Wole Adedoyin interviews Caroline Reddy: IHRAM Excels in Providing Artists a Platform to Express Themselves and Raise Awareness About Global Human Rights Issues

WA: WHY DO YOU WRITE?
REDDY: As someone who has battled an existential crisis most of her life, writing helps me understand who I am, and through writing, I am able to make sense of the world. I struggle with mental health issues (PTSD, depression and anxiety) and writing has become a therapeutic form of expression; becoming a poet has made me feel fierce and safe. I also write to be a voice for those who don’t have one: the teenager who is struggling with their own identity, a young woman who feels that she is being dismissed by her peers, or those who feel as if they are the only one experiencing emotional turmoil. I write to understand the human condition and to connect myself to others. As I process my own emotions I feel like I am helping others. This is why having a voice as a writer is so important to me.

WA: WHAT DOES BEING A WOMAN, A WRITER AND AN IRANIAN MEAN TO YOU?
REDDY:  I believe that all women need to have the right to stand up for themselves and support each other. I also believe that as an artist–and as a writer who was born in Iran–I have a responsibility to bring awareness to what is happening outside of my own bubble that I live in. This is the only way real change can occur–not only in Iran but in the entire world. I was fortunate enough to collaborate with friends/artists such as Azam Ali, ShivaJlayer and many other women in an Installation by Mohammad Barrangi. This artistic expression was created to help raise awareness for #womenlifefreedom #zandegiazadi. I also performed my first feature poetry reading and gave an artist talk on Playing in Wonderland with (VALA Gallery) hosted by Penny Thieme. The fact that I was able to collaborate with different artists (mostly women) throughout the world–using social media–says a lot about the power of community, artistic expression and the divine feminine energy. To me, being a woman means being a creative and balanced force in the world; a balance of the divine feminine and divine masculine. The philosophy that resonates with me is that this world is much healthier when there is a balance between the two–both of which coexist within every person, whether we are cisgender, transgender or nonbinary. I agree with the teachings that state
that right now the world is imbalanced with a need for much more influence from the divine feminine. I am humbled to get to play my part in helping manifest this balance and help birth a world with more gender equity and inclusivity, regardless of how we identify. For me being an Iranian writer also means bringing awareness to Iranian culture vatan–or homeland, beyond the perspective of the Persian diaspora. For example, my poem “Songs of Qoqnoos” in Iranian Women Speak (IHRAF, 2023) reflects the notion of the Persian new year, (Nowruz) and divine femininity.

WA: WHEN YOU START WRITING, DO YOU HAVE AN AUDIENCE IN MIND EITHER IN IRAN OR ELSEWHERE?
REDDY: My manuscript Shake the Atmosphere to Reclaim an Empty Moment (forthcoming from Pierian Springs Press, 2023) borrows heavily from so many different styles: confessional, African-Ghanaian-folklore, sci-fi, Zen Buddhism, Indian, Greek, Persian & Anglo Saxon mythology along with the Iranian diaspora. I am hoping that my writing reaches a broad and varied audience. When I write I ask the question—who has inspired me? What narrative do I want to give life to? What type of art has the ability to influence/move others? Musicians like Tori Amos, Abjeez, Azam Ali, Black Violin, Ibeyi,, Laura Veirsand Niyaz have been huge inspirations. Amanda Gorman’s Ted Talk: Using your voice is a political choice along with David Harbour’s art/activism speech, helps me believe that artists can change the world. Films like Arrival, Black Panther, Everything Everywhere All at Once, No One Knows About Persian Cats, Pan’s Labyrinth and Whale Rider give me hope that cinema can be more than just mere entertainment. Journalists such as Edward R. Murrow taught me about integrity. Plays like Hamilton helped me understand the power of hip-hop. Shows like The Good Place and Russian Doll have really inspired me to dig deep within myself to become a better person and a better artist. I truly believe that the purpose of great art and literature is to make the audience feel emotionally connected to the art that they are witnessing. I want to examine the human condition and allow for my voice to capture universal themes so that it can reach a wide audience.

