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Mokry’s book is an invitation to experience literature as a shared space—open to the presence of the other and to their distinct way of perceiving the world.

Michał Trusewicz

(...) the book is, of course, a graphic tour de force, but thanks to the narrative constructed around it, it unfolds more as an event or situation. We imagine poems slipped covertly into someone’s pocket—tiny scraps of paper, scrawled in small, cramped handwriting, by a hand “that could tremble quite severely, making the reading unpleasant.”

Michalina Kmiecik

It’s a gesture toward intimacy between 'we' and 'you'—a poetic attempt to gather the experiences of a dissolving self. To do this, Mokry harnesses the labor of language.

Dorota Kołodziej

Taken together, these texts form a brief history of (post)avant-garde—an ongoing orbit around the question posed in the afterword: “What constitutes good poetic work?”—and a persistent interrogation of every part of that question.
At the same time, they serve as a record of a fractured subjectivity, one that endures everything Peiper sought to erase from his project, yet which ultimately caught up with him at the end of his life: the loss of control over one’s body, language, and world; a layered alienation; and the collapse of the modern subject’s autonomy.

Łukasz Żurek

Mokry’s principles of structuring the text can be defined as an enriched blackout poetry tech-nique. This enrichment would be about imitating the speech of dementia patients, characterized by the following symptoms: anomia, issues with defining and correct use of words, semantic paraphasia, verbal perseverations, echolalia, or the so-called empty speech.

Alina Świeściak

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