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Khandidani [to be read and seen at the same time] is a kind of poetry that has an inseparable connection with visual arts. Mehrdad Fallah, as an Iranian contemporary poet, has been focusing on the written /performative aspects of poetry rather than its spoken aspects, which is manifested in the form and structure of his poems. Fallah introduces Khandidani as “rediscovering writing and writing symbols’’ which converts to ‘’stage poetry” in the process of reading and seeing the poem. The primary assumption of the current paper was that the initial idea of Khandidani was formed under the influence of the world literature, and in particular Guillaume Apollinaire, who was mainly interested in the written form of the poem, painting and cubism. It should be mentioned that there are also instances in classical Persian poetry which utilized some of the techniques that Fallah employed in his poetry. In the current paper, the inter-artistic, intertextual and comparative basis of such poetry was studied. Moreover, it was clarified that how the poem is read and seen on both sides of the poet/ reader dichotomy.
 

Keywords: comparative literature, Khandidani, Iran’s contemporary poetry, Guillaume Apollinaire, Mehrdad Fallah

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