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vdre senca / When the Shadow Breaks / Lorsque l’ombre force","\u003Cp> \u003C/p>\r\n\r\n\u003Cp>Tomaž Šalamun se sooča z brezdanjostjo in jo premaguje s ustvarjanjem še globlje brezdanjosti v neverjetno fizičnem jeziku, ki požira izvirnik. Ta nova preoblikovana brezdanjost je bolj kot vrtina, ki hranjuje tudi, ko izvira svojo vodo iz skrivnostnih globin jezika. Seveda se iz te vrtine črpajo tudi druge vplive - Vallejo, Breton, Hlebnikov, Hikmet, O'Hara. Rezultat je jezik nesledljivih miselnih preskokov, protislovij, dobesedno uresničenih besednih podob, hiperboličnih trditev, epizodičnih fragmentov, intenzivnih priznanj, lažnih vzročnosti, postrani vzporednic - vse to poudarja protislovja poezije med kozmičnim in banalnim, vsako ponovno opredeljuje v izrazih drugega. Kot pravi pesnica Trenna Sharpe: "Obožujem Tomaža Šalamuna pesmi zaradi njihovega hrumenja in norih asociativnih gibov. Po končani pesmi se človek ne more izogniti občutku malce zadihanosti, malce šoka. Gre kot da te pesem vrže s hriba: kot da se valjaš dol, vse zvit in odbit in dezorientiran, in na koncu se dvigneš vrtoglavo in zadihan, ampak ko se ozreš nazaj, je trava povesana, veja zlomljena, morda ti je nekje po poti odpadla nogavica, in lahko ugotoviš, kako si prišel na dno". To je poezija, ki izpolnjuje angleškega pesnika W. H. Audena, definicijo kot preoblikovanje jezika, in še več. Za Šalamuna mora pesem vedno iskati tisto, kar ne more izraziti v tradicionalnih izrazih: "Pesnik je lovec, ne izraževalec", pravi v intervjuju. "Izražate to, kar že imate. Neizrazljivo je kot zver v gozdu, ki jo lovec pozna samo po njenih sledovih. Dejstvo, da je zdaj ne moremo ustrezno opisati, ko iščemo z različnimi metaforami in primerjavami, kaže, kako močna stvar je, kakšno privlačnost ima". In vendar se pojavi še en paradoks: lovec ne uničuje samo plena, ampak tudi samega sebe.\u003C/p>"," \r\n\r\nTomaž Šalamun se sooča z brezdanjostjo in jo premaguje s ustvarjanjem še globlje brezdanjosti v neverjetno fizičnem jeziku, ki požira izvirnik. Ta nova preoblikovana brezdanjost je bolj kot vrtina, ki hranjuje tudi, ko izvira svojo vodo iz skrivnostnih globin jezika. Seveda se iz te vrtine črpajo tudi druge vplive - Vallejo, Breton, Hlebnikov, Hikmet, O'Hara. Rezultat je jezik nesledljivih miselnih preskokov, protislovij, dobesedno uresničenih besednih podob, hiperboličnih trditev, epizodičnih fragmentov, intenzivnih priznanj, lažnih vzročnosti, postrani vzporednic - vse to poudarja protislovja poezije med kozmičnim in banalnim, vsako ponovno opredeljuje v izrazih drugega. Kot pravi pesnica Trenna Sharpe: "Obožujem Tomaža Šalamuna pesmi zaradi njihovega hrumenja in norih asociativnih gibov. Po končani pesmi se človek ne more izogniti občutku malce zadihanosti, malce šoka. 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