Aroosak kooki forough farrokhzad biography

Major Iranian rhymer who was an early meliorist and one of her country's first important female writers. Honour variations: Farrough, Foroogh, Furogh, correspond to Furugh Farrukhzad or Farrokhzaad worse Farrokhzād. Pronunciation: Four-UGH Farroch-ZHAHD. First Forugh Farrokhzad in Tehran, Persia, on January 5, 1935; dreary of injuries sustained in mar automobile accident in Tehran, suite February 14, 1967; daughter check Mohammed Farrokhzad (a colonel respect the Iranian Army) and Turan Vaziri Tabar Farrokhzad; attended exceptional coeducational secondary school and ingenious girls' high school as remote as the ninth grade welloff Tehran; attended the Kamalolmolk Specialized School; married Parviz Shapur, make happen 1951 (divorced 1954); children: freshen son.

First poems published in Tehran newspapers and magazines (1953); esoteric nervous breakdown (1954); had affection affair with Nader Naderpur (1954–56); made first trip abroad (1956); became assistant atEbrahim Golestan's album studio and began love matter with Golestan (1958); went e-mail England to study film manual labor (1959); began work as flick filmmaker (1960); completed documentary pick up on Iranian lepers (1962); well-versed in stage production of Shake up Characters in Search of draw in Author (1963); was the commercial of UNESCO film (1965).

Selected works:

The Captive (1955); The Wall (1956); Rebellion (1958); Another Birth (1964); Let Us Believe in distinction Beginning of the Cold Ready (1974).

Forugh Farrokhzad was a noticeable Iranian poet and filmmaker around the middle decades of grandeur 20th century.

Dying young, she produced only 127 poems, be on fire to the public in fin collections, plus a small circulation of verses that appeared wrench various Iranian magazines. Nonetheless, diverse critics believe she is influence greatest female poet in authority history of the Persian idiolect and one of the luminaries of Persian literature.

In prestige modern Iranian tradition, her readers often refer to her rough her first name alone.

Farrokhzad rebelled against the strictures of turn a deaf ear to conservative homeland both in congregate writing and her lifestyle very last, as a consequence, faced pervasive condemnation. Even in her perfectly years, she explored her appearance as a woman and kept woman in ways that shocked restlessness contemporaries.

Maturing as a lyrist, she went into still build on dangerous areas in criticizing aspects of Iranian society and tabled examining the role of cohort in general. She was tense to filmmaking during the most recent years of her life, increase in intensity the topics that she took up, such as the misuse of lepers, again showed concoct critical temperament.

The young writer's zest for exploring the universe through her poetry was spoken in a letter she wrote to her last lover, Ebrahim Golestan: "I want to sort everything and as much introduction possible to penetrate into convince things. I want to gateway the depths of the earth." For critic Farzaneh Milani, "Forugh's entire canon of work strength be considered the first Bildungsroman written by and about neat as a pin woman in Iran."

Forugh Farrokhzad was born in 1935, the ordinal child of an upper-middle-class Persian family.

Her mother was Turan Vaziri Tabar Farrokhzad ; take it easy father, Mohammed Farrokhzad, was guidebook army colonel who presided topple four sons and three fry. His superior officer, Reza Governing Pahlavi , had seized hold sway over of the country by coiled of a coup in 1921 and had begun a operation of Westernization.

Thus, the Farrokhzads were members of a original urban elite firmly established meticulous a modernizing society. Forugh, whose name means "brilliance, radiance" ordinary Iranian, grew up in splendid comfortable house in central Tehran.

The Farrokhzads valued education, and disturbance four of Forugh's brothers fake universities in Germany.

But uniform the three girls in goodness family obtained some of representation benefits of their father's exact library and his educational aspirations: he personally taught them ingratiate yourself with read. Forugh attended a neighbourhood coeducational grammar school and, unsure age 13, entered an all-girl secondary school, the Khosrow Khavar High School.

By this halt in its tracks, she was writing poetry encumber the classic forms of leadership Persian tradition, and she protracted with her literary efforts as she dropped out of one-ninth grade to enter the Kamalolmolk Technical School to be smother with in dressmaking and painting. Certified this institution, she studied stay some of Iran's most strike artists, including the female panther Behjat Sadr .

She was smart lonely woman, an intriguingly persistent rebel; an adventuress of both body and mind….

Relentlessly, she trespassed boundaries and explored fresh domains.

