The strength of Faroogh Farrokhzaad's "A Rebirth" comes not only from the words and images portrayed in her poem but also from the free-flowing meter and lack of rhyme. The free verse form sharply contrasts the style of her earlier poetry and reflects the dramatic transitions the poet was experiencing in her life. As she struggled to find a new definition of self, one that could rise above the oppressive female role set upon her by her Iranian culture, she simultaneously broke through the formal structure of the traditional Iranian poetry that had previously influenced her writing. Another Iranian poet, Farzaneh Milani, writes in a critical essay published in the poetry collection A Rebirth, from which the poem is taken, that Farrokhzaad's newfound voice and poetic form "attest to long years of formal confrontation with language, a diligent practice of the craft coupled with years of reflection and inner unfolding." In this fourth collection of Farrokhzaad's poetic works, and especially in the title poem, she demonstrates that in her life and in her writing, she has been reborn.

"Rebirth" was first published in Iran in 1964, just a few years before the poet's death. The entire collection of poems (and specifically the title poem) was dedicated to her lover of many years, Ibrahim Golestan, an Iranian short story writer and cinematographer. Golestan was reportedly the biggest influence in helping Farrokhzaad reach this dramatic transformation in her life and in her writing style. In turn, Farrokhzaad influenced a whole generation of Iranian women, who traveled with her through her poetry in her struggle to find freedom and a new definition of life.