WA: HOW DO YOU EXPLAIN YOUR CONTINUED AFFINITY TO IRAN AND GHANA?
REDDY: I have been exploring my identity and affinity through folklore and mythology, especially my Ghanaian heritage. As a children’s librarian I have read many stories about Anansi, and found the mythology of the “trickster” fascinating. At White Plains Public Library, where I host Book Bunch (a book club for kids,) I chose Tristan Strong Punches a Hole in the Sky, by Kwame Mbalia for Black History Month. The book is primarily about African mythology. I was also able to coordinate an African dance program at White Plains Public Library—for Black History Month and Juneteenth. My poem “The Lost Tribe” published by Deep Overstock really honors my Ghanaian ancestry. The Warrior archetype appears in my poetry frequently; that’s because the Ashanti tribe( my ancestors) were fierce warriors. When life becomes difficult I try to think of the mantra of the Ashanti warriors: “If I go forward I die. If I go backwards I die…better go forward.” Also engaging and promoting Iranian art has been something I have been doing since 2008. One of my favorite artists is Hamid Rahmanian, who works in the medium of shadow puppetry. Feathers of Fire and Songs of the North have had a huge influence on the title of my poem “Songs of Qoqnoos.” Qoqnoos is a mythical creature–similar to the phoenix. I wrote my poem “Songs of Qoqnoos” around spring time. The poem is about my own rise from the ashes, my time at Cafe Nadery (collaborating with artists such as Negin Moss and Haleh Javenshir) as well Nowruz–the Persian new year. When I wrote this poem I listened to the music of Feathers of Fire and watched clips and behind the scene footage from Songs of the North (original score written by Loga Ramin Torkian featuring vocalist Azam Ali.).

WA: CAN YOU TELL US A BIT ABOUT YOUR LANGUAGE BACKGROUND? DO YOU USE CERTAIN LANGUAGES FOR CERTAIN CONTEXTS?
REDDY: I was born in Shiraz, Iran in 1978, and lived in Tehran for the first eight years of my life. As a child I attended an International Pakistani school in Tehran - that taught English so English is my first language, and Farsi is my second language. When we left Iran–we lived in Paris, France for a month. However, I never learned how to speak Farsi, Twi (the official language of Ghana) or French. We have a small community of Afghani refugees where I work and I make sure to welcome them into the library. Even though Dari is a bit different from Farsi, I am still able to communicate with the families from  Afghanistan and they are always very appreciative. I know how difficult it can be to move to another country where at times you feel like you might not truly belong–which is something I have wrestled with my entire life. Even though I have been in New York most of my life, I always have this need or sense of longing for “vatan” or “homeland.” I have watched interviews with a lot of the artists I have mentioned to understand what an Iranian artist can offer during this turbulent time. I understand about 70-80% of the language so I use that to my advantage when I am researching & writing about Iran. For example in “The Basement of Tehran'' I use the words Azizam (my dear), madar (mother) and nahar-(lunch.) I often ask my mother and my Iranian friend for help in translations and or further exploration on certain phrases/sayings that I don’t fully understand so I can become more educated when I am writing about Iran.

WA: HAVE YOU READ/WORKED ON TRANSLATIONS OF YOUR WORK IN OTHER LANGUAGES, AND IF SO, HAVE YOU NOTICED DIFFERENCES IN HOW YOUR IDEAS ARE COMMUNICATED?
REDDY: I cannot read or write Farsi & I don’t know much about Twi but I would love to learn more. I honestly believe that’s why I delve into artistic expression so much–It has helped me feel connected to both my Iranian and Ghanaian heritage.

