Rosa Jamali

Rosa Jamali Poems

Rosa Jamali Biography

Rosa Jamali is an acclaimed Iranian poet with numerous published books. Her poetry has been acknowledged by many scholars as the most influential and pioneering pieces written in Persian since the 90s. She studied Dramatic Literature at the Art University of Tehran and later obtained her master's degree in English Literature from Tehran University. Her groundbreaking debut collection of poems, THIS DEAD BODY IS NOT AN APPLE, IT'S EITHER A CUCUMBER OR A PEAR; was published in 1997 and marked a pioneering and influential voice in Persian poetry, introducing new landscapes. Embedded in broken syntax and word plays, the text describes a surreal world in which words have lost their meanings and have become jumbled objects within everyday life. Her creative style brings forth alternative possibilities to the Persian tradition of poetry. The title poem is innovative and tricky, containing word plays with the meaning of objects, where the linguistic signifiers don't align with the signified. The speaker of the poems adopts a sarcastic tone when it comes to the banality of set phrases, dead metaphors, and collocations. MAKING A FACE, with its stream-of-consciousness narrative poems, merges different registers and explores the possibilities of language poetry. The poet adopts a metric pattern from classical Persian poetry, blending it with the natural cadence of speech. The poem juxtaposes long and short sentences and employs satire when alluding to the classics. Her seminal work; MAKING COFFEE TO RUN A CRIME STORY is a re-reading of male-dominated classic love-hate poems, presented in a polyphonic dramatic structure. It creates a post-modern narrative and focuses on misogyny and violence against women. The style is fragmentary, with frequent changes in perspective and tone depending on each episode's persona. The narrative techniques blend different genres, such as scriptwriting, storytelling, folk plays, mourning passion pageant plays, stand-up performances, performance poetry, and old epics. The refrains and chorus recall Greek drama, featuring characters like Antigone or Medea who defy the male-dominated society of ancient Greece. The poem also engages with the portrayal of women in Sadegh Hedayat's literature, particularly the chopped-off woman in The Blind Owl; a major novella in contemporary Persian literature known for its critical attitude towards women. Some parts of Jamali's poem are narrated from the perspective of this very chopped-off woman. In an interview, she elaborates on this long poem: 'There are lots of stories every day in the news about women who have been killed in prejudiced communities in rural and marginalized places of Iran, and they have been victims of a crime…'; She adds: 'I've also been inspired by the lives of women in the past who have been killed because they wanted to write or tell a story, like the first female poet in Persian, Rabia Balkhi, who was killed by her brother for writing love poetry…'; The poem contains frequent references to the Old Testament, mythological characters, and events. DATING NOAH'S SON is an inner journey to the past. THE HOURGLASS IS FAST ASLEEP has been mentioned for blending present-day settings and language with the ancient past. While the words are from day-to-day life, the mindset is one that has already existed. It is close to the Persian Transcendentalists' mentality, like Shihab al-Din Suhrawardi. The book brings up the philosophy of illumination to illustrate existence and considers a kind of cosmology in which all creations have taken their existence from the light of lights. It portrays a kind of unification with the universe. In this book, she writes about death and love and asks many existential questions. The poem THE ANGLES OF THE FRAME is a revival of Omar Khayyam's themes and style. The speaker of the poem takes a skeptical point of view to question life and death. Scholars discuss her works' mythological references through the birth and rebirth cycle, vegetation deity, and archetypal patterns. Poems like THE WHALE and THE LIGHTHOUSE are analyzed for their mythological connotations. In HIGHWAYS BLOCKED she creates layers of intertextuality with Persian classics. Her works have always been strictly concerned with forms and conscious of styles in poetics, digressing between various literary styles and traditions. She implements intense insightful abstract imagery, inspired by the visionary writings of classics that are often written in improvisation. HERE GRAVITY IS LESS explores hidden psychological aspects of the human soul in a creative mood. GMT is one of her poems read in Postcolonial approach and discusses the wars of Middle East. MY ROOTS and lots of her other poems are read in ecofeminism as environmentally-friendly poetry. THIS IS NOT A PERSIAN SCRIPT, her recent book, narrates historical events in a critical mood and chronicles the life of a nation throughout time. Many of her poems have been translated into English by herself. She has also written a number of poetry reviews, critical articles, and scholarly essays. In an article on Ahmad Shamlou, a prominent Iranian contemporary poet, she writes: Shamlou is a part of our cultural heritage, but we are from a different generation, so we have to criticize the past: 1.Shamlou's poetry is political speech. 