“It was Tomorrow:” On Postmodern Ghazal
Ghazal has been one of the most (if not the most) popular poetic genres throughout the centuries in the Persianate sphere, a reason of which might be found in its structural and thematic characteristics, where “universal” themes, religious or secular, are subtly blended and expressed succinctly in no more than eight lines. With its universal themes, alleged fixed format, and stock imageries and metaphors ghazal is a seeming constant in the altering contexts in which it is being (re)produced. In this paper, I study “postmodern ghazal” (نردم-تسپ لزغ), a literary trend that started as experimentation with indigenizing Postmodernism in early 2000s in Iran and is gradually gaining currency as a respected poetic genre today. I juxtapose this sub-genre with “classical ghazal” to explore the socio-literary trajectories of this poetic form and raise questions about genre and time, form and content, and religion and literature.