WA: IN WHAT WAYS HAS YOUR ROLE AS A TEACHER INFLUENCED YOUR WRITING?
REDDY:  One of my favorite classes that I have taught and will be teaching again in September with Tara O’ Brian & Eastern Shore Writers Association is “The Creative Breath: Unlocking your Intuition.” This class will focus on meditations and visualizations to help writers flow harmoniously with the creative force. One activity that I really enjoyed as a teacher in a public school setting was advising the philosophy club. The biggest compliment I ever received was from a teenager who said I reminded them of Robin Williams in Dead Poets Society. Around that time I had an epiphany: I don’t really fit the role of a  conventional classroom teacher so after some reflection I left teaching. Although I have great respect for teachers, I knew I could have a more profound impact on the world as a writer. Also the biggest lesson I have learned in the public library setting is to use my creativity-whether I am hosting a book club, a STEAM program or teaching creative writing for the younger kids, as long as I use my intuition and creativity, I will be able to flow with any activity.

WA: WHAT DO YOU THINK ABOUT THE RECEPTION OR UNDERSTANDING OF YOUR WORK IN IRAN VERSUS OTHER  COUNTRIES? WHAT DO YOU HOPE DIFFERENT AUDIENCES GLEAN FROM YOUR WORKS?
REDDY:  I am only one person (of many writers, artists and humanitarians) who are holding space for the young women, men and children/ نﺎﻛودﻛ whose voices have been silenced. I am hoping that what we have contributed to IHRAF through Iranian Women Speak gives some hope/light to the voices in Iran–especially those that are “anonymous” in the collection. Also, a few of my poems in my book Shake the Atmosphere to Reclaim an Empty Moment (forthcoming from Pierren Springs Press) are very much about the emotions surrounding what is occurring in Iran and my own identity as an immigrant.
“The Basement of Tehran,” is about nursing the inner child and my struggles with PTSD. “A Nightingale Reaches a Crescendo” was written after I heard several versions of the song Baraye By Shervin Hajipour–the most touching being a group of school girls reciting the song across a blackboard. The poem is also about my mother finally becoming supportive of my path as a writer. “Sorry that My Earthquake was so Profound,” is about rebelling against traditional female roles. “We’ve Brought the Apocalypse through the Walls,” reflects my state of mind after I ended a relationship during the time of #zanzendeiazadi. “Songs of Qoqnoos” (Iranian Women Speak) is about the phoenix of Iran, Nowruz, the Persian New Year, and having hope for a better future for my own personal love life and for a peaceful world–beyond Iran.
“When Whales Carry Our Destiny” is about the installation I participated in by Mohammad Barrangi. The poem is also about the heartbreaking wailing I heard (from footage in Iran) a mother found out that her son had been executed. I am proud that the women in Iran have been deemed as heroes by Time Magazine (2022.) They truly inspire me to live courageously and to use my writing for the greater good.
I also hope that different audiences around the world get to hear the stories of those brave young people who have stood up for their rights, those who have died and many who are still voiceless—that to me is the most important message of collections such as Iranian Women Speak.

WA: IS THERE SUCH A THING AS A LITERATURE OF HUMAN RIGHTS?
REDDY:   For me, I always wanted to be a writer but I didn’t know why. It wasn’t until I began to take my writing seriously (about two years ago) that I realized the stories that I truly loved were often either cultural and/or about human rights. A Tale for the Time Being by Ruth Ozeki, Persepolis, by Marjane Satrapi, Breath Eyes Memory, By Edwidge Danticat, Kite Runner, by Khaleed Hosseini and The Interpreter of Maladies, by Jhumpa Lahiri made me feel something in my soul beyond the academic works I read in college and grad school. I am also reading works from friends who have stepped into the role of activists: poets like Aldo Amparan, & John Compton, are bringing awareness to the LGBTQ community. Writers/poets such as Lorraine Currelley (an advocate and activist since the 1960’s) along with Rooja
Mohassessy continue to inspire me with their fierceness and honesty. These authors are shedding light on human rights issues, the human condition along with cultural identities. I think any time a writer combines these elements/themes, they are an activist.

