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AbstractHistoryArchive Description
'Recent political developments, including the shadow of a new war, have obscured the fact that Iran has a long and splendid artistic tradition ranging from the visual arts to literature. Western readers may have some awareness of the Iranian novel thanks to a few breakout successes like Reading Lolita in Tehran and My Uncle Napoleon, but the country's strong poetic tradition remains little known. This anthology remedies that situation with a rich selection of recent poetry by Iranians living all around the world, including Amir-Hossein Afrasiabi: “Although the path / tracks my footsteps, / I don’t travel it / for the path travels me.” Varying dramatically in style, tone, and theme, these expertly translated works include erotic divertissements by Ziba Karbassi, rigorously formal poetry by Yadollah Royaii, experimental poems by Naanaam, powerful polemics by Maryam Huleh, and the personal-epic work of Shahrouz Rashid. Eclectic and accessible, these vibrant poems deepen the often limited awareness of Iranian identity today by not only introducing readers to contemporary Iranian poetry, but also expanding the canon of significant writing in the Persian language. Belonging offers a glimpse at a complex culture through some of its finest literary talents.' (Publication summary)
Notes
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Contents indexed selectively.
Contents
- Moving Sale, single work poetry
- Post-Cinderella, single work poetry
- Half-Bottle, single work poetry
- Song of a Forbidden Womani"I have come", Niloufar Talebi (translator), single work poetry
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Iranian Exilic Poetry in Australia : Reinventing the Third Space
2014
single work
criticism
— Appears in: Antipodes , December vol. 28 no. 2 2014; (p. 393-403) 'Since the 1979 Islamic Revolution in Iran and the ensuing economic, political, and intellectual restrictions, a significant number of Iranian writers have settled abroad, primarily in Western countries. Some were already writers in Iran and continued their work in the diaspora; some started to write in their new country; some write in Persian and some in English or other European languages. In-betweenness is a common theme that runs through exilic Iranian texts, but this is expressed differently depending on the writer's relation to his/her host country, to the homeland, and to the diasporic space. This feeling of in-betweenness comes to create a Third Space that is emblematic of contemporary Iranian writings and to a large extent reflects diasporic writing. Nanquette questions how the transnational movement of Iranian writers, including Granaz Moussavi, cements the Third Space and will bring new findings to the concept of Third Space as applied to Australia.' (Publication summary)
-
Iranian Exilic Poetry in Australia : Reinventing the Third Space
2014
single work
criticism
— Appears in: Antipodes , December vol. 28 no. 2 2014; (p. 393-403) 'Since the 1979 Islamic Revolution in Iran and the ensuing economic, political, and intellectual restrictions, a significant number of Iranian writers have settled abroad, primarily in Western countries. Some were already writers in Iran and continued their work in the diaspora; some started to write in their new country; some write in Persian and some in English or other European languages. In-betweenness is a common theme that runs through exilic Iranian texts, but this is expressed differently depending on the writer's relation to his/her host country, to the homeland, and to the diasporic space. This feeling of in-betweenness comes to create a Third Space that is emblematic of contemporary Iranian writings and to a large extent reflects diasporic writing. Nanquette questions how the transnational movement of Iranian writers, including Granaz Moussavi, cements the Third Space and will bring new findings to the concept of Third Space as applied to Australia.' (Publication summary)
