Mária Ferenčuhová has emerged as one of the most promising and original European poets of the twenty-first century and is a rising star at international festivals. Beginning as one of the cool, post-modernist Slovak "aNesthetic" and "Text" poets using a matter-of-fact language with precise visual perceptions, her work has expanded its range of concerns from urban life to a wider perception of the individual in a world damaged by history and threatened by environmental destruction. At the heart of her work is a profound belief in a necessary relationship between human beings and the earth.
Mária Ferenčuhová (1975) je poetka, prekladateľka a filmová teoretička. Vyštudovala filmovú scenáristiku a dramaturgiu, postgraduálne dejiny a teóriu filmu na Filmovej a televíznej fakulte Vysokej školy múzických umení v Bratislave a vedy o reči na École des hautes études en sciences sociales v Paríži. Je redaktorkou filmovo-teoretického časopisu KINO-IKON a mesačníka Film.sk. Prekladá z francúzštiny (P. Virilio, A. Nothomb, P. Sollers, A. Robbe-Grillet, J. Echenoz, S. Becket, J. Rancière). Je autorkou piatich zbierok poézie, Skryté titulky (2003), Princíp neistoty (2008), Ohrozený druh (2012), Imunita (2016) a Černozem (2020). Napísala aj monografiu o vzťahoch historikov a filmárov Odložený čas. Filmové pramene, historiografia, dokumentárny film (2009) a je zostavovateľkou kníh Dokumentárny film v krajinách V4 (2014) a Nový slovenský film (2015).
Ferenčuhová's poems are good to take time with. I found myself thinking of them hours and days after having read them, and am longing to know more about their intimate landscapes.