Lyrikline Blog (LB): Topics like conflict, flight and refuge found their way into your poetry and poetry film making during the last years. Why’s that? Was there a crucial experience or encounter that made you work on these topics?
Marie Silkeberg (MS): I belong to a generation who have lived more than half of our lives in the 20th century. When I look back, I usually describe my books as divided according to this break in time. The end of the 20th and the beginning of the 21st century brought with them enormous changes in the world and in the cultural field. For a long period I couldn’t write at all. The aesthetics from the former century in this new world seemed so worn out. So I started to turn outwards, using listening, as a method, to understand and grasp the sound of the world. The first poems I wrote consisted of very few words, and searched for changes and shifts in the language. Haroun Farockis film Bilder der Welt und Inschrift des Krieges meant a lot to me while writing this book. His way of relating European history to the Algerian for instance, as well as his way of interpreting photos from the past in the light of the present, and his way of combining elements to create new meaning. The method of listening, to write the sound of the world I continued. I got the change to travel a lot, and took it. The fact of my grandfather being a Russian immigrant in Sweden, and his parents Greek immigrants in Odessa became a trace, a quest, an enigma, especially after the death of my father, and I felt I had to embrace this nomadic inheritance. (more…)