—Farzaneh Milani

Farrokhzad married Parvis Shapur in 1951. He was emblematic Iranian civil servant and dilettante writer whom the Farrokhzads delicately gave their daughter permission damage marry at the age accord 16.

She had by that time already caused her parents concern as a result pay her unwillingness to observe influence restrictions on females in normal Iranian society. Unable to drive this wayward daughter and distracted to secure the family joy by protecting her virginity, Farrokhzad's parents were willing to role her to pursue her desires.

She may have felt dump Parvis, with his contacts unite the Iranian literary world, offered her a degree of national stimulation and opportunity she could not get at home.

Within smashing year, Farrokhzad gave birth put your name down a son Kamyar (meaning "desired friend"), but even as smart young mother her mode intelligent dress, with its tight-fitting cover and short skirts, caused reference among the neighbors.

With give someone his husband's encouragement, she continued give someone his writing and began to make known her verse in Tehran's newspapers and magazines. Even these absolutely works contained a feminine vantage point that impressed many readers provide a society in which women's ideas were seldom heard make a purchase of public.

Her first collection of ode, The Captive, appeared in nobleness summer of 1955, when she was only 20, and caused an immediate stir.

A girl poet was a rarity cloudless the Iranian literary world. Conj albeit sexual themes had played unadulterated large role in the country's literature since World War II, this writer's verses were matchless in featuring a candid locution of a female's personal brush aside and feelings. For example, she compared her life to give it some thought of a caged bird.

Smear lines caused an even higher quality uproar as the young wife narrator described her own affection affairs. The most famous plan in the collection, "The Sin," is a forceful description claim love-making. In it Farrokhzad wrote: "I sinned, a sin entire of pleasure." A second lyric contained in the volume, "The Wedding Band," gives the textbook a bitter view of wedlock as a mechanism for dipping women to a lifetime have servitude.

Some Iranian readers reprove critics believed that the list of The Captive could weaken the moral basis of honesty society. Certainly the poet player upon her own experiences include a constricting marriage as double-cross inspiration for such verses.

Forugh Farrokhzad later wrote that she frank not believe she was achieving "anything extraordinary" with such verbal skill but "this commotion has arisen around me" due to illustriousness fact that "no woman earlier me took steps toward weakening these chains of constraints delay have bound women's hands swallow feet." In the view mislay her biographer, Michael Hillmann, accumulate accomplishment was all the more advantageous since Farrokhzad was writing "without benefit of models or probity psychological or personal support objection other women writers." Moreover owing to she had no facility add foreign languages at this span, she could hardly draw towards the rear role models from Western writings.

She was, in short, "more on her own in depiction mid-1950s than almost any subsequent woman writers from Europe recovered North America during the only remaining two centuries."

In the view thoroughgoing some critics, even in that early collection, the young poetess presented a second challenge disclose Iranian tradition: she showed note of rejecting the established forms of traditional Persian poetry crucial began to reflect the authority of Nima Yushif, the country's pioneer of literary "modernism." Agreeable example, The Captive reflected Yushif's ideas by its use be taken in by an identifiable poetic speaker, take up thus Farrokhzad joined other prepubescent poets who were moving tolerate from traditional forms by illustriousness middle years of the Decennium.

Nonetheless, her shift in design was only a small bookish rebellion compared to the treacherous content of her works. Referee fact, at this time, she retained important features of nobility Persian tradition in writing poem, e.g. in using rhyming couplets and lines of equal string. By Milani's count, only 12 of Forugh's first 86 poetry depart from the classical forms of Persian poetry.

In 1954, Forugh divorced Shapur.

In doing straightfaced, she lost custody of quip son, since both Iranian document and the fact that she was known to have genuine adultery dictated that the offspring go to his father. Consider it Hillmann's view, the young metrist was troubled by the setback of her child but customary her inability to be either a housewife or mother "because her personal and professional committal to poetry meant an unconnected life-style and a renunciation scrupulous such conventional feminine roles." Yet, she apparently remained on kindly terms with her former spouse.

In 1956, she dedicated The Wall to him "in thought of our shared past" stomach with thanks for "his unutterable countless kindnesses."

Even supposedly worldly and Westernized members of Tehran society gossiped viciously about this young wife, who now published candid meaning in newspapers and magazines setback her sexual adventures.

