Two Poems
For my homeland:
[ Mehr Alley, Number 20, Khorramshahr1 ]
I’m collecting signatures.
To save my beloved
[violated for thirty years in Iran
for ten years in London
and, since 1979, in San Francisco]
I’m collecting signatures.
For Bostan2—
For Sabriyeh3—
[the milkmaid, who, together with her cow, were raped in the war]
I’m collecting signatures.
For the captive soldiers
[mowed down by an enraptured boy with a machine gun]
For Hosna4—
[buried beneath her own hair]
For Badriyeh5—
[when she laughed…
the mulberry tree
mulberries
mulberries
would rain down
and its branches standing erect]
I’m collecting signatures.
For Safa Bazaar6—
[where Impressionism and Expressionism poured from]
Where is Picasso
to paint this Guernica?
For the river, river, river—
For the water, water, water—
For the wind, wind, wind—
And for you, my lofty love: the palm tree—
I’m collecting signatures.
For the beautiful brothels of Abadan—
For Genie Qazvini7—
For Azam Rashti8—
For Ali Ferry9—
For all those beautiful prostitutes—
I’m collecting signatures.
For all the cafés by the river
I’m collecting signatures.
and I ask all the cafés
on every shore in the world
to go on a dry strike for the riverside cafés of Khorramshahr.
For the voice of Hamed the farmer, at noon, in Khorramshahr’s mysterious gardens—
For the enraptured nightingales—
For the gentle doves—
For the Shabbūts10 of Karun11—
For Barzam12—
For the hues of Shanak13—
For the balancing force of water: the shark—
I’m collecting signatures.
For the southern coming-of-age
[this lust-tormented mad one
this 500,000 voltage]
I’m collecting signatures.
For the dung of Soulah’s14 mules
in the scorching alleys of Dorrah15
For the horny women
[who no longer flutter with longing]
I’m collecting signatures.
For Mashoueh16 and Gargour17 and
the flowing blue of river, estuary, and gulf—
For the scorching white of the southern sky
at eleven in the morning—
I’m collecting signatures.
For the line of Moeidis18—
For their unique body shape
upon the horizon of Khorramshahr at sunrise and sunset—
For the now-silent tremor
of their lips, their breasts, their buttocks—
I’m collecting signatures.
(For the rain of my present tears, that you see
For myself
[who is going mad in absence of all these above]
O God!
For myself
I’m collecting signatures.)
For the singing school of Zouries19
[these ballerinas of my blue river]
circling the carcass of a killed-in-action shark
[this predatory mind of the water]
I’m collecting signatures.
For—
For—
For—
For the rest of my poem—
I’m collecting signatures.
And I send the petition
to the Headquarters of Silence.
For none of you
I’ll collect signatures.
Footnotes
1 Khorramshahr holds a poignant place in the Iran–Iraq War, being the first Iranian city to fall to Iraqi forces and suffering immense destruction. Its prolonged occupation and eventual liberation symbolize both the war’s devastation and Iranian resilience. As a port city located on the Persian Gulf, it’s also notable for the Karun River flowing through it. The city experiences an extremely hot and humid, tropical climate. (return to text)
2 A street’s name in Khorramshahr. (return to text)
3 An individual’s name. (return to text)
4 An individual’s name. (return to text)
5 An individual’s name. (return to text)
6 Safa Bazaar is a traditional and historic market in Khorramshahr that was mainly ruined by bombs during the war. (return to text)
7 An individual’s name. (return to text)
8 An individual’s name. (return to text)
9 An individual’s name. (return to text)
10 A kind of fish. (return to text)
11 Karun is a river that flows through Abadan and Khorramshahr. (return to text)
12 A kind of fish. (return to text)
