my favourite genre of writing is that which captures the tragedies and triumphs woven into the quotidian rhythms of life (this is why I will always defend john williams’ stoner against any accusations #sorrynotsorry). naturally, then, forugh farrokhzad is one of my favourite poets—not only for her complete disregard of convention and societal norms in 1950s iran, but also for her restless desire to reach for something beyond herself through poetry. as robert hillman notes, “hers is Persian poetry that is life.”
unlike many of her male contemporaries, who eventually abandoned their literary pursuits, farrokhzad displayed an unwavering dedication to the art form. her poetry was inseparable from the movement of her life, making it what mahmud azad tehrani calls “the poetry of conversation, the poetry of our daily life.” in this sense, she could never truly abandon her literary calling, because poetry was, for her, not rooted in any form of instrumentalism, but remained a vital form of expression. her desire to write poetry stemmed from a universal longing for freedom, shaped by the particularities of navigating Iranian society as a divorced woman who had committed many a "sin" and remained unapologetic for it.
to summarize, in hillman’s own words: “If her poetry drew directly and distinctively from her life, her life itself, in turn, was part of the total, dramatic, and inspiring poetic statement that is Forugh Farrokhzad”