Forough Farrokhzad (1934-1967)
“If my poems, as you say, have an aspect of femininity, it is of course quite natural. After all, fortunately, I am a woman. But if you speak of artistic merits, I think gender cannot play a role. In fact to even voice such a suggestion is unethical. It is natural that a woman, because of her physical, emotional, and spiritual inclinations, may give certain issues greater attention, issues that men may not normally address. I believe that if those who choose art to express their inner self, feel they have to do so with their gender in mind, they would never progress in their art — and that is not right. So when I write, if I keep thinking, oh I’m a woman and I must address feminine issues rather than human issues, then that is a kind of stopping and self-destruction. Because what matters, is to cultivate and nourish one’s own positive characteristics until one reaches a level worthy of being a human. What is important is the work produced by a human being and not one labelled as a man or a woman. When a poem reaches a certain level of maturation, it separates itself from its creator and connects to a world where it is valid based on its own merits.”[10][11] Emphasizing human issues, she also calls for a recognition of women’s abilities that goes beyond the traditional binary oppositions …” Forough Farrokhzad (from an interview)
I am delighted and honored to say that tonight we have a guest blogger who sent to Wompo (a list for and about women’s poetry) and now has given me permission to put here an (in effect) foremother poet posting.
By Farideh Hassanzadeh.. For her poetry and more about her: she is also a translator and freelance journalist. On Poem Hunter
Farideh began with one of Farrokhzad’s poems (in translation)
It is Only Sound That Remains
Why should I stop, why?
the birds have gone in search
of the blue direction.
the horizon is vertical, vertical
and movement, fountain-like;
and at the limits of vision
shining planets spin.
the earth in elevation reaches repetition,
and air wells
changes into tunnels of connection;
and day is a vastness,
which does not fit into narrow mind
of newspaper worms.
why should I stop?
the road passes through the capillaries of life,
the quality of the environment
in the ship of the uterus of the moon
will kill the corrupt cells.
and in the chemical space after sunrise
there is only sound,
sound that will attract the particles of time.
why should I stop?
what can a swamp be?
what can a swamp be but the spawning ground
of corrupt insects?
swollen corpses scrawl the morgue’s thoughts,
the unmanly one has hidden
his lack of manliness in blackness,
and the bug… ah,
when the bug talks,
why should I stop?
Cooperation of lead letters is futile,
it will not save the lowly thought.
I am a descendant of the house of trees.
breathing stale air depresses me.
a bird which died advised me to
commit flight to memory.
the ultimate extent of powers is union,
joining with the bright principle of the sun
and pouring into the understanding of light.
it is natural for windmills to fall apart.
why should I stop?
I clasp to my breast
the unripe bunches of wheat
and breastfeed them
sound, sound, only sound,
the sound of the limpid wishes
of water to flow,
the sound of the falling of star light
on the wall of earth’s femininity
the sound of the binding of meaning’s sperm
and the expansion of the shared mind of love.
sound, sound, sound,
only sound remains.
in the land of dwarfs,
the criteria of comparison
have always traveled in the orbit of zero.
why should I stop?
I obey the four elements;
and the job of drawing up
the constitution of my heart
is not the business
of the local government of the blind.
what is the lengthy whimpering wildness
in animals sexual organs to me?
what to me is the worm’s humble movement
In its fleshy vacuum?
the bleeding ancestry of flowers
has committed me to life.
are you familiar with the bleeding
ancestry of the flowers?
Forough Farrokhzad was born in Tehran into a middle class family of seven children. She attended public schools through the ninth grade, thereafter received some training in sewing and painting, and married when she was seventeen. Her only child, the boy addressed in “A Poem for you,” was born a year later. Within less than two years after that, her marriage failed, and Farrokhzad relinquished her son to her ex-husband’s family in order to pursue her calling in poetry and independent life style. She clearly voices her feelings in the mid-1950s about conventional marriage, the plight of women in Iran, and her own situation as a wife and mother no longer able to live a conventional life in such poems as “The Captive,” “The Wedding Band,” “Call to Arms,” and “To My Sister.”
As a divorcee poet in Tehran, Farrokhzad attracted much attention and considerable disapproval. She had several short lived relationships with men-“The Sin” describes one of them,–, found some respite in a nine-month trip to Europe, and in 1958 met Ebrahim Golestan (b. 1922), a controversial film-maker and writer with whom she established a relationship that lasted until her death in an automobile accident at thirty-two years of age in February 1967.
Iranian Culture (A Persianist View), Michael C. Hillmann (translator, editor) page. From an Interview by Farideh of Larissa Shmailo (the translator), p 149
Dear Farideh:
Forrokhzad’s imagery is strong and uncompromising. I hear this poem aloud, spoken with force: “Why should I stop?” the poet queries, when around her is sound, the capillaries and cells and sperm become music in verse. Proclaiming “the bleeding ancestry of flowers,” the poet takes on the entire natural world and the cosmos, “shining planets” and the “uterus “of the moon and the human body. We follow her invitation to the motion of the horizon and the dead bird which taught her flight. Birds, worms, and “day is a vastness.”-this poem awakens us to the splendor of the variegated universe. This is an exciting voice which should not have been stopped at such an early age. Why should it have stopped?
Thanks so much for sharing!
Love,
Larissa
Here too Wendy Varaman’s interview with of Farideh:
When I first encountered the poems of Iranian poet Forough Farrokhzad, I immediately thought of Sylvia Plath.