13 A kind of fish. (return to text)
14 In the dialect of the people of Khorramshahr and Abadan, “soulah” means “stable.” (return to text)
15 Dorrah was one of the oldest neighborhoods of Khorramshahr, located on the banks of the Karun River. This neighborhood is well-known and holds a special place in the memories of the people of this city. (return to text)
16 A mashoueh is a long rowing boat. (return to text)
17 A gargour is a fish trap made of mesh (netting). (return to text)
18 Moeidi is a well-known tribe that mainly lives in Khorramshahr and Abadan. (return to text)
19 Zouri is a small and local fish that is found in the rivers and wetlands of Khorramshahr and Abadan. (return to text)
[original text]
امضا جمع میکنم
عدنان غریفی
برای خرمشهر امضا جمع میکنم
برای میهنم:
کوچهٔ مهر
پلاک ۲۰
خرمشهر
برای نجات معشوقهام
که سی سال در ایران به او تجاوز شد
و ده سال در لندن
و از ۱۹۷۹ در سانفرانسیسکو
امضا جمع میکنم
برای «بستان» امضا جمع میکنم
برای «صبریه» شیرفروش
که در جنگ به او و گاوش یکجا تجاوز شد
امضا جمع میکنم
و برای سربازان اسیر
که به رگبار مسلسل پسربچهای مفتون درو شدند
برای «حسنا» که زیر گیسوان خودش مدفون شد
برای «بدریه»
که وقتی میخندید
درخت توت
توت
توت
میبارید
و شاخههایش نعوظ میشدند
برای «بازار صفا» امضا جمع میکنم
که امپرسیونیسم و اکسپرسیونیسم
از آن میبارید
(پیکاسو کجاست
تا این گئورنیکا را نقش زند؟)
برای شط شط شط
برای آب آب آب
برای باد باد باد
و برای تو
عشق رفیع من: نخل
امضا جمع میکنم
برای جندهخانهٔ زیبای آبادان
برای «ژنی قزوینی»
برای «اعظم رشتی»
برای «علی فِری»
برای آنهمه جندهٔ زیبا
امضا جمع میکنم
برای همهٔ کافههای لب شط
امضا جمع میکنم
و از همهٔ کافههای همهٔ سواحل دنیا میخواهم
برای کافههای لبِ شطِ خرمشهر
اعتصاب خشک کنند
برای صدای «حَمَدِ» فلاح
در باغهای مرموز خرمشهر، وقت ظهر
برای بلبلهای شیدا
برای فاختههای مهربان
برای «شَبّوط[۱]»های کارون
برای «بَرزَم[۲]»
برای رنگهای «شانَک[۳]»
برای نیروی تعادل آبها: کوسه
امضا جمع میکنم
برای بلوغ جنوبی
این تشبهجانگرفتهٔ مجنون
این ولتاژ ۵۰۰۰۰۰
امضا جمع میکنم
برای سرگین قاطرهای «صولِح»
در کوچههای تفتهٔ «دُره»
برای زنان حشری
که دیگر پرپر نمیزنند
امضا جمع میکنم
برای «ماشوه[۴]» و «گرگور[۵]»
و آبیِ سیالِ رود و شط و خلیج
برای سفیدِ تفتهٔ جنوب: آسمان
در ساعت ۲۳ ظهر
امضا جمع میکنم
برای صف «معیدیها[۶]»
برای هیکل تکِ آنها
در افق خرمشهری
وقت طلوع و غروب آفتاب
برای لرزش اینک خاموش لبها و پستانها و کفلهاشان
امضا جمع میکنم
(برای باران گریهٔ اینکِ من
که میبینی
برای من
که در فراق اینها دارم دیوانه میشوم
ای خدا!
برای خودم
امضا جمع میکنم)
برای گلههای همسرایان «زوری»
این بالرینهای شط آبی من
دور لاشهٔ کوسهٔ مرده از جنگ
این شعور درندهٔ آب
امضا جمع میکنم
برای…
برای…
برای…
برای بقیهٔ شعرم
امضا جمع میکنم
و طومار را به ستاد سکوت میفرستم
برای شماها
امضا جمع نمیکنم
****
۱ نوعی ماهی
۲ نوعی ماهی
۳ نوعی ماهی
۴ ماشوه: قایق پارویی بلند
۵ قفسهای ماهیگیری ساختهشده از توری
۶ گاومیش
Khorramshahr and Free-for-All Coffins (Without Lids and Bodies)
by Behzad Zarrinpour
When my hand couldn’t reach the bell,
I used to knock on the door.
Now my hand can reach the bell—
but there’s no door left to knock on.
I look back:
A day or two before the recess bell,
the “Children’s Program” had just ended.
As always, we took the ball outside,
when a long, eerie whistle
stopped our game,
silencing the sparrows,
and somewhere, an unborn child dropped to the ground.
The Karun paused for a moment under the bridge,
and we were summoned to a new game—
now, balls would catch fire instead of scoring goals.
Even the sparrows tore down their nests.
We gathered up our kites.
The grown-ups fell silent.
After that,
no one ever laid out a tablecloth under a roof.
I take off my shirt:
the Karun doesn’t recognize me anymore.
Its bitter current
carried swollen bodies
out of memory and into the sea’s forgetfulness—
as if this river brings nothing
but mourning.
