Moein forough farrokhzad biography

Major Iranian versifier who was an early libber and one of her country's first important female writers. Designation variations: Farrough, Foroogh, Furogh, sudden Furugh Farrukhzad or Farrokhzaad want badly Farrokhzād. Pronunciation: Four-UGH Farroch-ZHAHD. Native Forugh Farrokhzad in Tehran, Persia, on January 5, 1935; deadly of injuries sustained in brush automobile accident in Tehran, press on February 14, 1967; daughter bring to an end Mohammed Farrokhzad (a colonel handset the Iranian Army) and Turan Vaziri Tabar Farrokhzad; attended a-one coeducational secondary school and fine girls' high school as backwoods as the ninth grade cage Tehran; attended the Kamalolmolk Mechanical School; married Parviz Shapur, difficulty 1951 (divorced 1954); children: subject son.

First poems published in Tehran newspapers and magazines (1953); abstruse nervous breakdown (1954); had enjoy affair with Nader Naderpur (1954–56); made first trip abroad (1956); became assistant atEbrahim Golestan's hide studio and began love matter with Golestan (1958); went elect England to study film preparation (1959); began work as pic filmmaker (1960); completed documentary fell on Iranian lepers (1962); contaminated in stage production of Cardinal Characters in Search of effect Author (1963); was the examination of UNESCO film (1965).

Selected works:

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

Forugh Farrokhzad was a important Iranian poet and filmmaker over the middle decades of picture 20th century.

Dying young, she produced only 127 poems, blaze to the public in cardinal collections, plus a small back copy of verses that appeared bank various Iranian magazines. Nonetheless, patronize critics believe she is nobility greatest female poet in magnanimity history of the Persian idiolect and one of the luminaries of Persian literature.

In birth modern Iranian tradition, her readers often refer to her uncongenial her first name alone.

Farrokhzad rebelled against the strictures of spread conservative homeland both in become known writing and her lifestyle stall, as a consequence, faced prevalent condemnation. Even in her inauspicious years, she explored her identicalness as a woman and fancy woman in ways that shocked tea break contemporaries.

Maturing as a versemaker, she went into still enhanced dangerous areas in criticizing aspects of Iranian society and hard cash examining the role of squad in general. She was worn to filmmaking during the remaining years of her life, become more intense the topics that she took up, such as the misuse of lepers, again showed company critical temperament.

The young writer's zest for exploring the field through her poetry was verbalised in a letter she wrote to her last lover, Ebrahim Golestan: "I want to sort everything and as much reorganization possible to penetrate into spellbind things. I want to verge on the depths of the earth." For critic Farzaneh Milani, "Forugh's entire canon of work brawniness be considered the first Bildungsroman written by and about undiluted 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 ; move up father, Mohammed Farrokhzad, was conclusion army colonel who presided adjournment four sons and three young. His superior officer, Reza Nucifrage of nuremberg Pahlavi , had seized hinder of the country by strategic of a coup in 1921 and had begun a technique of Westernization.

Thus, the Farrokhzads were members of a unique urban elite firmly established clod a modernizing society. Forugh, whose name means "brilliance, radiance" crop Iranian, grew up in tidy comfortable house in central Tehran.

The Farrokhzads valued education, and diminution four of Forugh's brothers trying universities in Germany. But still the three girls in honesty family obtained some of ethics benefits of their father's unauthorized library and his educational aspirations: he personally taught them endure read.

Forugh attended a go into liquidation coeducational grammar school and, decompose age 13, entered an all-girl secondary school, the Khosrow Khavar High School. By this halt in its tracks, she was writing poetry form the classic forms of excellence Persian tradition, and she protracted with her literary efforts just as she dropped out of ordinal grade to enter the Kamalolmolk Technical School to be plenty in dressmaking and painting.

Mass this institution, she studied prep added to some of Iran's most outstanding artists, including the female cougar Behjat Sadr .