WA:  WHAT BOOKS OR KINDS OF BOOKS DID YOU READ GROWING UP?
REDDY:   I was always a weird kid so horror was something that I read with fierce devotion. I am a huge fan of Stranger Things because it captures the type of books I read as a kid. I think I was and still am drawn to horror stories because for me it represents overcoming trauma/specifically childhood trauma.
I read a lot of horror–mostly Stephen King and Robert R. McCammon–who were both a huge influence in my early writing (I believe my ability to write in a confessional style stems from my horror background.) Later in life I began to read literary works of Jane Austen along with the Southern Gothic writers such as Carson McCullers, William Faulkner, Toni Morrisson and Flannery O’Connor. I was also
drawn to authors such as Albert Camus and Franz Kafka, along with writers from theater of the absurd—heavily influenced by existentialism. This was primarily what I read as a teenager and into my early adulthood.

WA: WHAT’S THE LAST THING YOU READ THAT CHANGED YOUR MIND ABOUT SOMETHING?
REDDY:   Two of the most fascinating poetry books I have read the past year have been the Castration of a Minor God by John Compton and Brother Sleep by Aldo Amparan. As a librarian, I am aware about censorship in libraries & education (especially of the LGBTQ community) and I want to advocate for the entire LGTBQ community. Reading their poetry made me empathize with their struggles (especially when it pertained to the notion of being an authentic person.) As an advocate/writer I want everyone to be heard–especially those who are outliers in the world. Aldo Amaparan’s poem, “Interrogation of the Sodomite” reminds the readers that homosexuality is still punishable by death in a few countries– and Iran is one of them. I am not a gay man, nor am I Mexican, however, Aldo’s struggles with being bullied and feeling like an outcast hit home. Both John Compton and Aldo Amparan have become influences in my writing and have helped me see that #zanzendegiazadi is just one of many issues that we are facing as a world.

WA: WHAT MAKES A TEXT POWERFUL: THE SUBJECT OR HOW IT’S WRITTEN?
REDDY:   I truly think that both a text and how the words are written makes the writing powerful. I love writing poetry because I feel like I can use a few words in a way that can be layered so that the piece can produce a powerful meaning. Poetry allowed me to really become hyper focused on not only what I was writing about but also how to connect to the audience. To be able to use a voice to convey a message is very powerful. I think the message of the text becomes more clear if it is portrayed in a strong manner using specific language: From a “Nightingale Reaches a Crescendo”/When our soil and soul began to fade./we trapped a nightingale in a cage. I personally believe that it is incredibly important to find meaning in what we are writing—and I think that’s why I write poetry trying to be immersed in the text and the subject. Also, that is the type of art/writing that I am drawn to.

WA: WHAT’S SOMETHING YOU WISH PEOPLE PAID MORE ATTENTION TO AS REGARDS HUMAN RIGHTS IN
IRAN?
REDDY:   I am hoping that people have a better understanding of what it means to be an immigrant, especially from the Middle East. Many of us who left Iran right around the time of the Iran-Iraq war (my family left in 1986) want to hold space for what is happening now. Collections like Iranian Women Speak can (hopefully) open up a dialogue about the   womenlifefreedom movement in Iran. Most importantly I want people everywhere to become more aware of (and care about) all of the voices who are struggling to be heard—this is what I have been hearing from the Iranian artists that I have been inspired by and those who I admire.