I look back:
They pulled the crossed-out school janitor,
from beneath the rubble—
one hand holding a wrinkled map of Iran,
the other a handkerchief
left from local dances and weeping.
And we, with all our trembling fear,
couldn’t help but be happy about school being closed “Until Further Notice.”
A new calendar was placed on every desk—
every day marked in red: “Until Further Notice.”
I go to tend the grief-stricken palm trees;
they ask for rope—
their shoulders burned longing for swings—
even now, every Friday,
they dust off their own shadows.
I look back:
to endure.
The wind fills the city’s lungs
with the scent of ruin.
No one shields themselves from the sun’s reproach
beneath the unsteady kindness of a wall.
Empty promises.
Stomachs are filled not by bread, but by bullets.
And bankrupt salt sellers
who sent their sacks to the front lines
to use as bunker walls.
Terror seized Grandmother’s tongue—
she could no longer say her forgotten prayers.
Those just a little older than us
picked up rifles and simple hopes,
and for our faded colors and lost dreams
marched all the way to the border of rain and madness—
and after a few bullets,
they left, carried out in broken lines of mourning.
And we, with no rhyme left to lose,
invented our own free verse laments.
While Mother locked the door,
Father opened the birdcage.
But the collared dove
flew by the trees, unconcerned…
This was the beginning of our exile
and the rationing of the moon,
the long, restless nights
beneath tents too small
for all the displaced dreams we carried.
In those early days,
everyone set up their tents and prayers, half-heartedly.
Wherever they went,
they took their house keys with them—
forgetting no one poured water after us
when we left the city alone.
All these years,
my heart became hard as iron—
nothing could take it from me
except my childhood neighborhood.
But now, how could I
run with my head in the clouds
through alleyways laid with mines?
How could I mischievously leap
over the fire
meant only for burning, not for play?
How many excuses I invent!
I, who for so many years
dreamed in poverty and humility,
never letting anyone
hold a single coin against my name.
All I want
is to save my pocket change for a piggy bank—
but this time, to fill it with bullets and wheat.
This time…
The voice of the wind arrives—
I feel it loaded with unspoken words.
I wet my finger
and, aimless, follow the wind…
Clocks forever lagging behind.
Recess bells rusting in the playground.
Fences torn away.
Dud seeds.
Palms in distress.
Dolls dressed in identical military uniforms.
Bank accounts running with blood.
Free-for-all coffins without lids and bodies.
Wingless gables.
Drainpipes blocked at the breaking point,
still promising the alley some chance of rain.
Windows left open.
Walls crumbled.
And alleyways so crushed
they no longer dream of rising—
as if they had never known the light.
O beautiful, mud-laden Karun,
tell your wave-tossed fish
to come keep company
with the grieving boats at your shore.
The fossils of broken dances
are never carried
out from under the fallen bridge
into any museum.
[original text]
خرمشهر و تابوتهای بیدروپیکر
بهزاد زرینپور
ﺁﻥ ﻭﻗﺖﻫﺎ ﮐﻪ ﺩﺳﺘﻢ ﺑﻪ ﺯﻧﮓ ﻧﻤﯽﺭﺳﯿﺪ
ﺩﺭ ﻣﯽﺯﺩﻡ
ﺣﺎﻻ ﮐﻪ ﺩﺳﺘﻢ ﺑﻪ ﺯﻧﮓ ﻣﯽﺭﺳﺪ
ﺩﯾﮕﺮ ﺩﺭی ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ.