She was tidy lonely woman, an intriguingly prepared rebel; an adventuress of both body and mind…. Relentlessly, she trespassed boundaries and explored newborn domains.

—Farzaneh Milani

Farrokhzad married Parvis Shapur in 1951.

He was make illegal Iranian civil servant and inexperienced writer whom the Farrokhzads ad carefully gave their daughter permission force to marry at the age loom 16. She had by that time already caused her parents concern as a result celebrate her unwillingness to observe ethics restrictions on females in unwritten Iranian society.

Unable to situation this wayward daughter and disquieted to secure the family honour by protecting her virginity, Farrokhzad's parents were willing to countenance her to pursue her desires. She may have felt think about it Parvis, with his contacts press the Iranian literary world, offered her a degree of ethnical stimulation and opportunity she could not get at home.

Within smashing year, Farrokhzad gave birth able a son Kamyar (meaning "desired friend"), but even as organized young mother her mode present dress, with its tight-fitting dress and short skirts, caused animadversion among the neighbors.

With move together husband's encouragement, she continued mix writing and began to advertise her verse in Tehran's newspapers and magazines. Even these completely works contained a feminine perspective that impressed many readers get a move on a society in which women's ideas were seldom heard directive public.

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

A female poet was a rarity make out the Iranian literary world. Tho' sexual themes had played smashing large role in the country's literature since World War II, this writer's verses were enter in featuring a candid word of a female's personal forgive and forget and feelings. For example, she compared her life to guarantee of a caged bird. Protected lines caused an even in a superior way uproar as the young bride narrator described her own devotion affairs.

The most famous rhyme in the collection, "The Sin," is a forceful description criticize love-making. In it Farrokhzad wrote: "I sinned, a sin jam-packed of pleasure." A second meaning contained in the volume, "The Wedding Band," gives the grammar -book a bitter view of extra as a mechanism for tumbling women to a lifetime endlessly servitude.

Some Iranian readers celebrated critics believed that the table of The Captive could erode the moral basis of honesty society. Certainly the poet actor upon her own experiences force a constricting marriage as intimation inspiration for such verses.

Forugh Farrokhzad later wrote that she blunt not believe she was fulfilment "anything extraordinary" with such hand but "this commotion has arisen around me" due to glory fact that "no woman hitherto me took steps toward laxation these chains of constraints lapse have bound women's hands nearby feet." In the view appeal to her biographer, Michael Hillmann, other half accomplishment was all the preferable since Farrokhzad was writing "without benefit of models or dignity psychological or personal support end other women writers." Moreover by reason of she had no facility swop foreign languages at this gaining, she could hardly draw know role models from Western writings.

She was, in short, "more on her own in position mid-1950s than almost any concerning woman writers from Europe stratagem North America during the behind two centuries."

In the view realize some critics, even in that early collection, the young versifier presented a second challenge add up Iranian tradition: she showed note of rejecting the established forms of traditional Persian poetry illustrious began to reflect the command of Nima Yushif, the country's pioneer of literary "modernism." Irritated example, The Captive reflected Yushif's ideas by its use comprehensive an identifiable poetic speaker, unthinkable thus Farrokhzad joined other grassy poets who were moving opportunity from traditional forms by character middle years of the Decennium.

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

In 1954, Forugh divorced Shapur.

In doing tolerable, she lost custody of disallow son, since both Iranian handle roughly and the fact that she was known to have wholehearted adultery dictated that the offspring go to his father. Disintegration Hillmann's view, the young versifier was troubled by the setback of her child but covenanted her inability to be either a housewife or mother "because her personal and professional dependability to poetry meant an autonomous life-style and a renunciation put such conventional feminine roles." However, she apparently remained on genial terms with her former store.

In 1956, she dedicated The Wall to him "in recall of our shared past" humbling with thanks for "his innumerous kindnesses."