2.The rhythm he creates in his poetry comes from fragmenting phrases, which cannot be real music. On the other hand, he applies the classical kind of rhythm, which is not used in modern literature. 3.The archaic style he applies can't convey today's life throughout the poetry. 4. In his love poems, he describes his lover as a nurse, mother, or paragon of patience, which cannot be practical in real life. The portrait of women in Shamlou's poetry is narrated from a male-dominated point of view. 5. He applies the eloquence of 11th-century prose, which sounds obsolete and old-fashioned now. Rosa Jamali's poems have been translated into various languages: English, French, German, Swedish, Turkish, Italian, Dutch, Spanish, Arabic, Kurdish, Hebrew, Hindi, Bengali, Vietnamese, Urdu, Czech, Slovenian, Esperanto, and more. Among her translators are the distinguished Rumi Scholar, Franklin Lewis, and the British acclaimed poet and prominent scholar of THE BOOK OF KINGS, Dick Davis. She has also translated a number of world poets into Persian. Among them are William Butler Yeats, Henry Wadsworth Longfellow, Alfred Lord Tennyson, Dorothy Parker, Sylvia Plath, Emma Lazarus, Ted Hughes, Adrienne Rich, Allen Ginsberg, Roger McGough, Louise Gluck, Hilda Doolittle, Edith Sitwell, T.S. Eliot, and William Shakespeare. THE SHADOW is a play by Rosa Jamali. The police are looking for a murderer, a woman who has supposedly killed her husband. Later, the police find eleven women who are quite alike. The setting is a room. Two women, dressed in black and covering their hair with black headscarves, confront each other in one spot. They were born on the same day and share the same name. They both married a man named Parviz. A challenge of identity forces them to kill each other. In the last scene, a third woman, identical to the previous two, enters the same room and finds a piece of paper which says: ‘The police have arrested 13 women who are quite alike, but two have been found dead.' Regarding the issues of women in Iran, THE SHADOW questions polygamy, which is quite prevalent and legal, and intensifies women's obstacles in society. The play happens in a metaphoric setting of a house and puts doubt on cliché roles of women endorsed by the society: housemaker, cook, babysitter, beauty queen and so.... ‘Women against Women' is a frequent attitude taken by the male-dominated society to suppress them. In terms of style, the play diverges between different genres and can be categorized as absurd, tragicomedy, or crime. The English translation of Ghazaleh Alizadeh's novel THE HOUSE OF THE EDRISIS is among her other works. Jamali has participated in many poetry festivals and literary events worldwide: 2006: Rotterdam the Netherlands, Poetry recitation and talk. 2013: Gothenburg poetry festival, she recited her poetry and delivered a lecture on the image of contemporary Iranian women in Literature in Pen Stockholm. 2014: A guest poet in different Persian study centers in the United States like Chicago University, Colombia University, Iranica Centre, UCLA, University of Arkansas, Maryland university, George Washington University, Library of Congress, and... Acknowledged as an alumnus of WORLD LEARNING by State Department. 2015: Poetry Reading and talk on IRAN IN WRITING at the British Library following a Panel Discussion with Ahamad Karimi Hakkak; a prominent Persian Literature Scholar and Daljit Nagra; British acclaimed Poet 2016: Poetry reading and talk on Poetry and Ecology on Persian Poetry, invited by Green India Organization 2017: Talk on Post-revolutionary Persian Poetry, St. Andrews University Scotland 2019: India's Asian Biennial of poetry 2020: Kosovo International festival 2022: Medellin Poetry Festival of Colombia She is a poetry Judge in so many poetry awards inside the country. Rosa Jamali's works have been subject of numerous University thesis and Scholarly articles in Persian. Rosa Jamali's Works: Poetry: -This Dead Body is not an Apple, it's either a Cucumber or a Pear,1997 -Making a Face,1978 -Making Coffee to Run a Crime story,2002 -The Hourglass is Fast Asleep,2011 -Highways Blocked,2015 -Here Gravity is Less,2019 -This is not a Persian Script,2023 Plays: -The Shadow, Premiered 2014 Translations into Persian: -Sailing to Byzantium, Selected poems of William Butler Yeats -Tomorrow and Tomorrow and Tomorrow (a selection) , William Shakespeare -Edge, An anthology of English Poetry in Persian (Ted Hughes, Ezra Pound, Sylvia Plath, Hilda Doolittle, Emily Dickinson, Adrienne Rich, Stevie Smith, Allen Ginsberg, T.S. Eliot, Joseph Brodsky, Rupert Brooke, Edith Sitwell, Robert Frost, Louise Gluck, Emma Lazarus, Henry Wadsworth Longfellow, Sudeep Sen, Roger McGough, Walt Whitman and many others...) -Tulips, Ten Female Poets in English (Natasha Trethewey, Solmaz Sharif, Louise Gluck, Emma Lazarus, Sylvia Plath, Hilda Doolittle, Emily Dickinson, Adrienne Rich, Stevie Smith, Edith Sitwell) -The Wild Iris, Selected Poems of Louise Gluck -A Certain Lady, Selected Short stories and Poems, Dorothy Parker -Words, Selected Poems, Sylvia Plath -The Fir Tree, Hans Christian Andersen -Sand and Time, Selected Poems of Amir Or -Congo Boy, an African Folk Tale; retold by Mollie Clarke Translations into English: -The House of The Edrisis; Ghazaleh Alizadeh, translation from original Persian into English Essays: -Revelations in the Wind (A Discussion on Poetics of Persian Poetry) SOURCE: Iran's National Library: https: //opac.nlai.ir Wikipedia)

