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Farhad Mafie

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Books by Nader Naderpour

Naderpour published a large number of scholarly papers on Iran’s politics, culture, history, and literature in publications such as Iranshenasi, Mehregan, and Rahavard. He published many poems in various Iranian publications; in addition, he published ten volumes of his collected poems:

  • Eyes and Hands (Chashmha va Dastha), 1954 (1333)
  • Daughter of the Cup (Dokhtare Jame), 1955 (1334)
  • The Grape Poem (Share Angour), 1958 (1337)
  • Collyrium of the Sun (Sormahe Khorshid), 1960 (1339)
  • Not Plant and Stone, But Fire (Giyah va Sang na, Atash), 1978 (1357)
  • From the Sublime to the Ridiculous (Az Aseman ta Risman), 1978 (1357)
  • The Last Supper (Shāme Bāz Pasin), 1978 (1357)
  • False Dawn (Sobhe Doroughin), 1982 (1361)
  • Blood and Ashes (Khon va Khakestar), 1989 (1368)
  • Earth and Time (Zamin va Zaman), 1996 (1375)

Each of Naderpour’s collections includes an extensive essay in the form of an introduction or a preface that by itself is a valuable article addressing many key issues, for example, issues concerning modern Persian poetry, the responsibility of an artist, the historical background he used for his arguments, Iranian nationalism, and the concept of exile.

Naderpour's works have been translated into many languages:

  • Alan Lance and Shahrashoube Amir Shahi have translated his works into French (called Iran, Poesie et Autres Rubriques).
  • Professor Gilbert Lazard has translated his work into French.
  • Jina Labrio Lakarozo has translated some of Naderpour’s works into Italian.
  • Michael Craig Hillmann of the University of Texas has translated Sobhe Doroughin (False Dawn).

Naderpour’s works have also been translated into Russian, German, and other languages, and Naderpour in turn translated many famous Italian and French poems into Persian. While he was in Iran, with the help of Bijan Oshidi he published a collection of his translations of Italian poems (Seven Great Contemporary Italian Poets).

The Islamic Republic of Iran banned the publication of all Naderpour’s work in Iran, and distribution of his work in Iran is illegal.

The Hellman-Hammet prize (awarded to writers in exile whose works are banned in their own homelands) was bestowed upon Nader Naderpour by the Human Rights Watch Organization in 1993 (1371).

In the introduction to his tenth collection, Earth and Time, he wrote:

… Without a doubt the important thing is that the form of a poem should be capable of conveying the poet’s expressions to readers in his language, and more importantly that the content and the images of the poem remain in his or her countrymen’s memories, and be their sincere friend. …

Can I hope that, if not all, maybe some of my poems in exile will have these characteristics?

My question can be answered by Persian-speaking experts.

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