By Sohrab Sepehri
Translated by Kazim Ali
With Mohammad Jafar Mahallati
Primary language on facing pages
52 pages plus end papers, (5.5" x 7" Paper)
Perfect bound chapbook
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About Sohrab Sepehri:
Sohrab Sepehri was born in 1928 on a journey between Kashan, his family's
home, and Qum. An acclaimed painter, Sepehri published eight books of poetry
during his lifetime and traveled widely throughout the world, including Europe,
South Asia, the Middle East, China and Japan, the United States and South
America. Many of his poems were influenced by his relationship with nature, and
his studies of Eastern philosophy and visual arts and were often composed in a
cadence similar to spoken language, considered a radical innovation at the time.
Sepehri died in 1980 and in Iran is considered to be one of the most important
poets of the twentieth century.
About Kazim Ali:
Kazim Ali is the author of numerous books of poetry, fiction and essays, including
most recently Bright Felon: Autobiography and Cities, Orange Alert: Essays on
Poetry, Art and the Architecture of Silence, and Fasting for Ramadan: Notes from
a Spiritual Practice. He teaches at Oberlin College in the Creative Writing and
Comparative Literature programs and in the Stonecoast MFA Program.
About Jafar Mahallati:
Mohammad Jafar Mahallati is currently Presidential Scholar in Islamic Studies
at Oberlin College. He served as Iran's ambassador to the United Nations from
1987 to 1989 and successfully negotiated a peace agreement to end the war
between Iran and Iraq. His scholarship has focused on Islamic and Sufi poetry
and most recently on the philosophy of friendship. Mahallati has published in The
New York Times, The Christian Science Monitor, the International Herald Tribune and other papers.
Praise for Water's Footfall:
There's modernism & then there's modernism—depending on where you are.
Sohrab Sepehri was in Iran, a modernist Muslim for whom the black stone of the
Kaaba was the sunlight in the flowers. He tried to invent a world in poetry and a
poetry in the world as had not been seen, oh, maybe since the Nishapur of Omar
Khayyam. He made it new, indeed—writing a poetry that is a geometry of breath
from which music grows, with its cargo of light. And it took someone of Kazim
Ali's lyrical powers to "English" Sepehri so that we can hear him today, loud and