Testimonials
Testimonial
Sweet Words from Readers
I didn't expect a poetry collection to feel like a prayer and a love letter at the same time, but that's exactly what this is. "Yet to Come" opens the book with such quiet power — you can feel the anticipation building before anything even happens. Pourbaba writes love like it's sacred, not casual.
Maria Delgado
Lush, image-heavy, unapologetically romantic. The nature metaphors (rivers, moons, songbirds) recur throughout and build into a kind of private language rather than growing tired. When a line lands — and many do — it really lands.
James Whitfield
As someone with Iranian roots myself, I felt the echoes of classical Persian poetry all through this — the wine, the beloved, the longing for union with the Divine. "About the Collection" says it best: every poem really does feel like "a sip." This is Rumi-adjacent without being derivative.
Sona Aslani
Rich, layered writing that rewards a slow read. The cosmic imagery — eternity, the soul, the Divine — builds a consistent atmosphere across the whole book. "The Alley" was the standout for me, the one poem that plants its feet in an actual place with real people in it.
Tom Bracken
This book asks to be read slowly, out loud, maybe with tea in hand. The dedication page alone — that long litany to mountains, seagulls, hummingbirds, and "the sane and the insane" — set the tone perfectly. It reads like an invocation before the real work begins.
Priya Nair
Sensual without being crude — that's a hard balance and Pourbaba pulls it off. There's a real tension throughout the collection between erotic longing and spiritual devotion, and I don't think that's an accident. The two are treated as the same yearning.
Daniel Okafor
"The Bird of Fuchsia" hit me hardest — the idea of a soul choosing to burn in hell rather than be tamed by heaven is a striking, almost defiant image for what's otherwise a very tender book. Shows there's real range here beyond the love poems.
Elena Vasquez
The poems favor feeling and momentum over formal structure — expect free verse, repetition, and cascading short lines rather than tight rhyme schemes. If you want raw emotional current over strict craft, this delivers in full.
Robert Ashford
I cried reading "The Sin of the Curse." The way she writes surrender — "become one with me, become one with life" — captures that particular ache of wanting to dissolve into someone or something bigger than yourself. Gorgeous.
Fatima Rahimi
Didn't think I'd connect with a book this openly spiritual, but the author's sincerity won me over completely. You can tell this isn't performative mysticism it comes from somewhere real. The "About the Poet" section adds great context on why nature and Persian symbolism run so deep here.
Greg Sutter
A book you don't just read once. I kept returning to certain lines days later. The recurring image of the pen and ink as a stand-in for the poet's own hunger to create is woven beautifully across multiple poems, not just one.
Nadia Farrukh
Beautiful, evocative language. The recurring symbols — moons, oceans, birds — start to feel less like repetition and more like a consistent visual thread tying the whole collection together. The emotional sincerity carries it all the way through.
Chris Halloway
This is a love letter to existence itself, not just to a person. The closing dedication line — "to the miraculous miracles hidden in every moment and each breath" — sums up the whole book's spirit. Devotional poetry at its most heartfelt.
Layla Hosseini
Surprisingly bold in places — "The Alley" takes a hard turn into injustice and darkness that I wasn't expecting from a book billed as romantic poetry. It's one of my favorite pieces precisely because it keeps the collection from feeling one-note.
Marcus Reyes
Read this in one sitting on a rainy afternoon and it was the perfect mood for it. As a whole body of work, it feels remarkably cohesive — one long meditation on love, longing, and the divine, wearing a different mask poem to poem
Anita Cole