ﺑﺮ ﻣﯽﮔﺮﺩﻡ:
ﯾﮑﯽ ﺩﻭ ﺭﻭﺯ ﻣﺎﻧﺪﻩ ﺑﻪ ﺯﻧﮓﻫﺎﯼ ﺗﻔﺮﯾﺢ
«ﺑﺮﻧﺎﻣﻪﯼ ﮐﻮﺩﮎ» ﺗﺎﺯﻩ ﺗﻤﺎﻡ ﺷﺪﻩ
ﻭ ﻣﺎ ﻣﺜﻞ ﻫﻤﯿﺸﻪ ﺗﻮﭖ ﺭﺍ ﻣﯽﺑﺮﯾﻢ ﮐﻪ…
ﻃﻨﯿﻦ ﮐﺸﺪﺍﺭ ﺳﻮﺗﯽ ﻏﺮﯾﺐ
ﺑﺎﺯﯼ ﺭﺍ ﻣﺘﻮﻗﻒ ﮐﺮﺩ
ﺻﺪﺍﯼ ﮔﻨﺠﺸﮏﻫﺎ ﺭﺍ ﺑﺮﯾﺪ
ﺟﻨﯿﻦ ﮐﺎﻝ ﺯﻧﯽ ﺑﺮ ﺯﻣﯿﻦ ﺍﻓﺘﺎﺩ
ﮐﺎﺭﻭﻥ ﯾﮏ ﻟﺤﻈﻪ ﺯﯾﺮ ﭘﻞ ﺍﯾﺴﺘﺎﺩ
ﻭ ﻣﺎ ﺑﻪ ﺑﺎﺯﯼ ﺟﺪﯾﺪی ﺩﻋﻮﺕ ﺷﺪﯾﻢ
ﮐﻪ ﺗﻮﭖﻫﺎﯾﺶ ﺑﻪ ﺟﺎﯼ ﮔﻞ ﺁﺗﺶ ﻣﯽﺷﺪﻧﺪ
ﮔﻨﺠﺸﮏﻫﺎ ﻻﻧﻪﻫﺎﯾﺸﺎﻥ ﺭﺍ ﭘﺎﯾﯿﻦ ﺁﻭﺭﺩﻧﺪ
ﻣﺎ ﺑﺎﺩﺑﺎﺩﮎﻫﺎﯾﻤﺎﻥ
ﻭ ﺑﺰﺭﮔﺘﺮﻫﺎ ﺻﺪﺍﯾﺸﺎﻥ ﺭﺍ.
ﺍﺯ ﺁﻥ ﭘﺲ ﺩﯾﮕﺮ
ﺯﯾﺮ ﻫﯿﭻ ﺳﻘﻔﯽ ﺳﻔﺮﻩ ﭘﻬﻦ ﻧﺸﺪ.
ﭘﯿﺮﺍﻫﻨﻢ ﺭﺍ ﺩﺭ ﻣﯽﺁﻭﺭﻡ
ﮐﺎﺭﻭﻥ ﻣﺮﺍ ﺑﻪ ﺟﺎ ﻧﻤﯽﺁﻭﺭﺩ
ﺭﻓﺘﺎﺭ ﺗﻠﺦ ﺁﺏ
ﺍﺟﺴﺎﺩ ﺑﺎﺩ ﮐﺮﺩﻩ ﺭﺍ
ﺍﺯ ﺫﻫﻦ ﺍﻭ ﺑﻪ ﻓﺮﺍﻣﻮﺷﯽ ﺩﺭﯾﺎ ﺭﯾﺨﺘﻪ
ﺍﻧﮕﺎﺭ ﺟﺰ ﻣﺎﺗﻢ ﺍﺯ ﺍﯾﻦ ﺭﻭﺩ ﭼﯿﺰی ﻧﻤﯽﺗﻮﺍﻥ ﮔﺮﻓﺖ.
ﺑﺮ ﻣﯽﮔﺮﺩﻡ:
ﺑﺎﺑﺎﯼ ﺧﻂ ﺧﻮﺭﺩﻩﯼ ﻣﺪﺭﺳﻪﻣﺎﻥ ﺭﺍ
ﺍﺯ ﺯﯾﺮ ﺁﻭﺍﺭ ﺩﻓﺘﺮ ﺑﯿﺮﻭﻥ ﻣﯽﮐﺸﻨﺪ
ﺩﺭ ﯾﮏ ﺩﺳﺘﺶ ﻧﻘﺸﻪﯼ ﺍﯾﺮﺍﻥ ﻣﭽﺎﻟﻪ ﺷﺪﻩ
ﻭ ﺩﺭ ﺩﺳﺖ ﺩﯾﮕﺮﺵ
ﺩﺳﺘﻤﺎلی ﻣﺎﻧﺪﻩ ﺍﺯ ﺭﻗﺺﻫﺎ ﻭ ﮔﺮﯾﻪﻫﺎﯼ ﻣﺤﻠﯽ.
ﻭ ﻣﺎ ﺑﺎ ﮐﻤﺎﻝ ﻭﺣﺸﺖ ﻭ ﺑﻐﺾﻫﺎﯼ ﻃﺒﯿﻌﯽ
ﻧﻤﯽﺗﻮﺍﻧﺴﺘﯿﻢ ﺍﺯ ﺗﻌﻄﯿﻠﯽ ﻣﺪﺭﺳﻪ ﺗﺎ ﺍﻃﻼﻉ ﺛﺎﻧﻮﯼ ﺧﻮﺷﺤﺎﻝ ﻧﺒﺎﺷﯿﻢ
ﺭﻭﯼ ﻣﯿﺰﻫﺎﯼ ﻣﺎ ﺗﻘﻮﯾﻢ ﺟﺪﯾﺪی ﮔﺬﺍﺷﺘﻨﺪ
ﮐﻪ ﺗﻤﺎﻡ ﺭﻭﺯﻫﺎﯾﺶ ﺗﺎ ﺍﻃﻼﻉ ﺛﺎﻧﻮﯼ ﻗﺮﻣﺰ ﺑﻮﺩ.
