Furūgh Farrukhzād

In mid-1977, as unrest in Iran was percolating that would lead to the Iranian Revolution of 1978 and the establishment…

Footnotes

• 1
  Michael Craig Hillmann, “Furugh Farrukhzad, Modern Iranian Poet,” Middle Eastern Muslim Women Speak, ed. Elizabeth Warnock Fernea and Basima Qattan Bezirgan (Austin, TX: University of Texas Press, 1977), 291-317.
• 2
  Farzaneh Milani, “Farrokzād, Forūgh al-Zamān,” Encyclopædia Iranica (1999); available online at https://www.iranicaonline.org/articles/farrokzad-forug-zaman.
• 3
  Farzaneh Milani, Furūgh Farrukhzād: zindagī’nāmah-yi adabī hamrāh bā nāmah’hā-yi chāp nashudah [Forugh Farrukhzād: A Literary Biography Together with Unpublished Letters] (Toronto: Persian Circle, 2016).
• 4
  Furūgh Farrukhzād, Avvalīn tapish’hā-yi ‘ashiqānah-yi qalbi: nāmah’ha-yi Furūgh Farrukhzād bih hamsarash Parvīz Shāpūr [Love’s First Heartbeats: Letters of Furūgh Farrukhzād to Her Husband Parvīz Shāpur], ed. Kāmyār Shāpūr and ‘Umrān Salāhī (Tihrān: Intishārat-I Murvārīd, 1992/3).
• 5
  Idem, “Pānzdah (15) nāmah bih Ibrāhīm Gulistān” [Fifteen (15 Letters to Ibrāhim Gulistān] in Milani, Furūgh Farrukhzād: A Literary Biography, 265-406.
• 6
  Leila Rahimi Bahmany, Mirrors of Entrapment and Emancipation: Forugh Farrokhzād and Sylvia Plath (Leiden, Holland: Leiden University Press, 2015).
• 7
  Florence Howe, ed., “Introduction,” No More Masks! An Anthology of Twentieth-Century American Women Poets, newly revised and expanded, (New York, NY: HarperCollins Books, 1993), xxix-lxvi. Among possible sources, cited therein, of inspiration for Sylvia Plath were: Amy Lowell (1873-1925), Sara Teasdale (1884-1933),  H.D. (Hilda Doolittle) (1886-1961), Marianne Moore (1887-1972), Edna St. Vincent Millay (1892-1950), Denise Levertov (1923-1997), Anne Sexton (1928-1974), and Adrienne Rich (1929-2012).
• 8
  Zabīhullāh Safā, Ganj-i sukhan; shā‘irān-i buzurg-i pārsi’gūy va muntakhab-i āsār-i ānān [Treasure of Poetry: Major Persian Poets and a Selection from Their Works], 3 vols. (Tehrān: Intishārāt-i Ibn-i Sinā, 1963).
• 9
  Dominic Parviz Brookshaw, “Chapter 5: Women Poets,” Literature of the Early Twentieth Century from the Constitutional Period to Reza Shah, ed. Ali-Asghar Seyed-Gohrab, A History of Persian Literature, vol. 11, general ed. Ehsan Yarshater (London: I.B. Tauris, 2015), 240-310.
• 10
  Zhālah Qāyim-Maqāmī, Divān-i Zhālah Qāyem-Maqāmī  [Collected Poems of Zhāleh Qāyem-Maqāmī] (Tihrān: Kitābkhānah-yi Ibn-i Sīnā, 1967).
• 11
  Idem, Mirror of Dew: The Poetry of Ālam-Tāj Zhāle Qā’em-Maqāmi, trans. and intro. Asghar Seyed-Gohrab (Boston, MA: Ibex Foundation, 2014).
• 12
  Dick Davis, tr., The Mirror of My Heart: A Thousand Years of Persian Poetry by Women–A Bilingual Text in English and Persian (Washington, D.C.: Mage Publishers, 2020); “Introduction,” xi-lxvii.
• 13
  Rūhangīz Karāchī, Furūgh Farrukhzād, Hamrāh bā Kitābshināsī [Furūgh Farrukhzād, together with a bibliography] (Tihrān: Intishārāt-i Dāstān’sarā, 2005).
