic Republic.<\/p>\n<figure id=\"attachment_11433\" aria-describedby=\"caption-attachment-11433\" style=\"width: 550px\" class=\"wp-caption alignright\"><a href=\"https:\/\/www.greenlindenpress.com\/books\/poetry-of-iran-and-its-diaspora\"><img decoding=\"async\" class=\"wp-image-11433\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-670x1024.jpg\" alt=\"\" width=\"550\" height=\"841\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-670x1024.jpg 670w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-600x917.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-196x300.jpg 196w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-768x1174.jpg 768w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover-1005x1536.jpg 1005w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2022\/11\/Esssential-Voices-Poetry-of-Iran-and-Diaspora-cover.jpg 1015w\" sizes=\"(max-width: 550px) 100vw, 550px\" \/><\/a><figcaption id=\"caption-attachment-11433\" class=\"wp-caption-text\"><em>Essential Voices<\/em> is published by <a href=\"https:\/\/www.greenlindenpress.com\/books\/poetry-of-iran-and-its-diaspora\" target=\"_blank\" rel=\"noopener\">Green Linden Press<\/a>.<\/figcaption><\/figure>\n<p>Throughout the century, questions of the poets\u2019 political role in society and the form of poetry for the modern age continue to be subjects of debate. Many poets engaged in political or social causes, though not necessarily with the same level of persuasion and conviction. Most tried to balance their artistic concerns and sociopolitical exigency. Early in the 1900s, many poets left the court and royal patronage behind, becoming part of the public discourse. The repressive times that followed made them resort to a symbolic language in order to quote their various political or social messages. In the years before Iran\u2019s 1979 revolution, committed poetry turned into a more radical guerrilla poetry. It marginalized other voices, accusing the non-committed of state-serving, self-indulgence, and blindness, to the society around them. Then the Islamic Republic took over the discourse of committed poetry, making a political and experimental poetry a kind of resistance. The long war with Iraq resulted in new games of war literature, sacred defense and anti-war poetry. Of course, all long, there were always poets who saw poetry as something personal and universal, not in the service of political causes.<\/p>\n<p>Writers also transformed what Iranian poetry looked and sounded like. They continue to debate whether modernity is evolutionary, advancing existing forms, or revolutionary, requiring something radically new. Those who wanted to use classical prosody saw it as a way of maintaining one&#8217;s heritage, while others wanted to be free of prosodic rules and envisioned a poetry that would better reflect the changing modern world. A new poetry began with Nima and a number of early modernists. By the 1960s free-verse and experimental poetry had become an accepted part of the Iranian poetry world. Classical forms like the ghazal went through many transformations from the modern ghazals of Behbahani to the postmodern ghazals of the recent decades.<\/p>\n<p>The past decade of Iran&#8217;s history has been an acceleration of sociopolitical force on the cultural production of poetry, including the Rouhani presidency (2013 \u2013 2021), negotiations with European powers on a nuclear deal and the hope for better economic conditions, the 2018 reinstatement of sanctions by U.S. President Donald Trump, nationwide protests in 2019, the ravages of Covid-19 pandemic, and most recently a highly curated election with a new president, Ebrahim Raisi. The general poetry scene, however, remains rather similar to the previous decade. Many poets continue to publish. With access to social media, the exchange between poets in Iran and outside has increased. New poets, having learned from earlier generations, are extending the poetic discourse while writing new works that address their time. No doubt, there will be more poetry and innovations that require further study.