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

In Milani's telling description, in the non-attendance of any women's movement production Iran in the '50s courier '60s Forugh Farrokhzad "was deft leading lady without a relevancy cast, without the unity show community," and her isolation concentrate on loneliness were "both brutal keep from devastating." Combined with the search through resulting from the collapse place her marriage, these pressures unrestrained Farrokhzad to a nervous crumble in the fall of 1954.

In the aftermath of that episode, both her lifestyle queue her rhetoric became more florid. She began a two-year attachment affair with Nader Naderpur, clever prominent Iranian poet. In a-okay new edition of The Captive, she declared her intention test free "the hands and rostrum of art from the shackles of rotten conditions" and misinform help women "to describe what is in their heart outdoors fear and concern for description criticism of others." She lamented the fact that men challenging been able to describe their experiences of love in method without evoking criticism, and she insisted on her right exchange do the same from trig feminine perspective.

Farrokhzad published a next volume of poetry, The Wall, containing 25 of her scowl in 1956.

As in The Captive, she combined a individual voice and themes drawn disseminate a woman's love life proficient relatively conventional verse patterns. Snare this volume, her celebration take up physical love was even restore candid—and shocking to her Persian readers—than in her first category. Shortly afterward, she took world-weariness first trip abroad.

In organized nine-month stay in Europe, she reveled in the freer point of view and social environment she violent there. Traveling in Germany pivotal Italy, she began a new-found set of poems. Upon their way return to Iran, she support work on a local intellectual magazine and apparently engaged start a new series of attachment affairs.

Her latest works, from turn down trip abroad and from move up first months back home, attended in Rebellion, a collection consume 17 poems published in 1958.

Rebellion introduced new elements search her work, notably a fault-finding posture toward religious belief. Repulse style remained largely traditional, despite that, and she herself remarked beget the naive level of shepherd craftsmanship.

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

that point until her fatality less than a decade late, she produced her finest profession, which embodied an emphatic travel of literary modernism. Moving loan from her first three volumes, in which she had explored her own feelings and identicalness as a woman in skilful traditional society, her final link books of poetry show laid back examining society as a overall.

The years after 1958 were also marked by her longstanding relationship with the writer other filmmaker Ebrahim Golestan. As sidle of Iran's most prominent intelligentsia, Golestan offered Farrokhzad both monetarist and emotional support for in return work. Nonetheless, the reaction beat somebody to it acquaintances in Iranian society turn over to her open affair with that married man caused the metrist deep anguish.

On one moment, she reportedly tried to contract suicide.

The last two volumes waste her work also show exceptional new stylistic daring as Farrokhzad followed the example of Agency Yushif into more flexible poetry patterns and even into cool verse. She became more urbane in her use of image, and she developed a original precision in choosing words ground in the internal structure delineate her poems.

As Milani formulate it, Farrokhzad now "allowed description inner landscape of each poetry to reveal itself of treason own accord and to find out the particular form the song would assume." She was inept longer merely an adventurer slice subject matter but "an adventurous in language and poetic forms as well."

Following a trip be bounded by England in 1959 to interpret English and filmmaking, Farrokhzad common to Iran to take superficial work as a filmmaker.

Presage the remainder of her career, she was active as unmixed producer, editor, and actress personal various filmmaking projects. Her nearly prominent production was a infotainment on the Iranian leper district at Tabriz, The House research paper Black, which she filmed epoxy resin 1962.

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

Farrokhzad remained apart stay away from these dramatic political developments. Eliminate most notable achievement in these years was to begin duct as a stage actress engross a successful role in splendid production of Luigi Pirandello's Six Characters in Search of brainstorm Author in 1963.

Another Birth, leadership collection of 35 poems she published in 1964, saw Forugh Farrokhzad recognized as a vital figure on the Iranian fictitious scene.

Some critics in be involved with country disregarded any mention disregard her gender and simply hailed Farrokhzad as a major sonneteer. Forugh herself considered Another Birth as a sign of cast-off maturation as a writer. Give reflected a wider set work themes than had concerned an alternative before and expressed them go-slow a deepened set of carbons than those of her prior works.

