Simin Behbahani
Simin Behbahani, her surname also appears as Bihbahani (née Siminbar Khalili; Persian: سیمین بهبهانی; July 20 1927 - August 19 2014) was a poet, lyricist, and activist from Tehran, Iran.
Quotes
Interview (2011)
translated from Persian by Nilou Mobasser, included in Iranian Writers Uncensored by Shiva Rahbaran (2012)
- Despite my age, I can almost say that I have never put pen to paper without worrying about censorship. The nightmare of censorship has always cast a shadow over my thoughts. Both under the previous state and under the Islamic state, I have said again and again that, when there is an apparatus for censorship that filters all writing, an apparatus comes into being in every writer’s mind that says: “Don’t write this, they won’t allow it to be published.” But the true writer must ignore these murmurings. The true writer must write. In the end, it will be published one day, on the condition that the writer writes the truth and does not dissemble. Of course, whenever censorship is stringent, most writers resort to metaphor and figurative and symbolic language. And this can help stimulate the imagination. But taking comfort from this fact doesn’t lessen the writer’s dream of attaining freedom.
- The Shāhnāmeh is the greatest epic in history. It is a treasure trove of ideas, wisdom, advice, help, guidance, and rites. With this immense work, Ferdowsi revived the spirit of serenity, magnanimity, and pride in the Iranian nation, which had lost itself under the weight of the Arab conquest of Iran. It empowered divided Iranian peoples to unite. Most of our poets, even those who worked as tyrannical kings’ eulogists, have used their poems to remind rulers of the right way to run the state, practice justice, and uphold the welfare of the people…In any age, writers have produced works which were in keeping with their society’s needs and which helped and guided the nation.
- the more sincere and intimate the relationship between a work and its reader, the better. So the countries that don’t have walls don’t need windows either, because the entire world is their field of vision and they can establish an unmediated relationship with their readers. I, in turn, envy them their free world.
- Being iconoclastic is only acceptable and desirable if the public—or at least a specific segment of society—is open to it. A literature that the public cannot relate to in any form will not endure. I have been iconoclastic, but I’ve never broken my ties with Iran’s past literature. No one can create a noteworthy work without knowing the tenets of their own language and literature. Language is renewed but it never changes its essence, because the contracts that have come about over time for communication cannot be rescinded so easily. It takes a thousand years before a word, among the thousands of words, dies away in a language or changes its meaning. Literature rests on language. It is a linguistic art. So it cannot sever its relationship with the past. But it can create new methods and styles that differ in structure, form, and content from the past.