<\/p>\n<h4>\u00a0<\/h4>\n<h4>Reza Baraheni<\/h4>\n<p style=\"padding-left: 80px;\"><strong>\u00a0<br \/>\nMetamorphoses<\/strong><\/p>\n<p style=\"padding-left: 80px;\">it takes only three hours to change a man<\/p>\n<p style=\"padding-left: 80px;\">the delicate bloom of a student<br \/>\nwhose eyes shone with joy<br \/>\nbecomes a club<br \/>\nstarved prostrate cur<\/p>\n<p style=\"padding-left: 80px;\">Azudi\u2019s these red eye laughs Azud&#8217;s red eye<br \/>\nHis teeth are so yellow<br \/>\nas if he had drunk a whole bowl of shit<\/p>\n<p style=\"padding-left: 80px;\">the student&#8217;s hands tremble\u00a0\u00a0\u00a0\u00a0 I had<br \/>\ntold him, you will come back<br \/>\nprostrate, you will come back prostrate<br \/>\nI&#8217;ve done nothing, he had said, they won&#8217;t torture me<\/p>\n<p style=\"padding-left: 80px;\">on his knees, on his toes, on his<br \/>\nelbows, he comes, prostrate\u00a0\u00a0\u00a0\u00a0 It takes him<br \/>\nhalf an hour from the ward door to the cell<\/p>\n<p style=\"padding-left: 80px;\">I told him so I told him<br \/>\nthe guard says, whoever eats melon<br \/>\nshould know about its slippery skin<\/p>\n<p style=\"padding-left: 80px;\">when the door has opened and shut, the prisoner<br \/>\nwhispers, I haven&#8217;t confessed yet, I<br \/>\nhaven&#8217;t confessed<br \/>\nAzudi\u2019s red eye laughs Azudi\u2019s red eye<br \/>\nhis teeth are so yellow<\/p>\n<p style=\"padding-left: 80px;\">it takes only 3 hours to change a man<\/p>\n<p>&nbsp;<\/p>\n<p><em>Reza Baraheni is one of the leading lights of the modernist movement in Iran. His work as a poet, novelist, and essayist might be said to map major trends within that movement. Imprisoned and tortured under the Shah, he found that he also had to seek exile from Iran after the Islamic revolution, settling eventually in Canada where he was strongly involved with Penn international.<\/em><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<h4>Persis Karim<\/p>\n<\/h4>\n<p style=\"padding-left: 80px;\"><strong>The Two Maryams<\/strong><strong>\u00a0<\/strong><\/p>\n<p style=\"padding-left: 80px;\"><strong>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>January 2021<\/p>\n<p style=\"padding-left: 80px;\">\u00a0<\/p>\n<p style=\"padding-left: 80px;\">Sometimes we talk. Mostly we don\u2019t.<br \/>\nThe weight of our different lives<br \/>\nwears like a shadow over us.<br \/>\n<em>The sanctions are killing us<br \/>\n<\/em>she wrote me once last year.<br \/>\nWe send messages over What\u2019sApp<br \/>\nthat say something more. A photograph<br \/>\nof a bird or the pomegranate I cut in half,<br \/>\nher cat Mishoo, or my dog Maya.<\/p>\n<p style=\"padding-left: 80px;\">These days we speak about rulers and regimes<br \/>\nwithout saying the words. She knows<br \/>\nI know <em>this<\/em> too. Or at least I get it.<br \/>\nWhen the pandemic erupted, we spoke<br \/>\nmore often. <em>We stay inside. I only see my <br \/>\n<\/em><em>husband and mother<\/em> she writes when Iran<br \/>\nis second or third in the world in cases and deaths.<br \/>\nLast week, she sent a message in lower<br \/>\ncase letters: <em>i am sorry for your country.<\/em><\/p>\n<p style=\"padding-left: 80px;\">We met once in Paris when she tried to get a visa<br \/>\nTo visit our sick and elderly Uncle Masude<br \/>\nHere in California. I jumped on a plane to France<br \/>\nand spent a week roaming the city with her<br \/>\nbefore the appointment at the embassy.