Poemextrauterine / Ectopic poems, Paralela 45 Publishing House, Bucharest, 2004,
preface by Octavian Soviany and afterword by Angela Marinescu.
The book was nominated for the most important national debut awards. It won the Debut Award of the Writers’ Association in Bucharest and the “Horia Ioan Lașcu” award offered by the Writers’ Union of Romania, the Iași branch.
“For me,”the ectopic pregnancy “was not just a disfunction for women who lose a pregnancy. I understand it as something more profound – as a child’s refusal to be born normal, and this anomaly is caused even by the woman herself, who refuses to obey social stereotypes and does not want to define herself exclusively in the uterus , but outside it. Life appears in the uterus, just as a poem appears in the heart of a poet. Often in social conventions a woman is reduced to her uterus, to the role of bringing a new life. But what happens to women whose pregnancy is out of the womb? Are they no longer beings? What are they, extra-women? So I wanted to write a kind of manifesto poetry about women who place themselves, through an effort of will and rebellion, in in this ‘extra uterus’place. Thus, the anomaly (symbolized bythe ectopic pregnancy) becomes another image of normality, a state of insurgency against the dogmatic world in general. The ectopic space becomes an excess of feminine will, a form of sick power that submerges everything around it, a form of self-sufficiency.”
References about the book:
”Miruna Vlada’s debut represented an event for all the fans of the 2000s poetry with an emphasis on the authencity of writing, the expression of intense experiences and the pragmatic dimension of the poetic language. The aesthetics of opposites define «the ectopic poems» («poemele extrauterine»), crude, authentic, but nonetheless programmatic. Miruna Vlada’s vitalism is not auspicious nor solar, instead, as it can be observed in the preface, it is sombre, Bacovia-esque. Miruna Vlada’s poetry is radical.”
(Alexandru Matei in “Observatorul cultural”)
“The book”Ectopic poems” is direct, as it equally speaks about the writing of viscera and the visceral act of writing. (…)Here we have the complementary message of the ectopic Poems. The adventure of autoscopy is not going to end soon, but the act of writing perverts the existence: “I lean on this page as if it was an insincere crutch/ which mutilates my death with poems”. Therefore, the reinvestment of poetry with existential attributes is still a process à suivre.”
(Marius Chivu in “Romania literara”)
“I would say that the obsessive background of Miruna Vlada’s poems belongs to a romantic spirit at the end of postmodernism, in the time of a youthful freedom, keen on demythization and serial contestations. It is not only cynic superiority, but more of a certain voluptuousness of disillusionment that sends through words the impulses of a feminity which claims all the freedoms and all the decomplexations. The energy of Miruna Vlada’s confessions, if it is not consumed by the automatisms of sombre love, may conquer remarkable poetic territories.”
(Aurel Pantea in “Familia”)
“What leads us to consider, even from Miruna Vlada’s debut, that she belongs to the front lines of the 2000s orchestra, is her decision to avoid the fashion of poems in which the perceived shock makes or breaks everything.”
“Everything is possible yet at the same time impossible in Miruna Vlada’s poetry, in which our vigilance is tested at every step through an apparently incoherent discourse. (…) Between artificialty and playfulness, organic and mimetic, rebellious and intense to the very limits, Miruna Vlada’s poetry can suddenly take any direction…”
(Oana Ninu in “Propaganda”)