Rasht
Written by Mahnaz Yousefi
Translated by Alireza Taheri Araghi 
Edited by Thade Correa 
Read by Christine Texeira 
Published 2/24/2013
remember now your heavy accent, Rasht
remember now our bodies drenched in the rain
that blew their tops at night
remember now your green hands
that are of that stinky gray ilk
no memorial left after the city
from Family Hospital1we arrived at Razi Hospital
with a fistful of veins and swallowed pills
with a woman in labor, with honking and pain as always
hey Rasht! 
with that heavy traffic near your anus 
dogs won’t understand your drivers’ sleepless nights 
truth is, Rasht, truth is 
when coupled cousins killed themselves in a family feud 
we had an eye for Siyahkal and Lahijan and other cities too 
we remembered Resalat Street 
and the ambulance now far from this damned place 
destroyed in vain by family distances 
city in vain with your four seasons suspended in rain 
truth is, we never belonged to you
no memorial left after you 
the pungent scents of Zarjoob2
the pungent scents of the bazaar 
we are afraid of mother’s breast that smelled of the fish seller 
we are afraid, Rasht 
many a wolf3 sniffs at you 
“wolf” was the paradoxical identity of your writer too 
had a distant relationship with the deceased 
but wouldn’t cease 
and what can make you know what men ended up deceased 
oh, what men! 
with all striped clothes in Lakan4
with every other sorry face of theirs behind the bars 
and what can make you know what crucial role the airport played 
like inflamed buttons of a sick breast 
with everlasting cancer and instinct and nature 
and what can make you know what it means that nature was blue at times 
you are alone with sands 
you are alone with kites 
hey Rasht, you were the North and yet you did not have a sea, Rasht 
did not have a sea, Rasht 
did not have a sea . . .
poor Father 
just that he planted Mozhdehi5 in your godforsaken place 
poor Father
          just that because of you he was unmanly 
 though he was a standing man
just that he is standing on Sepid River6
with a hanging tongue and a tail out of sight 
just that he is standing with his back to Tehran 
with a bone in the tooth and a bruised howl 
poor Father 
just that he didn’t know your map looks like the head and neck of a lonely dog 
just that forlorn 
just that mapless 
just that citizenless 
just that we are a few drags heavier than you
you can still Ali
you can still Hasan
Mitra Soheil Hooman Farzam
you can still          the neighbor’s kid 
Emad and Samira 
you can still          Saeed who was lonely in this damn place
only if there were a memorial left of you so we could pray for you 
only if you knew that nature was Lahijan which was high at times 
you should say hani instead of hande 
you should say tara instead of tebe7 
and use no verb other than fuck 
— How long is Amin taking shelter in your fucking place? 
you, 
stared, stoned 
withdrew with your anus
Amin was silent . . .
so many names names 
just that we crave names no more names 
with you nothing to do, Rasht 
with anyone else nothing to do, Rasht 
just that we have nothing to do we take to tension 
just that we take to tension we have nothing to do 
my dearest Rasht! 
with that ilk of yours sucking off the breast 
with the drinking struggle in the mouth 
with a couple of glasses of milk after the suicide pills 
we roamed through your pharmacies night and day 
and every time we were out of antidepressants 
we took to contraceptives 
and every time we were done 
we were pregnant 
we are afraid of postpartum depression 
you tell us you tell us what to do what to do with the orphanage we have in our wombs
you tell us you tell us what to do with the blood clots clots 
boy’s bulging arms 
girl’s full breasts 
and bits and bits of fetus pouring out of your threshold 
who were home alone? 
who was hugging their knees 
crying into the cuffs of their sleeve? 
who in the darkness were 
the destiny of the gloves in the closet?
who was it that announced the international blood day 
when we returned—mature— 
from the apartment bathroom to your streets 
too afraid to tell mother 
about the below-the-belt pains 
in the first unfinished municipal pot hole? 
who was it that walked in you friendless? 
only if there were a memorial left of you so we could pray for you 
and then come back with our back 
to the bona fide madmen of the bazaar 
back to the bona fide madmen 
back
to the bona fide madmen 
no memorial left of the city 
no memorial left of the city 
no memorial left of the city 
no memorial left of the city 
no memorial left of the city 
no memorial left of the city 
. . .
1 A maternity hospital in Rasht. [Note by the poet.]
2 Zarjoob is a river in Rasht, also neighborhood by the banks of it. Zarjoob is one of the two branches of Sepid (Persian for “white”) River.
3 [Originally varg,] Means “wolf” in the Gilaki language. Also a Gilaki writer’s pen name. [Note by the poet.]
4 A village in Gilan Province, Iran.
5 An orphanage in Rasht. [Note by the poet.]
6 Second longest river in Iran. It flows through Rasht and meets the Caspian Sea.
7 Hani (West Gilan) or hande (East Gilan) means “again,” and tara (West Gilan) or tebe (East Gilan) means “for you.” [Note by the poet.]
Listen to this poem:
Mahnaz Yousefi / Born 1989 in Rasht, Iran / Condolences to the Woman (Tehran / 2010) (Updated Feb. 2013)
Born and raised in Northwest Indiana, Thade Correa is a second-year MFA student in poetry at the University of Notre Dame. He has previously studied at the University of Chicago and Indiana University, Bloomington. His work has appeared in various literary journals, including The Aurorean, Ibbetson Street, and Modern Haiku, and he has recently been honored with the 2012 Billy Maich Academy of American Poets Award. He currently teaches creative writing at Notre Dame and is an editorial assistant for The Notre Dame Review. (Updated Sep. 2012)
Christine Texeira is an MFA candidate in fiction at the University of Notre Dame and received her Bachelor of Arts degree in English from Whitman College in 2010. Her thesis, a collection of short stories entitled Worrying Myself Sad, focused on the anatomy of magical realism, its necessity, and the exciting hints of such in primarily realist stories. While attending Whitman she participated in the Instant Play Festival, wrote a book column for The Pioneer and served as copy editor and prose editor on its two literary magazines, Quarterlife and blue moon, where her work was also featured. A former research publications intern at the British Museum, Christine is well-versed with ancient Etruscans and byzantine weights. She is a reader for NorthNorthwest and has most recently worked at Richard Hugo House, a nonprofit writers center in Seattle. (Updated Mar. 2013)