Here, for example, are the opening lines of “Let us believe in the beginning of the cold season” (trans., Michael C. Hillmann):
And this is I
a woman alone
at the threshold of a cold season
at the beginning of understanding
the polluted existence of the earth
and the simple and sad pessimism of the sky
and the incapacity of these concrete hands.
To what extent do you think it is useful to link these two women, both of whom died tragically in their early ۳۰’s during the cold month of February, each apparently still at the mercy of love and in a white-hot fervor of writing? Are women poets in Iran and the United States today more similar to each other or more different?
Farideh Hassanzadeh-Mostafavi:
Even Death in a cold season and at the peak of Forough’s creativity is not a good reason to find much resemblance between these two women poets. Sylvia killed herself because she was suffering from the betrayal of her husband. She was a faithful wife and a mother in love with her children. Forough left her husband and her little son to find her fate and mate in poetry. Regrettably, feminists and antireligious people in Iran and overseas, try to introduce Forough as a victim of a patriarchal religious society. It is not true. They claim she was forced by her father to marry in her teens, but now everybody knows that she threatened her parents to commit suicide if they don’t let her marry the man she loved. They introduce her husband as a dogmatic man who didn’t let Forough write poetry and deprived her from her right as a mother to see her son.
Forough’s letters to her husband, published thirty years after her death by her son, prove that even after divorce she was deeply supported by her kind, generous, and loyal husband who never married again and devoted all his life to their son. He was himself a writer and painter.
As for her poetry, Forough s poems could make themselves free from personal problems and pay attention to the world around her, while Sylvia Plath’s poems speak of “self,” even when she writes about others. “Lack of love” for Forough, was a universal wound, not a personal pain:
And my wounds are all the wounds of love
I have piloted this wondering island
Through raging tempests and volcanoes
And disintegration was the secret of that unique being
Each little particle of which gave birth to the sun
I see more resemblance between Forough and Russian poet Marina Tsvetaeva. Both women were more loyal to love than to the men of their life, and both of them were more devoted to the truth of poetry than to the reality of life. Yet let me admit that if Iran has one Forough Farrokhzad, America has many, many, many “Forough Farrokhzads.” As a translator of women’s poetry and world poetry, I can attest that North America and Latin America have the best women poets of the world” (Wendy Varaman)
**********************************************
To which I can add:
A photograph of Farrokhzad
Thank you Farideh. I also like that photo on the cover of the DVD (her poetry read aloud).
I own another book of her poetry, Let Us Believe in the Beginning of the Cold Season, introduced and chosen and translated by Elizabeth Gray, Jr (ISBN 978-0-8112-3165-7)
This slender book contains a short life of the poet who died so young: Farrokhzad had a difficult life; she was brave and took off from conventional ways and traveled and wrote and published and made films and lived intensely at the same time as she must have been strapped for money and subject to lots of abuse in the media of her country. I can understand the content better om the book I own. I am thinking the tradition of being so inexplicit comes from inhibition, a desire not to let your private life be vulnerable to ugly public arenas, especially when you are a woman
Honestly, I have trouble understanding such allusive poetry where we are given metaphoric images but they have little concrete explanation or referents. Farideh, I am wondering if there is a tradition for this kind of imagery but I can think of “middle east” (I don’t have the right word for it) poetry where the referent is obvious, e.g., Constantine Cavafy (a male Greek poet). I also understand the content in general of the book I own. I am thinking the tradition of being so inexplicit comes from inhibition, a desire not to let your private life be vulnerable to ugly public arenas, especially when you are a woman. Perhaps candor and explicitness, which would make the poetry more accessible, understandable, might lead to a prison sentence or death.
Gray tells of her own education in the US at Stanford; that in the 1970s she learned Persian. Here’s her website where you are told all her credentials
Farideh replied that most of Farrokhzad’s poems were simple [in diction]; in her final days she was more than a poet: she became a thinker and philosopher, and her poetry departed from Iranian traditions.
Here is the poem from this volume which provides the volume’s title:
Let Us Believe in the Beginning of a Cold Season
And here I am
a lonely woman
at the threshold of a cold season
coming to understand the earth’s contamination
and the elemental, sad despair of the sky
and the impotence of these concrete hands.
Time passed,
time passed and the clock chimed four times,
it chimed four times.
Today is the first day of winter,
I know the secret of the seasons
and understand the moments well.
The savior is asleep in his grave
and earth, the kind acceptor, earth,
invites me to peace.
Perhaps those two young hands were true, those two young hands
buried below ¸in the never ending snow
And next year, when spring
sleeps with the sky beyond the window
and shoots thrust from her body
the green shoots of empty branches
will blossom O my dearest one, my dearest only one
Let us believe in the beginning of a cold season
Farrokhzad also painted; this is from the wikipedia website
A brief literary biography of Forough, Michael Hillmann’s A lonely woman: Forough Farrokhzad and her poetry, was published in 1987.[5] Farzaneh Milani’s work Veils and words: the emerging voices of Iranian women writers (1992) included a chapter about her. Abdolali Dastgheib, literary critic writer, published a critical review of Forough’s poems titled ‘The Little Mermaid’ (Farsi title پری کوچک دریا) (2006) in which he describes Forugh as a pioneer in modern Farsi poetry who symbolizes feminism in her work.[16] Nasser Saffarian has directed three documentaries about her life: The Mirror of the Soul (2000), The Green Cold (2003), and Summit of the Wave (2004), and Sholeh Wolpé has written a short biography of Farrokhzad’s life in “in: Selected Poems of Forugh Farrokhzad (2007).
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