Joar Tibergs new collection of poems is a slim book consisting of a långdikt that fit inside the lines “Here begins the book” and “This is the end of the book”. These two lines – the poem’s input and output – establish the borders around a text, which in various ways depict the leakage between man and nature, organic and non-organic, inside and outside, where the words “ljusremsor” and “halsöppningar” are crammed together with and turns into things like “gripsaxars puderblommor” and “lungblemman”.
the Poem bursting forth in the third-person genitive: “dens” and “dets” different properties are presented in an occasionally disturbed by the movement that is neither forward or backward, or circular, but just like nature itself uncontrollable: “the council mjukhets / dripping / in the / solar”.
thus, It is a kind of naturlyrik it is all about, but a naturlyrik, which in important respects differ from the romantic and a really good starting point the variants. This is not a stable and contemplative subjects that reflect their surroundings.
When the Danish poet Morten Chemnitz debuted in 2013 with the poetry collection Inden april , it was in the newspaper Politiken that he reinvented the naturlyriken. In Sweden, debuted in the same year the poets Signe Hammar Bladtätnad and Pernilla Berglund Increase – they also can be said to be the renewer of the naturlyriken. So come to Scandinavia, sometimes referred to ekopoesi, and which has its intellectual breeding ground of the posthuman in heidelberg.
Although the Atts of the earth delves miljöförstörelseundergången we all are waiting for, it is difficult to think away the disaster as a basic feeling of sadness. First diktraden in Atts of the earth is “plundringsljuset” – last lines “at the bortsveddhets heart / in its saklighetspunkter”. How should the sense of disaster, even to be ignored while the subject is lost, while the control is lost, and indeed, when the very nature is disappearing in a time of socio-ecological disaster? What may not be forgotten is however this: The transatlantic slave trade and the colonial expansion from the end of 1400-century, the forward was in all the sentences is also a socio-ecological disaster for humanity. It’s just that the idea of man does not really have included the colonized. The victims of the transatlantic slave trade has in this sense been “post-human” since the 1500′s, which of course has left traces in bot h the intellectual and poetic life which emerged in the aftermath of the disaster – what would happen if ekopoesin took this femhundraåriga loss as seriously and let it seep in?
There is, of course, nothing Atts of the earth the answer – or can be. On the contrary: the Exceptionally well-crafted poems make apparent the context in which they are written in and what is missing.