Stefan Markovski's poems resound with the echoes of French symbolism。 On the other hand his verses， channel hermetic feelings of longing and precious indelible images that seem to be the poetic transposition of Melancholia， the famous Lars von Trier movie。 This cinematographic suggestion is palpable in almost all the compositions of Markovski。 Planets， universes， parallel worlds are often threatened by mysterious forces （there's also an ecologist turn in his lines） and all of a sudden they becom Stefan Markovski's poems resound with the echoes of French symbolism。 On the other hand his verses， channel hermetic feelings of longing and precious indelible images that seem to be the poetic transposition of Melancholia， the famous Lars von Trier movie。 This cinematographic suggestion is palpable in almost all the compositions of Markovski。 Planets， universes， parallel worlds are often threatened by mysterious forces （there's also an ecologist turn in his lines） and all of a sudden they become presences， incumbent the terrestrial creatures。 Moreover his poems are populated by angels， wings， the Moon and the Sun， rain， wind，dust， ashes， powder， war and peace。 All these key words make disappear the physical space， actually。 Ethereal atmospheres of gods and fires inoculate a blazing rhythm playing a divine tune， maybe the tune of the Hypergod。 And in Markovski style these prefixes "hyper" "super"， draw the coordinates of a place which is more than metaphysical， because it goes and exists beyond words potential。 The poet must be heterogeneous with regard to his cultural background because one can appreciate latinisms， words deriving from Greek etymology， several patterns - from the above mentioned French symbolism， the "maudit"poets， to the most recent literary genre of Fantasy。 The sum of these influences creates a special lyrical thread。 Markovski， as we can read in the preface of "Promised Land"， is "interested in the ontological" and the heideggerian philosophy of poetry as "the house of being" perfectly matches the aesthetical intention of the poet to make his poems revealing， so to whisper the most dense meaning hidden inside each word， the meaning that utters a language only understandable by the subconscious， landing sometimes on the darkest side of us where drives and pulsions nourishing our imaginary and oneiric figures。 Stefan Markovski ranges amongst the so called Orphic poets。 His inspirational process is like a catabasis down to the chtonic world where he encounters Eurydice， the source of his creations。 Once he has found the words he drags them out of the magmatic， dusty， indefinite subterranean realm， bringing them back to life。Key words such as "powder"， "dust"， "sand"， "ashes" seem to express the passing of time， a sense of evanescence giving the poems an atemporal atmosphere from which emerge human dreams of peace。 The historical dynamics of Markovski's country play a role in these transfigured dreams。 In "Death is Not Sublime，”History is Not Wise” is a sort of ineluctability of fate that despite the sweetness of butterflies， Moon and lovers’ bodies， brings tears。 The rain and urbanscapes represent another leitmotiv of Stefan Markovski’s poetics。 It incessantly rains in some compositions just like in the dystopic metropolis of Blade Runner。 Poetry is salvific， as powerful as the piano played by Rachael; it is the reason why there's still something human in the earthquaked realities。 “And yet， an attempt and a hope is our golden trek for eternity”（Promised Land）。 。。。more