Two Fiats

• Bargielska's poems feel condensed, as if everything that would merely be motion, a switch from word to word, had been evaporated away. Images touch one another without any safety buffer. Preserving the simplicity of the sketch, a certain naivety, the poet creates very distinct, self-contained, suffocatingly sticky spaces, and within them she places her protagonists.

• Bargielska, a naturally original poet, has a good chance at becoming popular without any effort. It would be wonderful if acknowledging her went hand in hand with her readership, and then if the readership of her poems went hand in hand with the readership of poetry in general.

• Two Fiats is equally deadly. It reduces problems of an eschatological nature to simple sentences, often nonsensical, intuitive, touching the essence of the matter in an innovative way. Bargielska's miscarriage discourse is an uncompromising, shameless speech, composed above all of understatements.

• This is precisely what Justyna Bargielska achieved in the volume Two Fiats (2009)—a collection of reflections on humanity and its nature, filtered through the author's imagination. The interweaving of fairytale-like or outright surreal imagery with the experience of death creates a model of the world full of tensions that shatter our previous perception of reality.

• I believe that the author of Two Fiats is probably the only writer who writes about miscarriage in such a way that one can navigate it without emotional injuries, while being treated to brilliant word combinations and remarkable comedy along the way.

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