Ahmad Shamlu's (d. 2000) 1951 Qat'nameh, which we can productively translate as The Manifesto, announces the rebirth in commitment (ta'ahhod) of this Iranian luminary's poetic persona. The Manifesto, Shamlu's second poetic venture after the now roundly-dismissed and derided juvenilia of his first collection, Ahang-ha-ye faramush shodeh (Forgotten Songs; 1947), features a poetic persona suddenly awakened from an earlier Iranian jingoism-and, to have Shamlu himself explain it, the Romanticism that accompanied it-to an acute realization of his place in a nascent revolutionary Third World. Although The Manifesto predates the Bandung Conference by four years, the four poems within it feature a prescient Third Worldism that imagines transnational connections across national borders, particularly in the poem "Sorud-e bozorg" ("The Grand Anthem"), addressed to one Shen-Cho, "an unknown Korean comrade." Of the other poems in the collection, "Ode for the Man of the Month of Bahman" remembers the sacrifice of Taqi Arani (d. 1940) and the group of fifty-three Communists arrested by the Shah's government in 1937; "Until the Red Blossom of a Shirt" declares the poetic "I's" newfound dedication to a collective "shoma" ("You"); and, finally, "Song of a Man Who Killed Himself" tells the story of how the poet was politically awakened after his readings of Federico García Lorca's (d. 1936) poems. The poetic persona is so moved by the scene of Lorca's death at the hands of Franco's Nationalists that he "kills" himself, that is, the poet who wrote Forgotten Songs: "I killed him / -myself- / and I shrouded him in his forgotten song. / In the basement of my memory, / I buried him." This paper takes up Shamlu's political awakening in The Manifesto as a significant instance of "transnationalism-from-below" as explained by Lionnet and Shih in their Introduction to the 2005 collection Minor Transnationalism. While Shamlu expresses his solidarity with Marxist revolutionaries, he neither toes a specifically Soviet line nor adopts wholesale Communist socialist realism in the collection-a set of poems that has been for the most part ignored in Anglophone criticism until now. In its method, the paper thus proposes a way of reading Shamlu's Manifesto as representative of broader transnational trends in the Global South and Third World at the dawn of the Cold War and in the midst of American aggression in Korea (1950-1953).