During his diplomatic stay in Beijing in 1958, the Syrian poet Nizar Qabbani wrote The Journal of an Indifferent Woman in the form of a diary depicting the voice of a frustrated, rebelling Arab woman condemning the suppression of women’s rights in the Arab tradition. Thematically, The Journal embodies Qabbani’s misplaced personal experiences as an outsider in a foreign country. In form, this collection includes poems disguised in the format of life writing. Opening The Journal, we notice four parts in this order: a five-line poem, “The Story of ‘The Journal,’” “A Letter to Some Man,” and “The Journal.” In the five-line poem and “The Story,” Qabbani uses his own voice—a male voice and an author’s voice—to encourage a female “you” to revolt and unfold how he discovered “The Journal.” In “A Letter” and “The Journal,” the narrative shifts to a nameless woman who pleads in her letter and records in her journal the chronicle of her life. Besides this coexistence of male and female narratives, The Journal is also split into two genres and two forms of poetry. In genre, “The Story” belongs to prose, while the other three parts are poetry. In forms of poetry, “A Letter” is epistolary poetry, while “The Journal” is diary poetry. In this paper, I will discuss how Qabbani incorporates life writing techniques into poetry in The Journal and argue that the unique format of The Journal is to aid in Qabbani’s portrayal of a female narrator imprisoned in her house and to make a personal voice political. To do so, I will first rely on intradiegetic analysis to examine the innovative format of this collection. Then I will argue that Qabbani wears a gender mask while writing The Journal, although the text reflects his personal experience and observations. Last, I will review other poems in Qabbani’s oeuvre that adopt a similar format as The Journal to demonstrate how such life-writing poems become autoethnographies.