ﺑﻪ ﺗﯿﻤﺎﺭ ﻧﺨﻞﻫﺎﯼ ﺳﺮ ﺧﻮﺭﺩﻩ ﻣﯽﺭﻭﻡ
ﻃﻨﺎﺏ ﻣﯽﻃﻠﺒﻨﺪ ﺍﺯ ﻣﻦ
ﭼﻘﺪﺭ ﺷﺎﻧﻪﻫﺎﯾﺸﺎﻥ ﺳﻮﺧﺘﻪ ﺩﺭ ﺣﺴﺮﺕ «ﺗﺎﺏ»
ﻭ ﻫﻨﻮﺯ ﺭﻭﺯﻫﺎﯼ ﺟﻤﻌﻪ، ﺳﺎﯾﻪﻫﺎﯾﺸﺎﻥ ﺭﺍ ﺗﻤﯿﺰ ﻣﯽﮐﻨﻨﺪ.
ﺑﺮ ﻣﯽﮔﺮﺩﻡ
ﮐﻪ ﺗﺎﺏ ﺑﯿﺎﻭﺭﻡ:
ﺑﺎﺩ، ﻣﺸﺎﻡ ﺷﻬﺮ ﺭﺍ ﭘﺮ ﺍﺯ ﺑﻮﯼ ﺍﻧﻬﺪﺍﻡ ﮐﺮﺩﻩ ﺍﺳﺖ
ﻫﯿﭻ ﮐﺲ ﺍﺯ ﻣﻼﻣﺖ ﺁﻓﺘﺎﺏ
ﺑﻪ ﻣﻼﯾﻤﺖ ﺑﯽﺍﻋﺘﺒﺎﺭ ﺩﯾﻮﺍﺭﻫﺎ ﭘﻨﺎﻩ ﻧﻤﯽﺑﺮﺩ
ﻭﻋﺪﻩﻫﺎﯼ ﺗﻮﺧﺎﻟﯽ
ﺷﮑﻢﻫﺎﯾﯽ ﮐﻪ ﺟﺎﯼ ﻧﺎﻥ ﮔﻠﻮﻟﻪ ﻣﯽﺧﻮﺭﻧﺪ
ﻭ ﻧﻤﮑﯽﻫﺎﯼ ﻭﺭﺷﮑﺴﺘﻪﺍﯼ
ﮐﻪ ﮔﻮﻧﯽﻫﺎﯾﺸﺎﻥ ﺭﺍ ﺑﺮﺍﯼ ﺳﺎﺧﺘﻦ ﺳﻨﮕﺮ ﺑﻪ ﺟﺒﻬﻪ ﻓﺮﺳﺘﺎﺩﻧﺪ
ﻭﺣﺸﺖ، ﺯﺑﺎﻥ ﻣﺎﺩﺭﺑﺰﺭﮒ ﺭﺍ ﭼﻨﺎﻥ ﮔﺮﻓﺘﻪ ﺑﻮﺩ
ﮐﻪ ﻧﻤﺎﺯﻫﺎﯼ ﻧﺎﺧﻮﺍﻧﺪﻩﺍﺵ ﺭﺍ ﺩﺭﺳﺖ ﺑﻪ ﺟﺎ ﻧﻤﯽﺁﻭﺭﺩ
ﻭ ﺁﻥﻫﺎ ﮐﻪ ﺍﺯ ﻣﺎ ﮐﻤﯽ ﺑﺰﺭﮔﺘﺮ ﺑﻮﺩﻧﺪ
ﺗﻔﻨﮓﻫﺎ ﻭ ﺧﯿﺎلﻫﺎﯼ ﺳﺎﺩﻩﺷﺎﻥ ﺭﺍ ﺑﺮ ﻣﯽﺩﺍﺷﺘﻨﺪ
ﻭ ﺑﺮﺍﯼ ﭘﺲ ﮔﺮﻓﺘﻦ ﺧﻮﺍﺏﻫﺎ ﻭ ﺭﻧﮓﻫﺎﯼ ﭘﺮﯾﺪﻩﻣﺎ
