“The world and languages, the siamese twins,”

“Every moment stand of the violence in ”the Right””

“We do not live in places, we live in the descriptions of the locations,” noted Wallace Stevens in a poem with the förbigåendes stillness.”

“The line pops up in mind when I’m reading, or rather wandering around in Pernilla Berglund’s third book of poetry Right.”

“Yes, wandering and staying, rather than reads, as well as in the two previous collections, Addressing and Trap, framskapar and dissolves Berglund the Swedish landscape in the statements that contradict and reflect one another.”

“here in the book’s last lines: ”Down by the lake, slyn grows all the way down to the water. The beach is a narrow strip of dark sand before vegetation takes over. On the sides of the beach grows slyn all the way down to the water.””

“With such small means, and all the time with a relaxed authority transforms Berglund time and space, the world and language, to the siamese twins move back to back, so that it is one of the affidavit the leaves – ”It is no longer possible to write about the place” – rushing the other to the meeting: ”I have left the site for several years now”.”

“Everything is as it always has been – in the relentless change. The frost melts and becomes green grass, the dead, the villagers are more than the living, and the river becomes a part of the lake.”

“In the Right is every thought, every moment genomstunget of violence, which sometimes takes form of a physically present you as diktjaget besvärjer from his place in the court the day he is sentenced. ”As long as I defended you. As long as I was your child.””

“And the child no longer is a child, the fear that her own child would resemble the father as she herself is similar, for the poem’s basic requirement is that ”the words always overwrite” and the descriptions always kill ”any living creature”.”

“It happens to the reflections on the writing becomes aforistiskt självhögtidliga and goes on a slightly pretentious idle: ”I am writing that I am struggling in a language or with a language I do not trust”, or: ”It is now you are afraid.u002Fu002FStå out to write this.””

“But it must immediately be said that there are very few such andfåddheter, of Pernilla Berglund’s poetry takes the expression intensity that makes a simple observation of the ”Empty log trucks driving past the farm to the north”, to a character who vibrates with the threat.”

“It seems difficult to talk about the poetic development of the simple reason that Pernilla Berglund has already in his debut was an artistic ability to understand it].”

“Right confirms this emphatically time and time again.”

“just Look here: ”I approached the tree, see it, mönstrenu002Fi the bark the greyish when I go förbiu002Ftittar I forward nearly but känneru002Fhela the time the tree close to the shoulder bakomu002Fryggen when I leave the tree somu002Falltid breathe I look towards the next.””