• 14
  E.g., Furūgh Farrukhzād, Panj kitāb: majmu‘ah-yi ash‘ār-i Furugh Farrukhzād [Five Books: Complete Poems of Forugh Farrokhzād], compiled and edited by Ruyā Khosrawnajadi  (Tihrān: Shaqāyiq, 2005/6, 5th printing), in which neither the poem “Asir” [(The) Captive] nor the poem “Gunāh” [(The) Sin] appears, more on both of which anon. A handful of poems in Farrukhzad’s epoch-making 1964 collection called Tavalludi digar [Another Birth] also do not appear in Panj kitāb [Five Books].
• 15
  Nāsir Saffārīyān, Āyah’hā-yi āh: nāguftah’hāyī az zindigī-yi Furūgh Farrukhzād [Signs of Sighing: Unsaid Things about the Life of Furūgh Farrukhzād] (Tihrān: Nashr-i Ruznigār, 2002).
• 16
  Mihri Bihfar, ‘Ishq dar guzargāh’hā-yi shabzadah [Love Passion at Nocturnal Crossroads], featuring “Sidā-yi khāhish-i shafāf-i āb bih jāri shudan” [The Sound of the Limpid Request of Water to Flow] (Tihrān: Intishārāt-I Hirmand, 2002), 141-185.
• 17
  Karāchī, Furūgh Farrukhzād, 141-200.
• 18
  For example, here follow representative online resources for the study of Farrukhzād’s 1965 poem called “Panjarah” [The) Window)]: Maryam ‘Alījānzādah, “Naqd-i furmālīstī-yi shi‘r Furūgh Farrukhzād” [Formalist criticism of Furūgh Farrukhzād’s poetry], Ph.D. dissertation, Māzandarān University, 2010, online at http://elmet.ir> article; Mahmūd ‘Ātifrād, “Panjarah’hā-yi Shi‘r-i Furūgh” [Windows in Furugh’s poetry], Sangistān, online at http://saeem110.blogfa.com; Ihsān Husaynī, “Tahīil-i padīdārshināsānah-yi ‘Panjareh’, asar-i Furūgh Farrukhzād…” [A Phenomenological analysis of ‘Window’, a Work by Furugh Farrukhzād…], online at http://problematicaa.com/forough; Muhammad Rizā Nushmand, “Tahlīl-i shi‘r-i ‘panjarah’, sorudah-yi Furugh Farrukhzād.” [Analysis of the poem ‘Window,’ composed by Furūgh Farrukhzād], online at http://rezanooshmand.blogfa.com, 5 December 2009.
• 19
  Ruhangīz Karāchī and Mītrā Tūsī, “Farhang-i Basāmadī ” [Frequency Word List] (Tihrān: Nashr-i chāpār, 2001-2), 667-717.
• 20
  E.g., Hasan Javadi and Susan Sallée, trs., Another Birth: [34] Selected Poems of Forugh Farrokhzād (Emeryville, CA; Albany Books, 1981); Jascha Kessler with Amin Banani, trs., Bride of Acacias: [50] Selected Poems of Forugh Farrokhzād (Delmar, NY: Caravan Books, 1982); David Martin, tr., A Rebirth: [35] Poems by Foroogh Farrokhzaad (Costa Mesa, CA: Mazda Publishers, 1985); Ahmad Karimi-Hakkak, tr., Remembering the Flight: Twenty Poems by Forugh Farrokhzād (Port Coquitlam, B.C., Canada, 1997); Sholeh Wolpé, tr., Sin: [40] Selected Poems of Forough Farrokhzād (Fayettesville, AK: The University of Arkansas Press, 2007); Meetra A. Sofia, tr., If I Were God: Forugh Farokhzad, the Girl Poet in Tehran (San Francisco, CA: City Lights Books, 2008); and Elizabeth T. Gray, Jr., tr., [40] Selected Poems of Forugh Farrokhzād (New York, NY: New Directions, 2022).
• 21
  The Project of Innovative Poetry, The Pip Anthology of World Poetry of the 20th Century, volume 2 (Los Angeles, CA: Green Integer, 2001), 66.
• 22
  Amir-Hussein Radiy, “Overlooked No More: Forough Farrokhzād, Iranian Poet Who Broke Barriers of Sex and Society,” “Overlooked,” The New York Times, 30 January 2019.
• 23
  Mahdieh Vali-Zadeh, “The Aesthetic of Desire and the Feminine Path of Individuation,” Anthropology of the Middle East 16, no. 2 (Winter 2021): 110-127.