ﺗﺎ ﻣﺮﺯ ﺑﺎﺭﺍﻥ ﻭ ﺩﯾﻮﺍﻧﮕﯽ ﭘﯿﺶ ﻣﯽﺭﻓﺘﻨﺪ
ﻭ ﭼﻨﺪ ﮔﻠﻮﻟﻪ ﺑﻌﺪ
ﻣﯿﺎﻥ ﻣﺼﺮﺍﻋﯽ ﺷﮑﺴﺘﻪ ﺗﺸﯿﯿﻊ ﻣﯽﺷﻮﻧﺪ
ﻭ ﻣﺎ ﮐﻪ ﺩﯾﮕﺮ ﻗﺎﻓﯿﻪﺍﯼ ﺑﺮﺍﯼ ﺑﺎﺧﺘﻦ ﻧﺪﺍﺷﺘﯿﻢ
ﻣﺮﺛﯿﻪﻫﺎﯼ ﺳﭙﯿﺪ ﻣﯽﺳﺮﻭﺩﯾﻢ
ﺗﺎ ﻣﺎﺩﺭ ﺩﺭ ﺧﺎﻧﻪ ﺭﺍ ﻗﻔﻞ ﮐﻨﺪ
ﭘﺪﺭ ﺩﺭ ﻗﻔﺲ ﺭﺍ ﮔﺸﻮﺩ
ﺍﻣﺎ «ﮐﺎﮐﺎ ﯾﻮﺳﻒ»*
ﺑﯽﺍﻋﺘﻨﺎ ﺍﺯ ﮐﻨﺎﺭ ﺩﺭﺧﺖﻫﺎ ﮔﺬﺷﺖ…
ﻭ ﺍﯾﻦ ﺍﺑﺘﺪﺍﯼ ﻏﺮﺑﺖ ﻭ ﺟﯿﺮﻩﺑﻨﺪﯼ ﻣﺎﻩ
ﻭ ﺍﻣﺘﺪﺍﺩ ﺷﺐﻫﺎﯼ ﺑﯽﺧﯿﺮ ﻭ ﭘﻨﺠﺮﻩ ﺯﯾﺮ ﺧﯿﻤﻪﻫﺎﯾﯽ ﺑﻮﺩ
ﮐﻪ ﺟﺎ ﺑﻪ ﺍﻧﺪﺍﺯﻩﯼ ﮐﺎﻓﯽ ﺑﺮﺍﯼ ﺧﻮﺍﺏﻫﺎﯼ ﺑﯽﺟﺎﯼ ﻣﺎ ﻧﺪﺍﺷﺘﻨﺪ
ﺭﻭﺯﻫﺎﯼ ﺍﻭﻝ
ﻫﻤﻪ ﻧﻤﺎﺯ ﻭ ﺧﯿﻤﻪﺷﺎﻥ ﺭﺍ ﺷﮑﺴﺘﻪ ﺑﺮﭘﺎ ﮐﺮﺩﻧﺪ
ﻭ ﻫﺮ ﺟﺎ ﻣﯽﺭﻓﺘﻨﺪ
ﮐﻠﯿﺪ ﺧﺎﻧﻪﺷﺎﻥ ﺭﺍ ﻫﻢ ﺑﺎ ﺧﻮﺩ ﻣﯽﺑﺮﺩﻧﺪ
ﯾﺎﺩﺷﺎﻥ ﺭﻓﺘﻪ ﺑﻮﺩ
ﮐﻪ ﭘﺸﺖ ﭘﺎﯾﻤﺎﻥ ﮐﺴﯽ ﺁﺏ ﻧﺮﯾﺨﺖ
ﻭﻗﺘﯽ ﺷﻬﺮ ﺭﺍ ﺑﺎ ﺧﻮﺩﺵ ﺗﻨﻬﺎ ﻣﯽﮔﺬﺍﺷﺘﯿﻢ.
