Ali Zarrin
Regis University

When the author refers to a new rupture in Persian literature or in Persian poetry called “Immigration Poetry,” he is not denying the fact that the subject of immigration is one of the oldest preoccupations in literature and poetry. A few cursory examples in this regard can be found as early as the immigration of Adam and Eve from Paradise to earth which also connotes their fall from grace, Odysseus's travel to many places and his final return to his family and home in Homer's Odyssey, and of course the notion of creation and origin in Navajo culture which is closely linked to migration. In other words, regardless of cultural differences, the idea of migration in literature is always closely linked to religious, national, and socio-political beliefs and tendencies. It is also an ever-present and largely influential element in all literature. Of course, these instances manifest themselves differently and often times are intertwined with exile and expulsion from one culture--whether executed with force, bullying, war, shame, pride and guilt that are associated with being forced to leave one's home, giving up one's so called natural habitat, or losing a war that one didn't even want to start.

The author speaks of a thematic approach to understanding the subject of immigration as it reflects itself in the literary or poetic works of the Persians. In other words, we are only talking about immigration as a theme in our literary history. It appears that we might be taking a leap when we cross over to another territory or preoccupy ourselves with what has become known as “immigration poetry”. The difference is that here we are no longer just talking about a subject matter but rather a form, a genre and ultimately a literary movement or trend. For the author, the discourse of immigration is itself a highly charged psychological locus in this type of poetry. Immigration is not just the subject but the motif, style, language, all the dynamic and mechanical devices and modus operandi of this type of poetry. This is why the author refers to this new species of poetry as a rupture-distinct from other species such as Nimaic or blank verse, etc. The author proposes that this rupture like any other significant ruptures in Persian poetry also perpetuates an already existing tradition of continuity and change. The immigration poet cannot, and in the author's opinion must not, overlook the long and rich history of Persian poetry just as the Indian School of poets and Nima built their poetry and their poetics with a great sense of endowment from the culture and history of Persian poetry.