Shadow

Mariam Meetra
Translated from the Persian by Sabrina Nouri & Samantha Cosentino

Every morning
life spills across the floor of the room
like the shadow of a nameless woman in agony
lost at a dead end
I find myself standing each new day
shoulder to shoulder with a sadness that
permeates the walls
turns a key in my head
and plays havoc with the beat of time

At a midday deadlock
at the confluence of doubt and distance
face-to-face with myself
I gather up life from the brimming room
take it onto the streets
into the crowds
where every day
a small piece of it leaves me

 

سایه

هر صبح
زندگی پخش میشود بر کف اتاق
چون سایهی ناشناس زنی نگران
راهگمکرده در بنبست
من هر صبح میایستم
شانه به شانهی اندوهی که
میتواند از دیوار بگذرد
کلید بچرخاند در سرم
و نبض زمان را در هم بریزد

در بنبست نیمهروز
در تالقی تردید و بیگانگی
رو به روی خویش میایستم
و زندگی را جمع میکنم از ازدحام اتاق
به خیابان میبرم
میان آدمها
و هر روز تکهای از آن گم میشود.

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Mariam Meetra is a researcher, journalist and poet. She received a bachelor’s degree in journalism and a master’s in sociology from Humboldt University in Berlin, during which she was awarded a scholarship from the Heinrich Böll Foundation. She is a research fellow at the Institute for Communication and Media Studies at Leipzig University. Previously, she was a Persian literary curator for Deutsche Welle and the Beethovenfest in Bonn. As a poet, Meetra has shared her readings at various European art and literature venues, including Literaturhaus Zürich, Literaturhaus Berlin, Literaturhaus Innsbruck, the Frankfurt Book Fair 2023 and the Leipzig Book Fair 2018 and 2025. Her first poetry collection, Life on the Margin, was published in Persian in Kabul in 2013. Her second poetry collection, Ich habe den Zorn des Windes gesehen, features poems in Persian and German and was published by Wallstein Publishing House in Germany in 2023. English translations of Meetra’s poems were recently published in Los Angeles Review. Her poems have appeared in numerous anthologies in Germany and have been translated into English, Arabic and Norwegian.

Sabrina Nouri was born to an Afghan father and a French mother, Sabrina’s upbringing first in Kabul and then in Paris made her attuned to the challenge of creating gateways between languages and cultures. She holds a Master’s degree in Language Arts and Communications and a BA in Iranian Studies from the Sorbonne University. Sabrina has brought various novels by Atiq Rahimi into French; the first was subsequently translated into 25 languages and made into a film, while the second one was awarded the Amedée-Pichot Prize for best foreign translation. Sabrina’s French translation of Khosraw Mani’s novel Marg wa Berâdarash, “La Mort et son Frère,” won the Inalco Prize for best foreign translation. Most recently, “La Frontière des Oubliés”, Sabrina’s French translation of Aliyeh Ataei’s novel Koorsorkhi, became the first work by an Iranian-Afghan author to be published in Gallimard’s prestigious collection Du Monde Entier. As a consultant for UNTOLD, Sabrina is dedicated to coaching a new generation of translators in Afghanistan and around the world.

Samantha Cosentino was born in Argentina and raised bilingually in California, Samantha Cosentino explores the interior and exterior landscapes of migration, home, and identity in her creative work. Cosentino holds an MFA in Creative Writing and has taught most recently at San Francisco State University. Her poetry and translations have been published by Asymptote, New American Writing, Two Lines Press, and are forthcoming in World Literature Today and elsewhere. Cosentino lives in the San Francisco Bay Area where she writes, translates, and works in education.

Hair on Fire: Afghan Women Poets
Two Lines Press

Five female Afghan poets wield language to combat the loneliness, absurdity, and claustrophobia of life in a war-torn country and its diaspora.

Five female Afghan poets wield language to combat the loneliness, absurdity, and claustrophobia of life in a war-torn country and its diaspora. There are long hypnotic beards tangled with mass extinctions; hateful men burning grapevines; black blindfolds; jinn in chadors; and condoms advertised every eight minutes on TV. Interspersing these are tender moments: one poet describes brushing her daughter’s hair, while another imagines a tree growing at the center of a room, undisturbed by the bombs outside. In the wake of the Taliban’s escalating war on Afghan women’s rights, Hair on Fire is a blazing tribute to a group of exceptional poetesses and a reminder of what we lose when voices are silenced.

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