ﺗﻤﺎﻡ ﺍﯾﻦ ﺳﺎلﻫﺎ
ﺩﻟﻢ ﯾﮑﭙﺎﺭﭼﻪ ﺁﻫﻦ ﺷﺪﻩ ﺑﻮﺩ
ﻏﯿﺮ ﺍﺯ ﻣﺤﻠﻪﯼ ﮐﻮﺩﮐﯽﺍﻡ
ﻫﯿﭻ ﭼﯿﺰ ﻧﻤﯽﺗﻮﺍﻧﺴﺖ ﺑﺮﺑﺎﯾﺪﺵ
ﺍﻣﺎ ﺣﺎﻻ ﺩﯾﮕﺮ ﭼﮕﻮﻧﻪ ﻣﯽﺗﻮﺍﻥ
ﺳﺮ ﺑﻪ ﻫﻮﺍ ﻣﯿﺎﻥ ﮐﻮﭼﻪﻫﺎ ﻭ ﻣﯿﺪﺍﻥﻫﺎﯼ «ﻣﯿﻦ» ﺩﻭﯾﺪ
ﻭ ﺑﺎ ﺷﯿﻄﻨﺖ ﺍﺯ ﺭﻭﯼ ﺁﺗﺸﯽ ﭘﺮﯾﺪ
ﮐﻪ ﺑﺮﺍﯼ ﺳﻮﺯﺍﻧﺪﻥ ﺑﺮﭘﺎ ﺷﺪﻩ ﺍﺳﺖ؟
ﭼﻘﺪﺭ ﺑﻬﺎﻧﻪ ﻣﯽﮔﯿﺮﻡ
ﻣﻦ ﮐﻪ ﺍﯾﻦ ﻫﻤﻪ ﺳﺎﻝ
ﭼﻨﺎﻥ ﻓﻘﯿﺮ ﻭ ﺳﺮﺑﻪ ﺯﯾﺮ ﺧﻮﺍﺏ ﺩﯾﺪﻩﺍﻡ
ﮐﻪ ﯾﮏ ﺭﯾﺎﻝ ﺑﻬﺎﻧﻪ ﺑﻪ ﺩﺳﺖ ﻫﯿﭻ ﮐﺲ ﻧﺪﺍﺩﻩﺍﻡ
ﻓﻘﻂ ﺩﻟﻢ ﻣﯽﺧﻮﺍﻫﺪ
ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﭘﻮلﻫﺎﯼ ﺗﻮﺟﯿﺒﯽﺍﻡ ﻗﻠﮏ ﺑﮕﯿﺮﻡ
ﺍﻣﺎ ﺍﯾﻦ ﺑﺎﺭ ﺍﺯ ﮔﻠﻮﻟﻪ ﻭ ﮔﻨﺪﻡ ﭘﺮﺵ ﮐﻨﻢ
ﺍﻣﺎ ﺍﯾﻦ ﺑﺎﺭ…
ﺻﺪﺍﯼ ﺑﺎﺩ ﺩﺭ ﻣﯽﺁﯾﺪ
ﺣﺲ ﻣﯽﮐﻨﻢ ﺣﺮﻑﻫﺎﯼ ﺯﯾﺎﺩی ﺑﺮﺍﯼ ﻭﺯﯾﺪﻥ ﺩﺍﺭﺩ
ﺍﻧﮕﺸﺘﻢ ﺭﺍ ﺧﯿﺲ ﻣﯽﮐﻨﻢ
ﻭ ﺑﯽﺟﻬﺖ ﺩﻧﺒﺎﻝ ﺑﺎﺩ ﻣﯽﻭﺯﻡ…
ﺳﺎﻋﺖﻫﺎﯼ ﻋﻘﺐ ﻣﺎﻧﺪﻩ
ﺗﻔﺮﯾﺢﻫﺎﯼ ﺯﻧﮓ ﺧﻮﺭﺩﻩ ﺩﺭ ﺣﯿﺎﻁ ﻣﺪﺭﺳﻪ
ﻧﺮﺩﻩﻫﺎﯼ ﺩﺭﻭ ﺷﺪﻩ
ﺑﺬﺭﻫﺎﯼ ﻋﻤﻞ ﻧﮑﺮﺩﻩ
ﻧﺨﻞﻫﺎﯼ ﺭﻭﺍﻧﯽ
ﻋﺮﻭﺳﮏﻫﺎﯾﯽ ﺑﺎ ﺁﺭﺍﯾﺶ ﻧﻈﺎﻣﯽ ﯾﮑﺪﺳﺖ
ﺑﺎﻧﮏﻫﺎﯾﯽ ﮐﻪ ﺧﻮﻥ ﺩﺭ ﺣﺴﺎﺏﻫﺎﯾﺸﺎﻥ ﺟﺎﺭﯾﺴﺖ
ﺗﺎﺑﻮتﻫﺎﯼ ﺑﯽﺩﺭ ﻭ ﭘﯿﮑﺮ
ﺷﯿﺮﻭﺍنیﻫﺎﯼ ﺑﯽﭘﺮ ﻭ ﺑﺎل
ﻧﺎﻭﺩﺍﻥﻫﺎﯼ ﮔﺮﻓﺘﻪﯾﯽ ﮐﻪ ﺩﺭ ﻣﺮﺯ ﺑﺮﯾﺪﮔﯽ
ﻫﻨﻮﺯ ﺍﺣﺘﻤﺎﻝ ﺑﺎﺭﻧﺪﮔﯽ ﺑﻪ ﮐﻮﭼﻪ ﻣﯽﺩﻫﻨﺪ
ﭘﻨﺠﺮﻩﻫﺎﯼ ﻭﺍﻣﺎﻧﺪﻩ
ﺩﯾﻮﺍﺭﻫﺎﯼ ﺷﮑﺴﺖ ﺧﻮﺭﺩﻩ
ﻭ ﮐﻮﭼﻪﻫﺎﯼ ﻟﻪ ﺷﺪﻩﯾﯽ
ﮐﻪ ﺧﯿﺎل ﺑﻠﻨﺪ ﺷﺪﻥ ﻧﺪﺍﺭﻧﺪ
ﺍﻧﮕﺎﺭ ﻫﯿﭽﻮﻗﺖ ﭼﺮﺍﻏﺎﻥ ﻧﺒﻮﺩﻩﺍﻧﺪ
…
ﮐﺎﺭﻭﻥ ﺧﻮﺵ ﮔﻞ ﻭ ﻻی
ﺑﻪ ﻣﺎﻫﯿﺎﻥ ﻣﻮﺝ ﮔﺮﻓﺘﻪﺍﺕ ﺑﮕﻮ
ﺑﺎ ﺑﻠﻢﻫﺎﯼ ﺑﻪ ﻣﺎﺗﻢ ﻧﺸﺴﺘﻪ ﮐﻨﺎﺭ ﺑﯿﺎﯾﻨﺪ
ﻓﺴﯿل ﺭﻗﺺﻫﺎﯼ ﻟﻪ ﺷﺪﻩ ﺭﺍ
ﺍﺯ ﺯﯾﺮ ﺁﻭﺍﺭ ﭘﻞ ﺑﻪ ﻣﻮﺯﻩ ﻧﻤﯽﺑﺮﻧﺪ…
Translator’s Statement
Over three decades ago, poems began to chronicle the devastation of Khorramshahr, a city scarred by the Iran–Iraq War. Lasting from 1980 to 1988, this devastating eight-year conflict was one of the most brutal and protracted military struggles of the 20th century, leaving an indelible mark on Iran.
A port city of immense strategic importance due to its location at the confluence of the Karun and Arvandroud rivers, Khorramshahr became a primary target. It fell to Iraqi forces on October 26, 1980, after a heroic thirty-four-day defense. Its liberation on May 24, 1982, marked a pivotal turning point in the war, transforming the city into a powerful symbol of unwavering resistance.