<br \/>\nShe loved the cellist in the subway<br \/>\nand the women smoking in cafes.<br \/>\n<em>Iran is full of darkness<\/em> she said.<br \/>\nI did not know if she meant her country or the prison<br \/>\ncell where she spent her youth after the<br \/>\nRevolution. I was too afraid to ask.<br \/>\nWe drank wine and coffee and found<br \/>\nour fathers\u2019 childhood home where<br \/>\nthey lived during the First World War<br \/>\nand hid in the basement from the bombs.<br \/>\nOur <em>Baba-Bozorg<\/em> had set up a Persian<br \/>\ntextile business in the 16<sup>th<\/sup> arrondissement<br \/>\nbefore the war forced them to return to Iran.<\/p>\n<p style=\"padding-left: 80px;\">She never got the visa. Even with her American-born<br \/>\ncousin standing beside her at the counter.<br \/>\nThey didn\u2019t deny her, exactly. They didn\u2019t<br \/>\neven look at her papers. The woman<br \/>\nbehind the glass separation said <em>you people<br \/>\n<\/em>when I asked for an explanation.\u00a0<br \/>\nThat was 1993. Before 9\/11, before \u201cthe Axis of Evil,\u201d<br \/>\nbefore the Iran Nuclear Deal. Before the Muslim Ban.<br \/>\nBefore our fathers died.<\/p>\n<p style=\"padding-left: 80px;\">We are both named after our grandmother, Maryam,<br \/>\nwhom I never had the chance to meet. We are close<br \/>\nbut far away. Cousins in two continents, dancing<br \/>\non the tightrope of a history that pushes<br \/>\nforever at the seams of our lives.<\/p>\n<p><strong>\u00a0<br \/>\n<\/strong><em>Persis Karim is a poet, editor and professor of comparative and world literature in San Francisco State University, where she also serves at the as the director for the Center for Iranian Diaspora Studies. She is the editor of three anthologies of Iranian diaspora literature.<\/em><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<h4>\nGarous Abdolmalekian<\/h4>\n<p>Translated from Persian by Ahmad Nadalizadeh and Idra Novey<br \/>\n<strong>\u00a0<\/strong><\/p>\n<p style=\"padding-left: 80px;\"><strong>Poem for Stillness<\/strong><\/p>\n<p style=\"padding-left: 80px;\">He stirs his tea with a gun barrel<br \/>\nHe solves the puzzle with a gun barrel<br \/>\nHe scratches his thoughts with a gun barrel<\/p>\n<p style=\"padding-left: 80px;\">And sometimes<br \/>\nhe sits facing himself<br \/>\nand pulls bullet-memories<br \/>\nout of his brain<\/p>\n<p style=\"padding-left: 80px;\">He&#8217;s fought in many wars<br \/>\nbut he&#8217;s no match for his own despair<\/p>\n<p style=\"padding-left: 80px;\">These white pills<br \/>\nhave left him so colorless<br \/>\nhis shadow must stand up<br \/>\nto fetch him water<\/p>\n<p style=\"padding-left: 80px;\">We ought to accept<br \/>\nthat no soldier<br \/>\nhas ever returned<br \/>\nfrom war<br \/>\nalive<\/p>\n<p>\n<em>Garous Abdolmalekian is the author of six poetry collections including <\/em>Lean Against This Late Hour<em>. He serves as the editor of the poetry section in Cheshmeh Publications in Tehran.<\/em><\/p>\n<p><em>Idrah Novey is a poet and novelist. She has translated a number of authors from Spanish and Portuguese. She teaches fiction at Princeton University.<\/em><\/p>\n<p><em>Ahmad Nadalizadeh is a doctoral candidate in comparative literature at the University of Oregon.<\/em><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<h4>\nFereshteh Sari<\/h4>\n<p>Translated from Persian by Parisa Saranj<\/p>\n<p style=\"padding-left: 80px;\">\nOf the house the roof remained<br \/>\nlike an umbrella<br \/>\n\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0spread without purpose<br \/>\nover a column of memories.<\/p>\n<p style=\"padding-left: 80px;\">Of the dragonfly<br \/>\nher antennas remained,<br \/>\nsearching for a sound.<\/p>\n<p style=\"padding-left: 80px;\">A whirlwind of dust and smoke<br \/>\nwas on the loose like<br \/>\nthe genie from the narrow bottle.