Mária Ferenčuhová is a key poet on the contemporary Slovak poetry scene. She teaches film history and theory of documentary at the Academy of Performing Arts in Bratislava and is editor of the film magazine Kino-Ikon.
Her poetry is characterised by a cinematic approach in which Ferenčuhová, a keen observer, purposefully juxtaposes images, or 'shots'. In 2003, her debut collection Skryté titulky (Hidden Subtitles) was published. In this book, a combination of film language and specialized reading experiences is made accessible in an adroit fashion. Five years later, her second collection Princip neistoty (The Uncertainty Principle) appeared, dealing with motherhood, and focusing on the human body – an important motif in her poetry - and in which Ferenčuhová rejects a stereotypical approach. Ohrozený druh (Jeopardised Species), published in 2013, deals with endangered ecological systems. In her latest collection Imunita (Immunity, 2016) she uses medical language to understand others and society. Ferenčuhová is a welcome guest on the international poetry scene.
For Ferenčuhová, poetry is a sort of diary in which she dates her travels, her pregnancy, and, in the collection Endangered Species, her motherhood. This scheme broadens the poet's originally unitary stance into binary considerations regarding herself and her son. Description reaches a new level of specificity and concentration; the subject fades away, allowing the poetic record to speak on its behalf. With a new intensity, Ferenčuhová's 'anaesthetic precision' (Derek Rebro) is updated, its guiding characteristic - accuracy of description joined to emotional distance. Ferenčuhová sometimes surprises the reader with flashes of nihilism, and regularly chooses images which evoke the demise of civilisation.
Skryté titulky, Drewo a srd, Bratislava, 2003
Princíp neistoty, ARS POETICA, Bratislava, 2008
Márnivé bubliny, ARS POETICA, Bratislava, 2010
Ohrozený druh, ARS POETICA, Bratislava, 2010
Imunita, Skalná ruža, Kordíky, 2016