The Best Poem Of Rosa Jamali

The Angles Of The Frame

The Angles of the Frame
A Poem by Rosa Jamali
Translated from original Persian into English by the Author

1
Many years have passed since that day,
I looked at my aged wrinkled face into the mirror
My secrets are revealed to the pebbles
And bulging sands of the seashore
Many years have passed since that day!


2
This is a tale of my sealed blood vessels that you can never see!

3
The bull I breast-fed for many years
And I embedded myself into the frame.

4
I knew it wasn't easy to find the cause,
It wasn't going to happen this way
Weird and creepy!
And we didn't have a clue
There's no justification on what happened
Even nature is confused with what happened!
For many years we have been bewildered by that.

5
An Island has remained from that vast land
And we settled in that
Nobody showed us the direction
And we got lost in the dead-end alleys
There were just some sketches on the map
If you want to draw a curve, you won't need a compass.

6
Horse pounding pulse sing endlessly in my blood
My kinsmen of horses, my blood connections
Patterns hook into the rays of that curve
There's a colossal tree
Growing its roots on the roof and top storey.

7
We can't help the hands going clockwise
We never go backward to the broken seconds
The days have been arranged one after another
And the knights have left the game one after another.

8
The straw mat you lay down on that and dragged you to sleep
I fell into the habit of this dull house.
Was something supposed to get away from the center of the earth
to join us?

9
A century has passed
And we are still left in this house.


10
Dimensions of the past have shifted
And It's not just up to the color of ceiling
New characters approved us as the residents of the house
And our own ran away like convicts
And we got used to the standstill.

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