Her poems have a quality of pulling off the masks. They peel off the mask that has captured the face at all times, in all its appearances. For me this is the only explanation why the semanticising gesture of her poem is in "the passion for fragment" as opposed to "the passion for system". All her poems are one to me -
a woman crying over her dead lover, expressing transformations of bodily and spiritual love, the physical and metaphysical (...) - thus creating one of the original "forms of songs" and resisting by sheer eroticism the growing violence and necrophilia of this ending century.
Milan Hamada
One line by Mila Haugová still echoes in my mind: "Stepping over a dead man the woman goes on to seek love." Her poetry is both Penelopean and Odyssean. It is Penelopean because it is waiting within its own world, connecting the first alpha-female with the last woman in herself - her daughter. And Odyssean because it undertakes a journey that is commanded by emotion. Beloved person being the landscape, language being the ship and the gift of connection representing the ultimate miracle. However, her attempt to record the epos of love completely paradoxically gives the impression of being fragmentary. In her palimpsest Haugová conveys the same message: Love each other, there is nothing more. Love alone will help you to overcome all obstacles.
Dana Podracká