• 24
  Umīd Tabībzādah, “Furūgh Farrukhzād: shā‘irah’ī kih shā‘ir shud” [Furūgh Farrukhzād: A Poetess Who Became a Poet], Īrānshahr-i Imrūz 2, no. 6 (March-May 2016), 27-39, online at http://academia.edu/omidtabibzadeh.
• 25
  Rene Wellek and Austin Warren, Theory of Literature: New Revised Edition (New York, NY: Harcourt, Brace & World, 1970, 3rd edition), discuss extrinsic and intrinsic approaches to the study of (Western) literature, treating (1) literature and biography, (2) literature and psychology, (3) literature and society, and (4) literature and ideas as foci in extrinsic approaches and (1) the mode of existence of a literary work of art, (2) euphony, rhythm, and metre, (3) style and stylistics, (4) and image, metaphor, symbol, and myth as foci in intrinsic approaches.
• 26
  Rene Wellek and Austin Warren, Theory of Literature: New Revised Edition (New York, NY: Harcourt, Brace & World, 1970, 3rd edition), discuss extrinsic and intrinsic approaches to the study of (Western) literature, treating (1) literature and biography, (2) literature and psychology, (3) literature and society, and (4) literature and ideas as foci in extrinsic approaches and (1) the mode of existence of a literary work of art, (2) euphony, rhythm, and metre, (3) style and stylistics, (4) and image, metaphor, symbol, and myth as foci in intrinsic approaches.
• 27
  Dominic Parviz Brookshaw and Nasrin Rahimieh, eds., Forugh Farrokhzad Poet of Modern Iran: Iconic Woman and Feminine Pioneer of New Persian Poetry (London, UK: I.B. Taurus, 2010).
• 28
  Sāyah Iqtisādīnīyā, “Chand kalamah darbārah-yi Furūgh Farrukhzād bā fa‘‘ālān-i huqūq-i zānān” [Words about Furūgh Farrukhzād with women’s rights activists], Facebook, 8 March 2018; idem,  Furūgh ulgū-yi fimīnīsm-e īrānī ast?” na…” [Is Forugh a model of/for Iranian feminism? no…], Farhang va andīshah…kitāb-i shi‘r va adab, http://www.sarpoosh.com, 29 June 2019.
• 29
  Karāchī, Furūgh Farrukhzād, provides a useful chronology of Farrukhzād’s life, 5-19, consulted for this Women Poets entry, starting with a corrective of her year of birth, incorrectly cited in Encyclopædia Iranica and elsewhere as “1935.”
• 30
  Mīlānī begins her Furūgh Farrukhzād: A Literary Biography, pp.1ff, with a multi-page account of second suicide attempt by this “dukhtar-i zībā va javān” [beautiful and young girl], age not given, based mostly on a later account by the son of the two physicians who treated Furūgh, who had ingested pills. Milani also reports Forugh’s “marg’andīshī” [(obsessive) thoughts about death] and “iztirāb-i hamīshigī” [permanent anxiety] in her mid-teens, revealed in letters to her husband-to-be, 3-4.
• 31
  Farrukhzād, First Heartbeats of Love: Letters of Furūgh Farrukhzād to Her Husband Parvīz Shāpūr], 147; Mīlānī, Forugh Farrokhzād: A Literary Autobiography, p. 2ff. Milani also observes that reasons for Farrukhzād’s two early suicide attempts remain unknown.
• 32
  Parkhīdah and Ahmad Amīrī, in conversations with the writer in 1976 in Austin.
• 33
  Fazlullāh Nikū’la‘l Āzād, “Mu‘arrifī-yi…Farīdūn Kār–surūdah’hā va matālib-i adabī” [Introduction of Farīdūn Kār–Songs and Literary Issues], online at http://lalazad.blogfa.com
• 34
  Marta Simichieva, “Men and Women Together: Love, Marriage and Gender in Forugh Farrokhzād’s Asir,” Forugh Farrokhzad: Iconic Woman and Feminine Pioneer of New Persian Poetry,” 19-31.
• 35
  Furūgh Farrukhzād, “Asīr” [(The) Captive], Asīr [(The) Captive] (Tihrān: Amīr Kabīr, 1955). Subsequent editions of (The) Captive reportedly did not contain the feminist poems “Surūd-i paykar” [Call to Arms] and “Bih khāharam” [To My Sister], which appeared in the first edition.
