Reviews & Commentaries. . .
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. poetry’s fourth element - song, which
firmly places Šimkutė as a lyricist, a spinner of a new daina (song). .
. .takes pantheistic concept a step further . . . . . . picturing “the women from Samogitia” at work in the rye fields. . .
.recreating the land as a “song”: Šimkutė uses the word daina in the Lithuanian version of the poem (16),
indicating how deeply rooted these women are in their native land and
culture, how elemental is their activity, going back further than any page
of recorded history.
review extract read in Melbourne book launch -
Australia, Dec 6,
Thought and Rock compares two
elements. Thought drifts through air is non-
Jolanta Sereikaitė – “Šiaurės Atėnai” - Lithuania, Dec.11, 2009
Šimkutė has a light, minimalist touch. She makes considered use of the silence of white space, and though compressed, understated language, her poems tend to evoke more than might be expected from such sparce lines.
Cameron Fuller- re Thought and Rock, „Wet Ink“, Australia, June, 2009
.the book is poetically homogeneous and, consistently minimalist in form.Economy of phrase, restraint of lyrical expression and attention given to sensual (visual) imagery reminds one of imagist poetry or haiku where “silence" extends between words or other associations - in compliance with the Buddhist wisdom, that the essence of all visible things is emptiness.
J. Andrezej Dorobek - re Thought and Rock, Goscinec Sztuki, Nr.1/13, Poland, 2009
her poems seem to be woven from mist or sparkling sun‘s rays and as a
contrast, highlight the Lightness of spiritual matter and the material
mass of rock . .The mentioned space concepts and substances (emptiness,
light, radiance) meaningfully complement the category of time and give
Šimkutė‘s poems a dynamic impression and the feeling of existential
Regimantas Tamošaitis - re Thought and Rock “Metai” (Seasons) No.11 Lithuania , 2008.
. . . .poems of remarkable purity, written in a spirit of receptiveness to the world in which the poetic insight suddenly emerges like a bird taking wing.
J. M. Coetzee - forward to Mintis ir uola / Thought and Rock - Lithuania. 2008.
Only by reading the poems carefully it‘s possible to appreciate the beauty of the text. The poems need to be meditated on as one obtains another level of understading. The reader is uplifted and transcended into a metaphoric space, and touches on the secret of living when the world appears dumbfounded. . .there‘s echoes of pagan rituals in the poems, whereas the importance of contemplatve permeability is close to Eastern expereince.
- from presentation read at
Lithuanian Writers Union,
Some poems in their feeling and image leaps and unexpected connections remind us of the Russian poet Anna Akhmatova. . poetry is likewise personal, confirms the unity of nature and our being, an inner freedom and openness to the world. . . .in understanding that the world surrounding us and within us is a mystery and recurrent in the eternal life cycle.
S.Katkauskaitė – re Wind Sheen „ Tėviškės žiburiai“ – Canada, July 24, 2007
. . . . .renowned for its minimal accents, aestheticism and striving towards universal knowledge through personal experience. . . reading of eternal signs. . . united by light – a non-earthly shine. Similar parameters dominate the poet‘s feelings of space. . centered around emptiness, death‘s nucleus (at the same time birth or the beginning). It‘s an original way of composing space via the mandala principal. Small things which open to cosmic dimensions interest Šimkute. . . . .a Zen world outlook.
žvilgesys / Wind Sheen. “Naujoji
. . in some poems it is difficult to determine a point of reference, but some of these come alive at new levels of understanding upon multiple readings. One such poem is Lidija Šimkutė’s “When Eyes” which is enigmatic, emotive and written with economy. To hear it read aloud – incredibly slowly – is to feel the depth of its emotion immerse the listener.
Street 27, Wakefield Press, 2003,
Review of Book” ,
Her poems are a key to the poet’s world -
her inner world ponderings, love, spiritual longing, philosophical
allusions, transience of life. . . . . insight into
. . . intimate miniatures, original and expressive with a philosophical spiritual tendency. The author, subtlety and precisely creates an original “metaphysical landscape”. Having a sound knowledge of both languages allows the author free reign to integrate the original with the translation.
for Vėjo Žvilgesys
/ Wind Sheen,
. . . feeling of mystery. .a person becomes as strong as the sea in Šimkutė’s poetry and is the reflection of the cosmos…the journey from sea to earth is a ritual return from life to death; earth, as all the important elements from which she weaves her symbols. It’s a place of reconciliation and identification, attempts to give meaning to silence, creates an ecstatic premise to guide us to the world of gods through poetry‘s rhythm and vision.
Near and Far,
translated from "Literature and Art" – Lithuania, July 23, 2003.
. . .a series of signs which can be connected to and echoes Baltic mythologies of Fate and Self-renewal.. grounded in assumption of a persona which is both lover and beloved and transformed in the process of the “making” of the text.'
presentation of paper at Red River Conference on World
. . . has inbuilt subtle introspection, laconic simplicity and lyrical overtones. The experience of love is developed as the pinnacle of being. The centre of poetry is grounded in an elated feeling for beauty and oneness with the harmony of the world. Affirming „truth bronze cast from feeling“ the poet metamorphoses feelings in ambiguous implications, to which she attempts to give multidimensional meanings.
In her first book The Second Longing one can feel the influence of C.G. Jung psychoanalysis. A belief that higher powers effect a person‘s fate. Spaces are left in the poems so as to allow this power to have its effect
Poetic miniatures, filled with quietude, open to silence, marked by an aversion to excessive commentary. Šimkutė is destined to exist in two cultures, their mutual reverberation. Her readings in Lithuanian uncover a powerful pulse. . . an echo that steers to the eternal viewing tower. . . . . . .hermetic and painfully direct: features that paradoxically integrate her poetry.
“Progress” , Lviv / Ukraine, Aug.2001.
. . . Šimkutė‘s poetry moves on the border of disappearance like a Buto dancer above an abyss. The poems strike faster than thought. Like totems, masks, and like the cyclical, non-linear music of Lithuania, they evoke a world which is ancient, young and utterly old. They do without wordplay, idiosyncrasy and extravaganza. They are essences and formulas.. . . . her poetry possesses a form of polyvalence that is found in mystical language.
winter, 1997, from forward to “Weisse Schatten /