Ver Poets International Poetry Club Newsletter: Autumn 2012

Iranian New Wave Poetry Bahareh Shirzad, MA student of the Theory and Practice of Translation at Middlesex University, gives an outline of her dissertation on the subject of Iranian New Wave Poetry. Poetry and literature have always played a key role in Iranian culture. There are many Iranian poets from centuries ago whose their poetry is still on the desk, poets like: Rumi, Hafiz and Khayyam. Their mystic and spiritual poems, the splendid poetry of love, joy and sorrow and multitude of dimensions seem to have brought them eternal fame. Furthermore, from the contemporary poetry in Iran there are also great international poets like: Sepehri, Farrokhzad, Shamlou and etc. The field I am studying is contemporary poetry in Iran, especially the term New Wave Poetry and how it relates to classical Iranian literature, striving to change the old clichs and traditions. Bijan Elahi, Ahmadreza Ahmadi and Yadollah Royaee are the leaders of this movement while Ahmadreza Ahmadi is seen as the founder of this genre. In my recent poetry collection [ Love Poems of Naked Wires] published in 2011, I have suggested The style of New Wave poetry is the manifestation of de-structuralism in poetry. Some scholars scorn it and some consider it as a deliberate audaciousness and a novel phenomenon. New Wave poetry is the style oversteps the clichs and routine styles of poetry and is born on the bed of exclusive subtleties. Rhythm and New Wave Ahmad Reza Ahmadi turns to non-rhythmic poetry which corresponded with free verse. His poems are mostly lacking prosodic, even inner harmony. Putting the rhythm aside made many young poets welcome the new wave. I personally think this is because of the economic, social and political chaos which reflected in poetry and has a very bold spirit in poetry to show its identity and the rights of human beings and ultimately youth movement. Shams Langroudi defines New Wave features in his Analytical History of the Modern Poetry as follows: 1.Separation of practical and daily duty of the words and language from the words and language themselves.

2.Creation of different occasion and relations between words, pictures and objects. 3.Creation of a new and bizarre intellectual atmosphere, not by description and delineation, but by making an atmosphere, not line by line, but in wholeness of a poem ( Shadkhast,2006: 313-315). As a researcher of this style I have focused on contemporary English poetry and endeavoured to offer a framework to interpret it through its methodology. In other words, the structure of my research is an attempt to introduce a genre which tries to develop contemporary English poetry, although its aim The will only be fully realised including poems by Gerald England and Martyn Crucefix. I hope you found this piece useful and engaging and forgive the effects of space limitation. My poem, SORROW STRANDS is dedicated to a lady stoned in Iran. SORROW STRANDS Braid my hair In shadows of night Braid my hair In silence of mirror Braid my hair In black apparel Braid my hair With a short whisper Gazed into scissors eyes Colourless, lifeless eyes Beholds my sorrow Death brushes mine I'm going lighter Becoming blanker An illumination blooms I'm becoming darker As the braided sorrow detached I'd settled in front of my infancy...