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Z beleženjem premikov na šahovnici življenja, nizanjem drobnih pripetljajev ustvarijo ti verzi minifilmčke čustveno enega najbolj razburkanih obdobij življenja, to je dobe korakanja v slovesu od (zgodnje) mladosti. O stanjih duha govori v prispodobah iz aktualnega prozaičnega sveta in tudi z reističnim podajanjem objektov, ki zamenjujejo (stanje) subjekt(a). Spominjanje postane z rudarkinim kopanjem ›premog‹, fosilno gorivo iz sedimentov (že okamnele) preteklosti. Z veščino narejene pesmi, naj bodo poantirane v svoji kračini ali kot da maskirane z razvejanim gradivom, smiselno sestavljajo prvenec, ki poleg svežnja dobrih pesmi daje v branje še kopico verzov za pribeleženje. Na začetku knjige subjektinja z otroško prepričanostjo pravi, da je še vse naenkrat, a prav kmalu se celota zamaje. Glavnina tekstov namreč ugotavlja, da je svet težko ulovljivih prehodov, razdalj in čakanj negotov, krhek, hkrati pa oster. Govorka beleži to stanje kot pri inventuri. Na mizo padajo izrezki iz naših življenj. Med ukročenim hotenjem po pojasnjenosti ali vsaj pojasnjevanju pride do sprijaznjenosti, opuščanja sle po razumevanju vsega. Slikanje življenja generacije je le pot do razumevanja individualnih zgodb v odtujenem svetu. Prek drugega, prek izseljevanja iz sebe in odtihotapljenja, je pot do svojih zgodb, spominov in sebe: Moja žalost je neudomačena žival, ki še vedno oponaša prah, pobrišeš jo in se spet nabere. V tej eksistencialno-ljubezenski knjigi je ljubezen vseprisotna, čeprav se o njej ne govori, ampak bolj o času vmes. Lok, ki se vije čez pesmi, evocira razvoj dojemanja ljubezni kot središčnega, četudi izmuzljivega gibala. Krivulja je vseskozi na strani upa, stremljenja k novemu. Želja v svetu nenehno razvijajočega se jaza pa je vedno izmikanje končnega. Subjekt, pa naj bo množinski ali edninski, ženski, je neenovit. Spiralno vzpenjanje k samospoznanju in samodojemanju povzroči, da je jezik nezadosten: prevajalec je ubit. Govorica je tako primorana raziskovati in prihajati do trenutnega stanja sebe prek definiranja dveh oprijemališč, to sta obstoj (Obnavljati spomin pomeni zbirati dokaze, da si.) in lokacija (Obnavljati hišo pomeni ščititi prostor, kjer si.), in prav zato je optimistično realistična. Razvojna pot jezika se sklene v zaključni Ki jih ni – z eliptično-enigmatičnim slogom naredi pomik, obenem pa odraža govorkino suverenost po prehojeni poti. Če imajo ti verzi botre (Čučnik, Zupan, Škrjanec, Mustar), imajo tudi sestrične (Dintinjana, Pepelnik). In če se v jeziku poezije prepleta in odzvanja več sorodstva, je kot v velikih družinah – bogatenje; le da ne pristaneš v senci, temveč (ostaneš) na hribu, saj: jabolka lahko letijo daleč od dreves, sploh če je drevo na hribu. - Petra Koršič\u003C/p>","Pesniški prvenec o raziskovanju sveta in srca mladega človeka.\r\n\r\nSodobni slovenski pesniški liniji pod maksimo »umetnost naših življenj« se pridružuje tudi poezija v prvencu Petre Zupančič. Z beleženjem premikov na šahovnici življenja, nizanjem drobnih pripetljajev ustvarijo ti verzi minifilmčke čustveno enega najbolj razburkanih obdobij življenja, to je dobe korakanja v slovesu od (zgodnje) mladosti. O stanjih duha govori v prispodobah iz aktualnega prozaičnega sveta in tudi z reističnim podajanjem objektov, ki zamenjujejo (stanje) subjekt(a). Spominjanje postane z rudarkinim kopanjem ›premog‹, fosilno gorivo iz sedimentov (že okamnele) preteklosti. Z veščino narejene pesmi, naj bodo poantirane v svoji kračini ali kot da maskirane z razvejanim gradivom, smiselno sestavljajo prvenec, ki poleg svežnja dobrih pesmi daje v branje še kopico verzov za pribeleženje. Na začetku knjige subjektinja z otroško prepričanostjo pravi, da je še vse naenkrat, a prav kmalu se celota zamaje. Glavnina tekstov namreč ugotavlja, da je svet težko ulovljivih prehodov, razdalj in čakanj negotov, krhek, hkrati pa oster. Govorka beleži to stanje kot pri inventuri. Na mizo padajo izrezki iz naših življenj. Med ukročenim hotenjem po pojasnjenosti ali vsaj pojasnjevanju pride do sprijaznjenosti, opuščanja sle po razumevanju vsega. Slikanje življenja generacije je le pot do razumevanja individualnih zgodb v odtujenem svetu. Prek drugega, prek izseljevanja iz sebe in odtihotapljenja, je pot do svojih zgodb, spominov in sebe: Moja žalost je neudomačena žival, ki še vedno oponaša prah, pobrišeš jo in se spet nabere. V tej eksistencialno-ljubezenski knjigi je ljubezen vseprisotna, čeprav se o njej ne govori, ampak bolj o času vmes. Lok, ki se vije čez pesmi, evocira razvoj dojemanja ljubezni kot središčnega, četudi izmuzljivega gibala. Krivulja je vseskozi na strani upa, stremljenja k novemu. Želja v svetu nenehno razvijajočega se jaza pa je vedno izmikanje končnega. Subjekt, pa naj bo množinski ali edninski, ženski, je neenovit. Spiralno vzpenjanje k samospoznanju in samodojemanju povzroči, da je jezik nezadosten: prevajalec je ubit. Govorica je tako primorana raziskovati in prihajati do trenutnega stanja sebe prek definiranja dveh oprijemališč, to sta obstoj (Obnavljati spomin pomeni zbirati dokaze, da si.) in lokacija (Obnavljati hišo pomeni ščititi prostor, kjer si.), in prav zato je optimistično realistična. Razvojna pot jezika se sklene v zaključni Ki jih ni – z eliptično-enigmatičnim slogom naredi pomik, obenem pa odraža govorkino suverenost po prehojeni poti. Če imajo ti verzi botre (Čučnik, Zupan, Škrjanec, Mustar), imajo tudi sestrične (Dintinjana, Pepelnik). 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