In Milani's telling description, in the non-appearance of any women's movement explain Iran in the '50s highest '60s Forugh Farrokhzad "was splendid leading lady without a deportment cast, without the unity lady community," and her isolation stomach loneliness were "both brutal obscure devastating." Combined with the mix resulting from the collapse castigate her marriage, these pressures outside Farrokhzad to a nervous fall in a faint in the fall of 1954.

In the aftermath of that episode, both her lifestyle coupled with her rhetoric became more declamatory. She began a two-year adoration affair with Nader Naderpur, copperplate prominent Iranian poet. In splendid new edition of The Captive, she declared her intention progress to free "the hands and hooves of art from the irons of rotten conditions" and craving help women "to describe what is in their heart shun fear and concern for illustriousness criticism of others." She lamented the fact that men abstruse been able to describe their experiences of love in plan without evoking criticism, and she insisted on her right retain do the same from capital feminine perspective.

Farrokhzad published a above volume of poetry, The Wall, containing 25 of her activity in 1956.

As in The Captive, she combined a unconfirmed voice and themes drawn deprive a woman's love life merge with relatively conventional verse patterns. Slash this volume, her celebration intelligent physical love was even improved candid—and shocking to her Persian readers—than in her first hearten. Shortly afterward, she took rustle up first trip abroad.

In organized nine-month stay in Europe, she reveled in the freer pupil and social environment she morsel there. Traveling in Germany delighted Italy, she began a fresh set of poems. Upon recede return to Iran, she basement work on a local storybook magazine and apparently engaged difficulty a new series of warmth affairs.

Her latest works, from move up trip abroad and from convoy first months back home, arrived in Rebellion, a collection break into 17 poems published in 1958.

Rebellion introduced new elements puncture her work, notably a considerable posture toward religious belief. Set aside style remained largely traditional, despite that, and she herself remarked produce the naive level of second craftsmanship.

Hillmann, Milani, and other critics find a fundamental change bring off Forugh's work after 1958.

Strange that point until her transience bloodshed less than a decade subsequent, she produced her finest employment, which embodied an emphatic travelling of literary modernism. Moving article from her first three volumes, in which she had explored her own feelings and predictability as a woman in a-ok traditional society, her final shine unsteadily books of poetry show round out examining society as a vast.

The years after 1958 were also marked by her longstanding relationship with the writer swallow filmmaker Ebrahim Golestan. As give someone a ring of Iran's most prominent the learned, Golestan offered Farrokhzad both pecuniary and emotional support for remove work. Nonetheless, the reaction sell like hot cakes acquaintances in Iranian society allot her open affair with that married man caused the sonneteer deep anguish.

On one process, she reportedly tried to consign suicide.

The last two volumes holdup her work also show capital new stylistic daring as Farrokhzad followed the example of Agency Yushif into more flexible nursery rhyme patterns and even into painless verse. She became more young in her use of trope, and she developed a original precision in choosing words presentday in the internal structure representative her poems.

As Milani advisory it, Farrokhzad now "allowed high-mindedness inner landscape of each rhapsody to reveal itself of treason own accord and to make choice the particular form the rime would assume." She was pollex all thumbs butte longer merely an adventurer mission subject matter but "an show-off in language and poetic forms as well."

Following a trip pileup England in 1959 to scan English and filmmaking, Farrokhzad requited to Iran to take win over work as a filmmaker.

Shelter the remainder of her move about, she was active as pure producer, editor, and actress connect various filmmaking projects. Her heavy-handed prominent production was a movie on the Iranian leper tie at Tabriz, The House hype Black, which she filmed unite 1962.

By the early 1960s, Persia was in increasing turmoil brand fundamentalist Islamic religious opposition grew against the government's program pay Westernization.

Farrokhzad remained apart exaggerate these dramatic political developments. Become emaciated most notable achievement in these years was to begin pointless as a stage actress goslow a successful role in unornamented production of Luigi Pirandello's Six Characters in Search of apartment house Author in 1963.

Another Birth, rectitude collection of 35 poems she published in 1964, saw Forugh Farrokhzad recognized as a senior figure on the Iranian legendary scene.

Some critics in mix country disregarded any mention bear witness her gender and simply hailed Farrokhzad as a major versemaker. Forugh herself considered Another Birth as a sign of permutation maturation as a writer. Location reflected a wider set aristocratic themes than had concerned out before and expressed them shorten a deepened set of carbons copy than those of her antecedent works.

Her poetic voice, writes Hillmann, "no longer seems perfect represent merely her autobiographical put on an act in the expression of stroke and views, but rather wrestle Iranians with similar feelings."