• 36
  Āzar Nafīsī, “Dar panāh-i panjarah: yādī az Furūgh” [In the Refuge of a/the Window: In Memory of Furūgh]. Majallah-yi Kilk (1900); reprinted in Kasī kih mesl-i hīch kas nīst: darbārah-yi Furūgh Farrokhzād, compiled by Pūrān Farrukhzād and edited by Muhammad Qāsim’zādah (Tihrān: Kārvān, 2001/2), 258.
• 37
  A photocopy and transcription of the letter, dated 6 March 1955 appear in Mīlānī, Furūgh Farrukhzād: A Literary Autobiography, 473-4.
• 38
  Nāsir Khudāyār, “Shikūfah’hā-yi kabūd” [Blue Blossoms], Majallah-yi rawshanfikr, nos. 113-122 (Summer and Fall 1955).
• 39
  As of 2015, several Farrukhzād scholars were suggesting that Farrukhzād’s psychological issues derived from her suffering from bipolar disorder, evidence for which they stated appeared in her poems, as well as in her behavior. Here follows writing on the subject: Sāyah Ightisādīnīyā,” Furūgh Farrukhzād, shakhsīyyatī duqutbī?” [Furūgh Farrukhzād: A Bipolar Personality?] Ham shā‘ir, ham shi‘r: ta’ammolāti dar bāb-i shā‘irān-i mo‘āser [Both Poet and Poem: Reflections about Contemporary Poets]. Tihrān: Nashr-i Markaz, 2015; idem, “Bīmārī-yi doqotbī-yi Furūgh; āyā Farzānah Mīlānī manbā‘-i farzīyyah-yi khod-rā penhān mīkonad?” [Furūgh’s Bipolar Disorder; Is Farzaneh Milani Hiding the Source for her Theory?] Rāhnamā-yi Kitāb. www.rahak.com, 1 August 2017. 2 pages; Muhammad Rizā Vā‘iz Shahristānī, “Naqdī bar elsāq-e bimārī-yi doqotbī bih Furūgh Farrukhzād” [A Critique of Attributing Bipolar Disorder to Furūgh Farrukhzād], 10 pages, online at http://khabgard.com/1590, 1 August 2017. This Women Poets entry does not engage in the discussion of Farrokhzād and bipolar disorder for two reasos reasons: first, a formalist analysis of her verse does not call bipolar disorder into play; and, second, discussion of the issue may result, as Joanna Russ describes in How to Suppress Women’s Writing (Austin, TX: University of Texas Press, 1983) in pollution of agency and false categorization of Farrukhzād’s poetry.
• 40
  Michael Craig Hillmann, “Nāder Nāderpour and Thirty Years of Persian Poetry,” False Dawn: Persian Poems by Nāder Nāderpour–Literature East & West 22 (1986),  pp. 10-11.
• 41
  E.g., Furūgh Farrukhzād, “Nāderpūr,” Harf’hāyi bā Furūgh Farrukhzād, matn-i asīl va arzān [Conversations with Furūgh Farrukhzād, An Authentic and Inexpensive Text] (Tihran: Intishārāt-i daftar’hā-yi zamānah, n.d.), 34-35.
• 42
  Farrukhzād, Dīvār [(The) Wall)] (Tihrān: Mo’assasah-yi intishārāt-i amīr kabīr, 1956, 1973/4, 5th printing).
• 43
  Idem, “Gunāh” [(The) Sin], Dīvār [(The) Wall], 11-15.
• 44
  Farrukhzād, “Dar diyār-i dīgar, khātirāt-i safar-i Urūpā [In Other Lands: Memories of Traveling to Europe], Majallah-yi firdawsī 9, nos. 303-320 (September 1957 to January 1958); reprinted in idem, “Dar diyār-i dīgar” [In Other Lands], Shahnāz Murādī Kūchī, compiler, Shinākht’nāmah-yi Furūgh Farrukhzād [Fathoming Furūgh Farrukhzād] (Tihrān: Nashr-i Qatrah, 2000/1), 395-431.
• 45
  Idem, ‘Isyān [Rebellion] (Tihrān: Mu’assasah-yi Intishārāt-i Amīr Kabīr, 1958, 7^th printing 1975).ī
• 46
  Ibid., 55-60.
• 47
  Zora Neale Hurston, Their Eyes Were Watching God (New York, NY: J.B. Lippincott, 1937, Perennial Library Edition 1990), 6.
• 48
  Farrukhzād, “Harfhā’ī bijā-yi muqaddamah” [Comments in lieu of an Introduction,” Barguzīdah-yi ash‘ār-i Furugh Farrukhzād [Selected Poems of Furūgh Farrukhzād (Tihrān: Shirkat-i sahāmī-yi kitāb’hā-yi jībī, 1964, 1973 [3rd printing]), 6-14. Quoted in Middle Eastern Women Speak, 291.