<\/p>\n<p style=\"padding-left: 80px;\">Driftwood on the restless waters<br \/>\ncould have been a child&#8217;s boat,<br \/>\nand the flying papers,<br \/>\na blanket covering her light sleep.<\/p>\n<p style=\"padding-left: 80px;\">The onlooker<br \/>\ndid not find a name on the bulletin board.<\/p>\n<p><em><br \/>\nFereshteh Sari is a writer, editor and Russian translator living in Tehran. She is the author of eight books of poetry, six novels, and several children&#8217;s and young adult books.<\/em><\/p>\n<p><em>Parisa Saranj was born in Esfahan, Iran. She works as a freelance translator and is currently completing a memoir of growing up in Iran in the 1990s. She lives in Baltimore, Maryland.<\/em><\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<h4>Sohrab Sepehri<\/h4>\n<p>Translated from Persian by Kazim Ali and Mohammad Jafar Mahallati<\/p>\n<p>&nbsp;<\/p>\n<p style=\"padding-left: 80px;\"><strong>The Sound of an Encounter<\/strong><\/p>\n<p style=\"padding-left: 80px;\">\u00a0<\/p>\n<p style=\"padding-left: 80px;\">Basket in hand I went to the market Square.<br \/>\nEarly morning and the fruits are singing in the sun.<br \/>\nSpread out in banks, life dreams of eternal light the shining<br \/>\nperfection of rinds.<\/p>\n<p style=\"padding-left: 80px;\">The orchard\u2019s long hours of worry glittered in the shadow of each fruit.<br \/>\nSome unknown thing shown among the quinces.<br \/>\nThe pomegranates spread their dark red across the country of the pious.<\/p>\n<p style=\"padding-left: 80px;\">Any thoughts I had about the people around me vanished<br \/>\nbefore the gleaming ripeness of oranges.<\/p>\n<p style=\"padding-left: 80px;\">When I returned home my mother asked, \u201cWhere is the fruit?\u201d<br \/>\n\u201cHow can this one little basket hold Infinity?\u201d I asked<br \/>\n\u201cBut I asked you to bring three kilos of good pomegranate!\u201d<br \/>\n\u201cI tried, but the basket could not hold the immensity of even a single one.\u201d<\/p>\n<p style=\"padding-left: 80px;\">\u201cAnd the quinces?\u201d she demanded. \u201cWhat about our lunch?\u201d<\/p>\n<p style=\"padding-left: 80px;\">Oh at noon the image of a quince reflected back from the mirrors<br \/>\nand stretched from now all the way to the end of time\u2026<\/p>\n<p>&nbsp;<\/p>\n<p><em>Sohrab Sepehri ( 1928-1980) is among the most loved and influential Iranian poets. There are over 40 books written about him and his work. A painter and woodworker, his poetry is suffused with lyrical abstractions and philosophy influenced by his travels around the world. Well versed in Buddhism and mysticism, he blended Eastern concepts with Western techniques, creating a poetry unique in the history of Persian literature.<\/em><\/p>\n<p><em>Kazim Ali Is the author of multiple books of poetry essay fiction translation and cross genre work. He is a professor in the department of literature at the University of California, San Diego.<\/em><\/p>\n<p><em>Mohammad Jafar Mahallati Is a Presidential Scholar of Religion at Oberlin College.<\/em><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Poems from Iranian poets in Iran and diaspora, from a new anthology edited by Christopher Nelson and introduced by Kaveh Bassiri.<\/p>\n","protected":false},"author":12,"featured_media":17730,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[34,35],"tags":[514,882,1672],"coauthors":[2165,2149],"class_list":["post-11427","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poetry","category-poetry-markaz","tag-diaspora-poetry","tag-iranian-poets","tag-tehran","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.8 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>5 Poems &amp; 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