British) rule by the Third Anglo-Afghan War of 1919, the lack of freedom of thinking keeps its people still imprisoned. At the time, the West also took a vivid interest in the Afghans' resistance against the Soviet occupation. William Pitt Root expressed his sympathy for Afghans’ resistance in his poetry collection, The Unbroken Diamond: Night letter to the Mujahidin. Pazhwak translated the collection into Dari and crafted a poem in response to Pitt Root's collection en entitled Almas-i Nashikan, which was published from exile in 1996. It was only during this latter period when Pazhwak was living in exile, mid-1980s to early 1990s, when new collections of his poetry were published. Hadis-i Khun (1985), Maihan-i Man (1989), Banu-yi Balkh (2001), Nahid Nama (posthumous, 1995) and Almas-i Nashikan (posthumous, 1996) were all examples of his poetry collections published abroad. Such newer works, Nahid-Nama and Almas-i Nashikan significantly differed from Pazhwak's older poetry such as Chand Shi‘r az Pazhwak and Gulha-yi Andisha. The poet in exile had clearly distanced himself from literary traditionalism and taken a new direction, both in content and form. Although Pazhwak had already written some poems in which he disregarded the conventions that shaped classical Persian poetry, for example metric and rhyming rules, it was only in the early 1980s that he fully crossed the frontiers of classical format. Here he made use of the modern style and the progressive style Shi‘r-i Naw (‘New Poetry’), Shi‘r-i Azad (‘Free Verse’). Such very young poetry movements since the 1940s have been gradually developing in the whole of the Muslim world and had eventually reached because of modern developments in the West and under considerable Western influence. The obvious change of literary paradigms in the later phase of Pazhwak's poetry was linked to historical events that were taking place in Afghanistan. Nahid-Nama and Almas-i Nashikan are responses to the events that took place in Afghanistan after 1978. The themes of both collections are the occupation by the Red Army and the Afghan jihad against the occupiers. These works are interesting for their outward format and their content. In other words, they are interesting for the way the themes have been processed in them. While Pazhwak drew on a variety of themes from the events of 1978, his poetry was not a broad facet of themes. Instead, only one theme emerged strongly: the sad fate of, the traumatic events and experiences that