Legacy of Forugh Farrokhzad: with Sholeh Wolpé, Jasmin Darznik, and Shabnam Piryaei: December 3, 2020

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Co-presented by The Poetry Center and the Center for Iranian Diaspora Studies, San Francisco State University, a program of poetry, fiction, film, and conversation, inspired and emboldened by the work and legacy of one of Iran's outstanding cultural figures of the 20th century: poet, filmmaker, and feminist iconoclast Forugh Farrokhzad (December 29, 1934–February 13, 1967). The program features poet and translator of Farrokhzad, Sholeh Wolpé, novelist Jasmin Darznik, and poet-filmmaker Shabnam Piryaei, with emcee Persis Karim, Neda Nobari Distinguished Chair and director of the Center for Iranian Diaspora Studies. This program was supported in part by the National Endowment for the Arts.

Publisher: DocFilm Institute
Location: The Poetry Center, SFSU (Remote Access Event)
Date: 2020-12-03
Event Run Time: 01:29:44
Contributors: Persis Karim
Rights: ©© American Poetry Archives. This work is licensed under a Creative Commons Attribution-Non Commercial-ShareAlike 3.0 Unported License. For all other uses please email poetry@sfsu.edu.
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Legacy of Forugh Farrokhzad: with Sholeh Wolpé, Jasmin Darznik, and Shabnam Piryaei (01:29:20)

Description

Following introductions by Persis Karim, three Iranian American writers each present their work in relation to the legacy of Forugh Farrokhzad. Sholeh Wolpé reads from her book of translations of Farrokhzad, Sin: Selected Poems of Forugh Farrokhzad (University of Arkansas Press, 2010). Jasmin Darznik reads an excerpt from her debut novel Song of a Captive Bird (Ballantine Books, 2018), based on the life of Farrokhzad. Shabnam Piryaei reads from her poetry "There Is No Separate Survival," from Nothing Is Wasted (The Operating System, 2017), with its title from an essay by Adrienne Rich, "Nextdoor App," and "All Children Magazine," the latter two from manuscript. Piryaei then shows an excerpt from her documentary film in progress, No Separate Survival, on asylum seekers who've crossed the US-Mexico border. The film is in part made under the influence of Farrokhzad's documentary film The House Is Black.

The writers then each respond to questions regarding the influence of Farrokhzad on their lives and work, the status of Farrokhzad's work in Iran today and across world literature, among other queries and comments posed by Karim and members of the audience.