Reviews about Inger Christensen
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On
Alphabet
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"alphabet is a trip through liquid crystals. But even when they are at their most summery utopian, when the products of fission fall silent and only the fig trees are speaking (see poem), nevertheless there is an underlying touch of frost, and even when the abstract is most concrete in its aloofness - or its eminence - it makes you now and then long for the shoes you left outside the poems before you stepped inside. It is not without pleasure, and dizzy, that you put them on again - shoes exist! - and you have spent a day in Ekbatana."
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Niels Barfoed in Politiken, 27 November 1981
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On
Butterfly Valley - a requiem
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"The perfection of Sommerfugledalen in terms of its craft is impressive, but what is really significant and staggering is the profusion of currents and meaning, the extraordinary complexity within the fifteen times fourteen lines of the sonnet sequence, the density and buoyancy of language and image, which is in no way suppressed by the rigorous structure.
Inger Christensen´s cycle of poems is the stuff of butterflies, beautiful, fragile, elusive in the same airy flight."
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Jørgen Johansen in Berlingske Tidende, 29 September 1991
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On
Butterfly Valley - a requiem
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"The poet lifts up these moments of happiness and fulfilment before the butterfly-eyes of death as a picture of everlasting summer. While reading, one is drawn deep into this state of sated joy and unlimited pain. Sommerfugledalen is a innately classical poem and a penetrating reminder that what we call life."
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Bo Green Jensen in Weekendavisen,20 September 1991
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On
Butterfly Valley - a requiem
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"If only by virtue of the virtuosity with which this stringency in the classic mould is put into effect and the ice which runs down one´s spine at the final resolution, this elegant little publication from Brøndum is worth the felling of great tracts of forest. It is, however, quite incomprehensible that the poet has managed, in so few lines and with such fluency, to turn the possibility of awareness to its own genesis and disappearance, like a prism as it were, in which the various possibilities afforded by language to reflect the process are brought together, while at the same time one sees their variation."
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Christian Bundegaard in Politiken, 20 September 1991
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