"Mikael van Reis view Camilla Hammarströms new poems"
"”I” is a popular pronoun, formerly also common in centrallyriken as a kind of marker for the authentic longing fixed now with an often faltering authority. "
"When I read Camilla Hammarströms later collections of poetry, and the new The visible world, I see how she omit this pronoun, and thus give his poetry a sight and a transparency for the state of things. Everything is the seeing, everything is in movement – but with a finkalibrerat eye for the small movements physics. ”Poetry comes out of nothing,” the Bells ten years ago."
"Hammarströms pronouns are instead ”you”, which can accommodate a double opportunity. ”You” is the defendant the other person and just as much ”you” by självtilltalets distance. ”You” is, in short, transformationens pronouns and I am thinking like John Donne who once talked about ”the dialogue of one”. But so is writing Hammarström a ”we” which brings together one of you with the other. In between flips this article incorporates subjectivity, in short, sharp statements about the varseblivna the world – the obvious or the unexpected."
"nSom some of Hammarströms previous collections of poetry are the new divided into three suites with an inter-spike and densification. I linger at the first Hammarström writes in a kind of block - and blickform that she tested in the past. Prose textfyrkanter for the poet's gaming look."
"Hammarström signs and make a note of the tracks between the ”världsbyggnaden” and in the last poem – ”the man”. In between going on life: ”Today's worn-out usualness going against us in the flare-ups, an overwhelming tangibility”. Simple observations can be noted – ”The cool breeze from an opened window”, the ”Small, light heartbeat in the temples”, but also ”The burning of the contact with someone's hands”. The shape is dense, but phrasing is still easy."
"It's all about the body but also how the body covered by the other bodies in the great geological färdsystemet of time – foster, birds, plants, weather. The essential thing is to see the mystery of life through the ”irrefutable clarity”. How to play the poems until skapelseprocesser from the individual body to the major: ”Your tabernacle in huge magnification, rooms to clear-staying in.”"
"nAndra poets could write five hundred pages on these existensbevis, but Hammarströms linguistic economy is quite another. And I see how it develops oförvillat and artistically consistent. It appears when you read her 2000 century, in the suite – Movements (2000), Orbital (2003), the magnificent Bells (2008), Tunnels (2014) and now the new book."
"The two parties in The visible world takes a special sophistication. In the ”view switching” becomes Ovid's Metamorphoses is not re-written or written-off by Hammarström but as soon as genomskrivna in pilande stenografiska observations. Often, by this said ”you”. Now is not the creation but as soon as dismemberment or försteningen. There is suddenly a violent clear as in the myth of Philomelas severed tongue."
"was the last suite ”Glimpses” has been inspired by a range of artists. Two times in five verses. Hammarströms block - and blicktexter infiltrates the range of possible artworks but serve rebusar for some tea drinking connoisseur. The poems look into against imaginary bodies and sharp objects. After all, there is no wild fantasies of the poem's rooms. But surely a language of joy that is able to intensify the experience."
"When the world of today is controlled by those who want to have and take, is the poet then, the one who gives and the look. I read Hammarströms new book against the past and see how strong a poetic place to be established – and well to label with their own coordinates. Finally, the difficult art of writing is both easy and tight. It is not there as Camilla Hammarström reach with just the double ”you”? I expect it to. Here is a writing to discover."
"nCamilla Hammarström's employees in Aftonbladet. Therefore, the reviewed book by Mikael van Reis, a literary critic in the Göteborgs-Posten"
"" The visible world"