WA: WHAT’S ONE BOOK YOU WOULD RECOMMEND GIFTING A LOVED ONE THIS HOLIDAY SEASON AND
WHY?
REDDY:   One of my favorite Iranian artists is Hamid Rahmanian. I definitely recommend purchasing one of his gorgeous handmade pop-up books like The Seven Trials of Rostam which has been noted as a ‘remarkable…breathtaking animated book.” -Le Figaro. I also encourage our readers to immerse themselves in one of his cinematic shadow plays: Feathers of Fire and Songs of the North. Both plays have been adapted for modern audiences from the Shahnameh: the epic of the Persian Kings. Written by Ferdowsi, The Shahnameh, is a poem that accounts the history and mythology of ancient Persia. I have seen both Feathers of Fire and Songs of the North in New York City, and was captivated by the attention to detail, the musical score, and the combination of theater, cinema and shadow play. You can watch Feathers of Fire, Songs of the North, and follow the tour schedule of Songs of the North by Kingorama. In various interviews Hamid Rahmanian has stated that he wants everyone to learn about the beauty of Persian culture–not just the turmoil we witness on the news. In a BBC Persia interview Hamid Rahmanian also explains that the Shahnameh can be quite intimidating since it is filled with so many different characters, stories and adventures. His focus is to make sure that his pop-up books can be made easily available to those who are not Iranian and those who are outside of the academic world . Furthermore, Iranians can still relate to the stories of the Shahnameh with regards to the events that are occuring Iran–for example the cutting of the hair of women represents mourning and can be traced back to The Shahnameh.These stories are still very palpable for Iranians today. The pop up books are also a great way to introduce audiences of all ages to the Shahnameh (especially Iranian-American children who might not be as familiar with the epic poem as much as their parents/grandparents.)When I was growing up as a child in Tehran, Iran and in Westchester, New York, I heard stories about the mighty Rostam–and the female warrior Gordafarid (my mother’s favorite character.) As an adult I have enjoyed learning more about the Shahnameh through the work of Hamid Rahmanian and Farhang Foundation. Also The title of one of my poems “The Songs of Qoqnoos”---published in–Iranian Women Speak — is heavily influenced by the artistry of Hamid Rahmanian. Hamid Rahmanian has been working for over 15 years to present the rich culture of ancient Persia through his adaptation of the Shahnameh: the epic of the Persian Kings.

WA: WHAT’S THE BEST BOOK YOU READ THIS YEAR?
REDDY:   Sometimes the greatest stories are ones that have been written for kids. One of the best books I read is actually a children’s book called When Stars are Scattered by Victoria Jamieson and Omar Mohamed. The book isn’t new but is about refugee children in a Somali refugee camp. It is breathtaking and heartbreaking. I also loved reading When You Trap a Tiger by Tae Keller which really captures the notion that stories are a way for us to not only connect to each other but also heal from our traumatic pasts. These books along withA Wish in the Dark, by Christina Soontornvat–a Viateneme fantasy story based on Les Miserables– really captured my heart and I highly recommend them.

WA:  HOW ARE WRITERS USING THEIR CRAFTS TO ADVANCE THE COURSE OF HUMAN RIGHTS IN YOUR COUNTRY?
REDDY:   I believe that poets, such as Rooja Mohassessy, are bringing awareness to the current situation in
Iran. When Your Sky Runs Into Mine is unapologetic, tragic and beautiful. I have had the pleasure of hearing her read her poetry on zoom (with other poets, activists and politicians who attended her reading.) I have also attended one of her readings at The Parkside Lounge in NYC.

WA: HOW WILL YOU RATE THE PERFORMANCE OF IHRAM OVER THE YEARS?
REDDY:   I think that IHRAF has been extremely vocal about human rights issues around the world and I am honored to be part of Iranian Women Speak.  Also, I am friends with some of the writers (Yoko Morgenstern and Shashi Kadapa) and I feel that IHRMF excels in providing artists a platform to express themselves and raise awareness about global human rights issues. I would love to collaborate more with artists who really care about what is happening around the world and give voice to those who might be voiceless. It has truly been a wonderful experience working with IHRAF the past two years. The editorial
the team at IHRAF respects their artists/writers.

Caroline Reddy is a writer and librarian who enjoys nature, poetry and martial arts. Caroline Reddy's accepted and published works include poems in ActiveMuse, Bethlehem Writers Roundtable, Braided Way, Cacti-Fur, Clinch, and Star*line among others. In 2021, her poem A Sacred Dance was nominated for Best of The Net prize by Active Muse. Caroline has also written a book review for a volume of poetry by award-winning poet Claudine Nash. A native of Shiraz, Iran. In this interview with Wole Adedoyin, she talks about her life and passion for writing.