This article explores the concept of avant-garde artistic expression and argues that it should be regarded as a transcultural phenomenon that surpasses geographical boundaries. It emphasizes the importance of adopting a transnational perspective to fully grasp the intricate interactions between diverse avant-garde movements across cultures and regions. To illustrate this point, the article focuses on the Iranian avant-garde poet Tondar Kia, challenging the perception that his work is merely a replication of Western movements. Instead, it proposes that a transnational lens enables a more comprehensive understanding of the distinctive contributions made by Iranian avant-garde poets to the global avant-garde movement. The article extensively examines Kia’s work within the local context of Persian literary evolution while also shedding light on the transnational aspects present in his compositions. It highlights Kia’s critique of established aesthetic norms, particularly the notion of organic unity, and explores his innovative approaches to rhythm, tone, and polyphony in Persian poetry.

The formation and reception of Persian poetry during the eighteenth and nineteenth centuries does not follow a linear course of development. In fact, there are numerous groups and individuals representing various perspectives that undermined, ignored, or supported each other and in the process constructed a major part of early modern Persian literature. If we describe these groups or individuals in terms of parallel or crossing lines, almost in every period of the history of Persian poetry, one finds a bold line representing the mainstream and several narrow and relatively unknown but highly innovative lines which shape the marginal forms. The primary aim of this essay is to identify, analyze and explore the influences of these marginal lines during certain periods of Persian poetry just before the so-called ‘the Constitutional Revolution literary period.’ In the process, the chapter analyzes the relationship between the mainstream and marginal poets as well as the role of margins in shaping the poetry of the following generations. This research demonstrates how the margins were the actual voices that initiated the evolution of Persian poetry. It will also demonstrate how Resistance against the state and the domination of the literary mainstream of the eighteenth and nineteenth centuries (The Literary Return School) are highlighted as the first steps that set Persian poetry on its path towards transformation. The case study to that end is most focused on Abolhasan Yaghmā Jandaqi. This essay illustrates how conflict with the state led him—and others like him (Sheybāni, Farāhāni, etc.)—to protest not only against the power of the state but also against stilted Persian poetic traditions. Although a considerable number of scholars in this field recognize poets like Yaghmā Jandaqi as influential figures for their use of language and their influence on poetics, this essay goes further to show they did more: their conception of resistance resulted in a kind of poetry in which they unveil poetically and ironically the veiled wishes of society. This should be considered a highly poignant legacy that in time transformed the forms and functions of Persian poetry.