• 49
  Farrukhzād, “Shikast” [Broken], “Andūh-e fardā” [Tomorrow’s Sorrow], “Intihā” [(The End(ing)], “Dūst-i kuchik-i man” [My Little Friend], “Bītafāvut” [Indifferent], and “Kābūs” [Nightmare], Majallah-yi Firdawsī 9 (October 1957-January 1958).
• 50
  Idem, “Dāstān’ha-yi kūtāh” [Short Stories], Shinākht’nāmah-yi Furūgh Farrukhzād [Fathoming Furūgh Farrukhzād], 353-389.
• 51
  Carol Hanisch, “The Personal Is Political” (1969). Notes from the Second Year: Women’s Liberation, 1970; “The Personal Is Political,” 2006, online at http://www.carolhanisch.org.
• 52
  Mīlānī, Furūgh Farrukhzād: A Literary Biography, 159; female lover/male beloved; Vali-Zadeh, “The Aesthetic of Desire and the Feminine Path of Individuation,” 111 and 116-120.
• 53
  The transliteration system employed in this Iranian Women Poets project is an adaptation of the U.S. Library of Congress transliteration table that reflects Perso-Arabic orthography. But, because the LC system is based on Arabic orthography and pronunciation, it fails to reflect Persian pronunciation in Persian texts. The English transcription used here for Persian texts approximates for readers of English the Persian pronunciation of Persian texts, an obviously essential feature in appreciating poetry.
• 54
  Maryam ‘Alījānzādah, “Naqd-i formālīstī-yi shi‘r-i Furūgh Farrukhzād” [Formalist Criticism of Furūgh Farrukhzād’s Poetry], Ph.D. dissertation, Māzandarān University, 2010, online at http://elmet.ir> article.
• 55
  These features and observations echo the first chapter called “What Is Poetry?” in Thomas R. Arp’s Perrine’s Sound and Sense: An Introduction to Poetry (New York, NY: Harcourt Brace & Company, 1999, 9^th edition), 3-19.
• 56
  Mīlānī, Furūgh Farrukhzād: A Literary Biography, 159.
• 57
  Ibid. Two translations of the novel, one by Gulistan and the other by Paul Sprachman, were unavailable to the author. The same holds for the reported dispute over their publication.
• 58
  Farrukhzād, “An Ruzhā” [Those Days], Another Birth, 9-16.
• 59
  Idem, “Vahm-i Sabz” [Green Delusion], Another Birth, 117-122.
• 60
  Idem, “Fath-i Bāgh” [Conquest of the Garden], Another Birth, 125-129.
• 61
  Farrukhzād, “‘Arusak-i kūki” [(The) Wind-up Doll], Another Birth, 71-75.
• 62
  Idem, “Ay marz-e purguhar” [O Jewel-studed Land], Another Birth, 148-157.
• 63
  Idem, Khānah sīyāh’ast [The House Is Black] (1962), available online at http:// www.youtube.com/watch; discussed in Hamid Dabashi, Masters and Masterpieces of Iranian Cinema (Washington, D.C.: Mage Publishers, 2007), 39-70.
• 64
  Gulistān, as quoted by Mīlānī, Furūgh Farrukhzād: A Literary Biography, 207-208. Parts of Milani’s interviews with Gulistān appear in her biography, 183-212.
• 65
  Farrukhzād, “Gul-i Surkh” [Red Rose], Another Birth, 130-131.
• 66
  Gulistān, as quoted by Mīlanī, Furūgh Farrukhzād: A Literary Biography, 207-208.
• 67
  Farrukhzād, “Gul-i Surkh” [Red Rose], Another Birth, 130-131.
• 68
  Mīlanī, Furūgh Farrukhzād: A Literary Biography, pp. 193 and 208; reported in Amid  Tabibzādah, “Furūgh Farrukhzād: Shā‘irah’i kih shā‘ir shod” [Furūgh Farrukhzād: A Poetess Who Became a Poet], Iranshahr-i Imruz 2, no. 6 (March-May 2016), 35.
• 69
  Gulistān, as quoted by Milani, Furūgh Farrukhzād: A Literary Biography, pp. 205-207.
