Dina Nayeri in the New York Times:
“I take the first true measure of my body and decide that it’s shame, not sin, that’s unholy.” It’s 1955 Iran and Forugh Farrokhzad, a soon-to-be divorced mother, awakens to sex and art in Jasmin Darznik’s novel, “Song of a Captive Bird.” A few pages later, having begun an affair with a progressive Tehrani editor, Farrokhzad writes the poem that will make her both a symbol of female strength and a notorious “woman without shame,” as Persian mothers like to say. In it she confesses, “I’ve sinned a sin of pleasure / beside a body trembling and spent.” She doesn’t hide behind metaphor, and she isn’t the meek beloved of the old poems. She acts on her own desires. When she pines, it isn’t for a romantic savior but for a body. Tehran is scandalized.
Farrokhzad was Iran’s most celebrated — and controversial — female poet, and Darznik, the Iranian-born author of the memoir “The Good Daughter,” recreates her sexual and creative liberation while exploring the threat she posed to social order in prerevolutionary Iran. By the year of Farrokhzad’s debut, the “New Poetry” of Nima Yooshij and Ahmad Shamlou — both men — had made Iranian verse more accessible, freer in form and subject matter. But critics instantly denounced Farrokhzad as a silly girl, dismissing her work as an outgrowth of the national fascination with the hedonistic West, a trend Tehrani intellectuals called “Westoxification.”