Pavlova’s poems

are compact, expressive, and easy to remember; one is tempted to quote every one of them, to show them to one’s friends, to offer them as toasts, to have them tattooed on one’s chest, to recite them on the subway and at the police station. (Yevgeniy Lesin, The Weekly Review of Books) Pavlova can be quoted ad infinitum; her little book of one hundred pages explodes before your eyes like an airbag at the moment of impact, which makes the horizon vanish, and you are shocked, in pain, and feel grateful.

(Yelena Yampolskaya, The New Izvestia daily)

The sensation of flesh, the taste of flesh, the stuff of flesh, the sounds of secretions and of stomach rumblings as the music of life; the coitus of flesh, the conceiving of flesh, the gestation of flesh, the birth of flesh, the feeding of flesh, its life, its death, its regeneration cycles and its justification in poetry that transforms it – this is what seems to constitute Pavlova’s poetics.

(Pavel Belitskiy, The Independent Daily)

Vera Pavlova writes about happiness. Yes, about happiness, and not about childhood, music, coitus, betrayals, pregnancies, childbirths, the Creation, Russia, Mozart, black-and-blue marks, skates, jeans, bras, tears, or loneliness. Winter and summer, musical scales and calligraphy lessons, adolescence and youth, lips and palms, sin and lust, fear and trembling, heaviness and tenderness, blood and love, life and death cease being mere words only when they are illuminated by happiness.

(Andrei Nemzer, The Time daily)

The life of Adam and Eve in Eden was beyond the knowledge of good and evil, and our life, too, periodically is disrupted by the shamelessness of the garden of Eden that is in our souls. Being extremely laconic and refined, Vera Pavlova’s poems and the freedom they exude have been perceived by many readers as an attempt to shock, or as erotic hooliganism. And all the while this is precisely the kind of “indecency” that is art: the ability to see the world and oneself as if for the first time.

(Igor Shevelev, The Time daily)

Pavlova’s speech is built on primordial history, on the heavenly silence that had contained in the sounds of all the songs of our sorrows and joys to come, all future wisdom and folly. Plots, circumstances, scenes, all our earthly life – they are words through which we catch the gleam of a different life, a life that is tantamount to freedom, purity, love and faith, a life “without corrections”. A life before the Fall.

(Andrei Nemzer, The Independent daily)

Many readers may believe that Pavlova’s novelty is in “the mysteries of sexuality”. But numerous other women-poets have long been writing about intercourse, abortion, and menstruation. With Pavlova it is different: she speaks about everything in this world as if for the first time, being fully aware of what has been said before her.

(Ilya Falikov, The Independent daily)

Pavlova is engaged in creating a universe that is new and never heard of before. That universe is woman who unfolds, takes root, acquires sap and fragrance. She is alive and sticky. Pavlova’s poems contain so much vital force that they can be prescribed as a cure for infertility, including creative infertility.

(Vladimir Gubailovskiy, The New World monthly)

Pavlova tries to turn the course of history back, to take the whole experience of the sexual revolution that has roared by, and to transform it into a new kind of tenderness, a new purity, and a new verity. To redeem and to sing the defenseless, vulnerable, and wounded love, to bestow on Eros again its sacred significance by rejuvenating it in the living waters of eternity.

(Yevgeniy Yermolin, Znamya monthly)