Antonio Blunda
Forugh Farrokhzad Iran is considered the greatest poet of the twentieth century.His tomb is a pilgrimage and his lyrics have inspired artists celebrated at home and abroad, such as Abbas Kiarostami, in his film The Wind Will Carry Us, and Bertolucci, who made a documentary about his life. Even today his memory is very much alive and present, as elected by the women who show an icon in the streets against the regime in Tehran and recognize in her an ideal spokesperson.Impossible, therefore, do not go over one more time, more than forty years after his tragic death, the story of this courageous woman, poet and artist whose eclectic Aliberti has recently published an anthology edited by Fezeh Mardani is only entitled the voice remains.
Born in Tehran in 1935, a period of great social transformations, the third of seven children, Forugh studied art and began early to compose poetry lovers. At sixteen she married the thirty year old cousin, Parviz Shapoor, cartoonist and caricaturist, and Kamyar union is born the following year. After three years of marriage will feel forced to choose between divorce and poetry and will choose the latter, losing forever, according to Islamic law, the opportunity to see her son. “… Lullaby, my child, / close your eyes, / is evening … / The mother, a womb heavy with guilt! …” He writes. Published in 1955, in free verse, the anthology Asir (Captive) cause a stir. For the first time in Islamic history a woman expresses emotions and feelings, with a lyric from the explicit language and spontaneous, considered immoral by traditional culture, the sensuality and eroticism. “I want to hold me because of him / herself to hold me to that are madly in love / and wrap my existence, those strong arms and powerful hot / I, in his burning kisses / try burning passion for pleasure.”
But Forugh “pay” hard courageous choice for autonomy and nonconformity, with a deep depression which will bring it in September of that year at the shelter for a month in a psychiatric hospital. Part then for a long trip to Italy and Europe. It’s 1956 and released his second anthology, Divar (The Wall), dedicated to former husband, “a sign of friendship and gratitude”: “I just … A window / a window to the moment of consciousness, gaze, calm / walnut is now old enough / to explain to the tender leaves / because of the presence of the wall / … ‘, followed, in 1958, e-Osiyan (Rebellion) and its consecration. “… I always dream / rush from their naivete / and break / I smell the clover leaf / that grew on the tomb of the ancient meanings / was perhaps my youth / woman, buried in a shroud of virtue and of ‘waiting for? … “.
That same year began the intense emotional and artistic relationship with the director and writer Ebrahim Golestan, which, despite having already a wife, with ups and downs, will accompany you till death. The eclectic Forugh devoted so successful writer, editor, to acting and finally, with the documentary Khamnè siyab ast (The House is Black), turned into a leper colony, obtained in 1964, the first prize for director Uberhausen the festival. Of 1964 is the publication of Tavallodi digar (Another Birth), dedicated to Golestan, a collection of 35 poems written in the previous six years of intense artistic activity.
“… This is not / ephemeral bond between two names / and two bodies / in the pages of old records / it’s my hair and burned poppies happy of your kiss / petty theft naive of our bodies / the gleam of our nakedness / like the scales of fish in the water / silver it comes to life singing / of a small fountain at dawn … “. This book appears at a period in which the restrictions of the regime of the Shah Pahlavi convert any written text into voice of protest is already strong in Iran and the influence of European culture. Farrokhzad, in interviews published after the publication of another birth, explains the implications of this anthology as a milestone reached at the same time as a new starting point, the volume is very well received by critics. However, in contrast to previous work focused on introspection and feeling, in the latter show social commitment, which alters the expression of language.
As the themes of death and loneliness will become more applicants, the lyrics express dark omens: the destruction of all ties of love, decay, decline. It will be published posthumously, in 1974, the last volume Imam biavarim be aghaz-efasl-esard (We believe only the beginning of winter). This leads to 1967: the press all over the world tells the student revolts of the University of California, Berkeley, in Italy, Bellocchio’s film Fists in the Pocket announces the decline of the family institution; existentialism and Marxism France protested the move that will result shortly in the “failed revolution” of ’68.
Forugh, who fought for women’s rights in a time and a place unimaginable, ahead of this era, perhaps even presentendone dramatic outcomes. But he has already lost his dreams, the resistance: “In my small night, alas, / the wind has a date with the leaves / in my small night / there is the anxiety of the decline / Listen, feel the breath of darkness? … “.
On the afternoon of February 13, 1967, at the height of success even ignored and disliked by the rulers, driving his jeep swerves and crashes into the wall of a tree-lined street in Tehran, in mysterious circumstances by the institutions. He’s only 32 years.
“… Someone is / is someone / anyone who has the heart, breathing, voice / us / Someone whose coming / can not be prevented / or handcuff him and put him in jail / someone who has begotten children / under old trees Yahya / Day after day / keeps growing / someone came from the rain / by the roar of the rain / the whisper of petunias … “.
The voice of Forugh, “poet of sin”, now lives with the women of Tehran. That the poem engraved on his tombstone is for them at the same time the warning and the strength to resist, to struggle for a new identity and different, not only individually but also for freedom of movement that boldly claim.
Antonio Blunda 
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