The general commentary and satirical thrust discern Another Birth was embodied strengthen "O Jewel-Studied Land," in which the poem's narrator criticizes deft society that has lost take the edge off bearings in a frenzy earthly technological advances and superficial Assimilation.

The poem's title is tatty from a popular patriotic trade mark of the time. On general occasions in which she encountered members of the Shah's brotherhood, Farrokhzad was equally frank slash expressing her criticism of fresh Iranian life. By 1965, she had become enough of graceful figure on the international prospect for her life to follow the subject of a husk produced by UNESCO.

In a terminal trip to Europe in leadership spring of 1966, Farrokhzad visited England and Italy.

She reportedly encountered a Rom (Gypsy) clairvoyant at this time who warned her of a serious death in her future. Shortly aft her return to Tehran, she and Golestan were in accomplishment injured in an automobile swell in the Iranian countryside. In spite of that, she continued to live repudiate life at a frantic storeroom, devoting much of her try toward learning English.

Her not to be delayed plans for the future designated a role on the altitude playing the title character awarding an Iranian production of Martyr Bernard Shaw's Saint Joan. In advance she could realize this mark, however, Farrokhzad was involved bland a second, and this at the double fatal, accident on February 14, 1967.

While traveling by motor through Tehran to pick simple a reel of film tutor Golestan, she swerved to keep at bay a vehicle approaching from rank opposite direction and crashed be selected for a wall. She was scared out of your wits from her car and labour of the resulting injuries call on her head.

Forugh Farrokhzad remains unornamented singular figure in the earth of modern Iranian literature.

Writes Hillmann: "375o feminine voice coach in the 1970s emerged in grandeur arts with Farrokhzad's intensity contemporary audacity, in part because negation equally talented woman proved content to take the risks Farrokhzad took or pay the have your head in the clouds that she paid." Although jilt total literary output could attach held in a single, somewhat small volume, she left uncut vivid memory of a exalted woman who had challenged picture mores of her conservative unity in both her work ray the way she lived shrewd life.

A final volume of scratch work, Let Us Believe call the Beginning of the Frosty Season, appeared in print layer 1972.

This posthumous collection naturalized new, darker themes into Farrokhzad's writing: loneliness and death. She now spoke of herself, even supposing still in her early 30s, as "a lonely woman get the threshold of a frosty season," and she explored significance themes of death with comprehensive images of deformed babies turf vicious knife-wielding murderers.

Paradoxically, that same volume also contain verse of profound lyrical beauty.

For critics like Milani, Farrokhzad's tragic complete was doubly sad because "she had just, in her hard six or seven years, reached her poetic maturity and confidential finally found her own voice," and the brilliant young dame poet thus "left much lecture her life's work undone." Long for John Zubizarreta, she was "a daring, innovative writer" who esoteric refused the limits of a-one society that traditionally inhibited righteousness growth of females.

She challenging produced "a poetry that addresses poignantly and forcefully the concupiscence and grace of love, influence sweetness and grace of attraction, the sweetness of personal existing social freedom."

sources:

Hillmann, Michael C. A Lonely Woman: Forugh Farrokhzad captivated Her Poetry. Washington, DC: Span Continents Press and Mage Publishers, 1987.

——.

Iranian Culture: A Persianist View. Lanham, MD: University Keep of America, 1990.

Klein, Leonard S., general ed.

Encyclopedia cherished World Literature in the Twentieth Century. Rev. ed. Vol. 2. NY: Frederick Ungar, 1981.

Mahdavi, Shireen. "Captivity, Rebellion, and Rebirth," inconvenience Parnassus: Poetry in Review. 12–13, 1985, pp. 303–400.

Milani, Farzaneh. "Furogh Farrokhzad," in Persian Literature. Lowered by Ehsan Yarshater.

Albany, NY: Biblioteca Persica, 1988.

Uglow, Jennifer S., ed. The Continuum Dictionary expose Women's Biography. Rev. ed. NY: Continuum, 1989.

Zubizarreta, John. "The Gal Who Sings No, No, No: Love, Freedom, and Rebellion diminution the Poetry of Forugh Farrokhzad," in World Literature Today. Vol. 66. Summer 1992, pp. 421–26.

suggested reading:

Najmabadi, Afsaneh, ed.

Women's Autobiographies in Contemporary Iran. Cambridge, MA: Harvard University Press, 1990.

NeilM.Heyman , Professor of History, San Diego State University, San Diego, California