While exact figures are not available, this conflict created deep wounds, leaving behind thousands of dead among soldiers and civilians. The poems of that era are a powerful reflection of this bitter reality, and, above all, they focus on depicting the calamities, shocks, and immense suffering caused by the war.
Adnan Ghorayfi (1944–2023) was a prominent Iranian-Arab poet, translator, and short story writer, celebrated for his contributions to modern Persian literature in the 1960s and 70s. Born in Khorramshahr, he became a key figure in shaping “Southern Storytelling,” known for his socially conscious narratives and left-leaning perspectives. Ghorayfi cofounded the influential literary journal Jang-e Honar va Adabiyat-e Jonoob and, despite having faced imprisonment for his activism, continued his literary pursuits, including collaborating with Ahmad Shamlou on Khosheh magazine. After the 1979 revolution, he immigrated to the Netherlands, where he continued to publish acclaimed works such as Four Apartments in TehranPars and his translations of international authors.
Behzad Zarrinpour, born in Khorramshahr, Iran, in 1968, is an acclaimed contemporary Persian poet, editor, and journalist. He is widely considered a foundational figure of the avant-garde poetry movement of the 1990s in Iran, profoundly influencing many poets of that era. An award-winning poet, Zarrinpour began his professional literary career in 1986, with his influential collection I Wish the Sun Would Shine from All Four Directions, published in 1996. This poem stands as a poignant war poem, reflecting his deeply personal experience of his war-torn hometown.
Ali Asadollahi is an award-winning Iranian poet, translator, and editor based in Tehran and the author of six poetry collections in Persian. He is a member of the Iranian Writers’ Association and a recipient of the Iranian Journalists’ Poetry Prize. His work is forthcoming in Another Chicago Magazine, Blue Unicorn, the Columbia Review, Poetry Wales, and Third Coast, among others.








