This study applies Norman Fairclough’s Critical Discourse Analysis framework to three selected poems from"Keshmakesh", a collection by "Ehsan Mahdian" representing the emerging poetic form known as “Vibration Poetry.” The research aims to identify the linguistic, discursive, and social mechanisms of meaning construction in these poems and to explore their relationship with contemporary cultural and political discourses. The study adopts a qualitative approach based on Fairclough’s three-dimensional model: textual description, discursive interpretation, and social explanation. Findings indicate that Vibration Poetry, through its departure from formal syntax and its fusion of colloquial, political, and literary registers, reflects the plurality of discourses in Iranian society. The interaction of everyday and violent discourses, the redefinition of freedom as resistance, and the subversion of official language constitute key discursive strategies in Mahdian’s poetry. It is concluded that Vibration Poetry functions not merely as a linguistic experiment but as a cultural act situated at the threshold between language and society.