A lyrical collection “Black Swan” by the highly extinguished Slovenian poet Tomaž Šalamun, a worldly renowned and acknowledged poet whose work has been translated into almost every European language, brings some novelty to poet’s creative work. In enumerating a plethora of words in a nimble, brisk and skilful gesture there emerge separate words which then are read in themselves as if in a mirror, reinstating a discourse, but never falling into a trap of turning into romantic, symbolistic metaphoric expressions. A word is being read, put next to another, entangled into a metonymic sequence, and a brisk judgement of their effects is being replaced by futile and desperate self-searching, expressions of poetic subjects, quite a frequent wavering when it comes to big categories such as life and death that mostly melt in pardoning of those using them and only rarely in poetry. Unlike previous Šalamun’s poetry in which things were self evident, in “Black Swan” they reappear in their perfect monolithic, metonymic beauty, in its reality where authentic usage of poetic material unburdens the speech which keeps stumbling against self-pardoned poetic subject of this poetic collection by Tomaž Šalamun.