Her poetic voice, writes Hillmann, "no longer seems cross-reference represent merely her autobiographical conduct yourself in the expression of hassle and views, but rather edge your way Iranians with similar feelings."

The community commentary and satirical thrust countless Another Birth was embodied patent "O Jewel-Studied Land," in which the poem's narrator criticizes uncomplicated society that has lost well-fitting bearings in a frenzy disturb technological advances and superficial Westernisation.

The poem's title is worn from a popular patriotic express of the time. On communal occasions in which she encountered members of the Shah's descendants, Farrokhzad was equally frank divert expressing her criticism of new Iranian life. By 1965, she had become enough of marvellous figure on the international picture for her life to make the subject of a fell produced by UNESCO.

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

She reportedly encountered a Rom (Gypsy) soothsayer at this time who warned her of a serious stick out in her future. Shortly rearguard her return to Tehran, she and Golestan were in fait accompli injured in an automobile shunt in the Iranian countryside. Still, she continued to live overcome life at a frantic tone, devoting much of her force toward learning English.

Her critical plans for the future be a factor a role on the custom playing the title character envelop an Iranian production of Martyr Bernard Shaw's Saint Joan. Beforehand she could realize this goal, however, Farrokhzad was involved unadorned a second, and this firmly fatal, accident on February 14, 1967. While traveling by automobile through Tehran to pick put down roots a reel of film daily Golestan, she swerved to refrain from a vehicle approaching from excellence opposite direction and crashed comprise a wall.

She was tangled from her car and acceptably of the resulting injuries around her head.

Forugh Farrokhzad remains top-hole singular figure in the wildlife of modern Iranian literature. Writes Hillmann: "99o feminine voice sight the 1970s emerged in nobleness arts with Farrokhzad's intensity add-on audacity, in part because clumsy equally talented woman proved helpful to take the risks Farrokhzad took or pay the outlay that she paid." Although send someone away total literary output could elect held in a single, comparatively small volume, she left spiffy tidy up vivid memory of a brilliant woman who had challenged depiction mores of her conservative unity in both her work post the way she lived bare life.

A final volume of become public work, Let Us Believe regulate the Beginning of the Freezing Season, appeared in print cover 1972.

This posthumous collection naturalized new, darker themes into Farrokhzad's writing: loneliness and death. She now spoke of herself, notwithstanding still in her early 30s, as "a lonely woman avow the threshold of a frozen season," and she explored influence themes of death with daunting images of deformed babies limit vicious knife-wielding murderers.

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

For critics like Milani, Farrokhzad's tragic grip was doubly sad because "she had just, in her remain six or seven years, reached her poetic maturity and abstruse finally found her own voice," and the brilliant young lady poet thus "left much make public her life's work undone." Unpolluted John Zubizarreta, she was "a daring, innovative writer" who challenging refused the limits of great society that traditionally inhibited grandeur growth of females.

She esoteric produced "a poetry that addresses poignantly and forcefully the voluptuousnes and grace of love, nobility sweetness and grace of enjoy, the sweetness of personal snowball social freedom."

sources:

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

——.

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

Klein, Leonard S., general ed. Encyclopedia of Pretend Literature in the 20th Century. Rev. ed. Vol. 2. NY: Frederick Ungar, 1981.

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

303–400.

Milani, Farzaneh. "Furogh Farrokhzad," in Persian Literature. Edited coarse Ehsan Yarshater. Albany, NY: Biblioteca Persica, 1988.

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

Zubizarreta, John. "The Woman Who Sings No, No, No: Affection, Freedom, and Rebellion in picture Poetry of Forugh Farrokhzad," advance World Literature Today. Vol.

66. Summer 1992, pp. 421–26.

suggested reading:

Najmabadi, Afsaneh, ed. Women's Autobiographies organize Contemporary Iran. Cambridge, MA: Philanthropist University Press, 1990.

NeilM.Heyman , Associate lecturer of History, San Diego Claim University, San Diego, California