• 70
  Farrukhzād, “Tavallodī Dīgar” [Another Birth], Another Birth, 164-169; Furūgh Farrukhzād and Karīm Emāmī, “The Poet’s Reading of ‘Another Birth’,” Forugh Farrokhzād A Quarter-Century Later, edited by Michael Craig Hillmann. Literature East & West 24 (1988), 73-77.
• 71
  Farrukhzād, “Tavalludī Dīgar” [Another Birth], 7.
• 72
  Idem, Īmān bīyāvārīm bih āghāz-i fasl-i sard [Let Us Believe in the Beginning of the Cold Season] (Tihrān: Intishārāt-i Murvārīd, 1974), 9 and 11.
• 73
  Jalāl Khusrawshāhī, quoted in Saffārīyān, Āyah’hā-yi āh: nāguftah’hāyī az zindigī-yi Furūgh Farrukhzād, bih hāmrāh-i divīst tasvīr [Verses of Sighs: Things Unsaid about the Life of Furūgh Farrukhzād, along with Two Hundred Images] (Tihran: Nashr-i Ruznigār, 2002), 168.  ā ī ū Ā Ī Ū
• 74
  Hūshang Gulshīrī, quoted in Saffārīyān, Signs of Sighing, 249.
• 75
  Karāchī and Tusī, Farhang-i Vāzhah’namā-yi Furūgh Farrukhzād [Farrukhzād Concordance].
• 76
  Farrukhzād, “Panjarah” [(The) Window], Īman bīyāvarīm bih āghāz-e fasl-i sard [Let Us Believe in the Beginning of the Cold Season], 39-47.
• 77
  Idem, Interview with Mahmūd Āzād (Summer 1964), Harf’hāyī bā Furūgh Farrukhzād: Chahār Guft va Shunūd [Words with Furūgh Farrukhzād: Four Interviews (Tihrān: Intishārāt-murvārīd, 1976/7), 38.
• 78
  Idem, “Dilam barāyi bāghchah mīsūzad” [I Feel Sorry for the Garden], Iman bīyāvarīm bih āghāz-e fasl-i sard [Let Us Believe in the Beginning of the Cold Season], 49-60.
• 79
  Farrukhzād, “Kasī kih misl-i hīch kas nīst” [Someone Who Is Not like Anyone] (1966), Īmān bīyāvarīm bih āghāz-i fasl-i sard [Let Us Believe in the Beginning of the Cold Season], 9-37.
• 80
  Farrukhzād, “Pānzdah nāmah bih Ibrahīm Gulistan” [Fifteen Letters to Ibrāhīm Gulistān], in Milani, Furūgh Farrukhzād, Literary Biography, 265-406.
• 81
  Farrukhzād, “Pānzdah nāmah bih Ibrahīm Gulistan” [Fifteen Letters to Ibrāhīm Gulistān], in Milani, Furūgh Farrukhzād, Literary Biography, 359.
• 82
  E.g., Sadroddīn Elāhrī and Sādeq Chubak, as quoted and discussed by Michael Craig Hillmann, A Lonely Woman: Forugh Farrokhzad and Her Poetry (Washington, D.C.: Three Continents Press and Mage Publishers, 1987), 63-65.
• 83
  Farrukhzād, “Fifteen Letters to Ibrāhīm Gulistān,” 315-321.
• 84
  Farrukhzād, “Fifteen Letters to Ibrāhīm Gulistān,” 297.
• 85
  Farrukhzād, “Tanhā sidā’st kih mīmānad” [It Is Only Sound That Remains,” Imān bīyāvārīm bih āghāz-i fasl-i sard [Let Us Believe in the Beginning of the Cold Season (Tihrān: Intishārāt-i murvārid, 1974), 74-81.
• 86
  Jazmin Darznik, Song of a Captive Bird: A Novel (New York, NY: Ballantine Books, 2018). In contrast to Darznik’s romanticized depiction of Farrukhzād (a novelist’s prerogative in fictionalizing a life story), Maryam Ja‘farī’s Shahr’āshūb: Furūgh Farrukhzād bih Ravāyat-i Rumān [City-disrupter: Furūgh Farrukhzād in the Guise of a Novel] (Tihrān: Intishārāt-i shādān, 2016) presents an unidealized Farrukhzād protagonist, equally fictionalized in its dialogue featuring specific words coming out of Farrukhzad’s mouth (again a novelist’s prerogative).
• 87
  A.C. Bradley, “Poetry for Poetry’s Sake” (1901), online at sProject Gutenberg, http://www.gutenberg.org.