The “I” that speaks in my poems is often a persona, so I can observe her/him at a certain distance. Or I can at least indulge in the illusion of separating my own voice from that of a character and being thus more analytic.
If writing is the bond that links author and reader, if every society is based on a shared language, the function of poetry is to carry communication to its ultimate limit. As has been said, it places language in a state of alert. In sum, it coincides with maximum states of freedom and alarm, since its freedom rests precisely in a continuous word alarm.
I find that poetic forms exist in many different art forms: theatre, dance, film, photography and more. It could be a shot in a movie, or the way a dancer is moving, the way a light falls on a body on stage etc … It is a bit difficult to explain exactly what a poetic form is and there is no clear answer, I think, but I would say it has something to do with showing or hinting towards the invisible, visualizing the invisible, even the metaphysical.
Though his work is utterly modern and could only be of the now, Damir Šodan, as a man, recalls a different age. Cosmopolitan, engaged, political, satirically adept and poetically versatile, he is a poet who defines and embodies one of Europe’s great, surging contemporary traditions, that is Croatia since the turn of the millennium. One of the most active and veracious translators and editors on the continent, he has won international awards for his plays and finds employment at the Hague, as a translator for the United Nations War Tribunal.
It is no exaggeration to say Maarten Inghels’ impact on the Belgian poetry scene has been nothing short of sensational. At an age where poets are just beginning to find their voice, he has become one of the most recognisable and bombastic presences in the entire country and it’s considerable Flemish poetical tradition.
One of the most versatile young poets writing in the Baltic, Latvian Kārlis Vērdiņš is a renowned critic and a prize winning poet. Already included in two of the most important anthologies of young poets from Central and Eastern Europe in the English language ‘A Fine Line’ (Arc Publications, 2004) and ‘Six Latvian Poets’ (Arc Publications, 2011), Kārlis Vērdiņš has already begun to establish his legacy outside of Latvia.
One of the stars of the contemporary Latvian poetry scene, Anna Auziņa, already established as a classically trained artist, has emerged as a constant and resonant force in Baltic poetry over the last decade. Her work maintains a resolute affinity with the organic and perhaps overtly poetic language of her own personal journey as an artist.