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<P align="justify"> Poetry is today … <P align="justify"> Poetry is today the strongest genre in Saami [[Literature|literature]], and it is also the best known outside the area inhabited by the Saami. One of the best-loved Saami poets is Paulus Utsi (1918 1975), who published the first poems in the Saami language in the magazine Samefolket in the 1950s. He later published a poetic work called Giela giela in 1974. and posthumously Giela gielain (1980), written in collaboration with his wife, Inger Huuva-Utsi. There is a strong ecological messageb in Utsi s poetry, as there is in the works of Nils Aslak [[Valkeapää, Nils Aslak (engl. ver.)|Valkeapää]] (1945-2001). Aillohaš (his Saami name) began his career as a poet in 1974 with a work called Giđa ijat čuovgadat , which reappeared in 1985 as part of a trilogy Ruoktu váimmus (the other parts originally appeared as Lávllo vizar bilelocizáš in 1967 and Ádjaga silbasuonat in 1981).He won the 1991 Nordic Council s Prize for Literature with his <i>Beaivi, áhčážan</i> (1988), which brought wider attention to Saami literature.Valkeapää occupies an important position in Saami poetry, and he can also be regarded as the father of visual poetry. Even in the early trilogy <i>Ruoktu váimmus</i>, the illustrations and the graphic layout of the poems are integral parts of an aesthetic whole, and the same style continued and intensified in his later works: Nu guhkkin dat mii lahka (1994), <i>Jus gazzebiehtár bohkosivččii</i> (1996), <i>Girddán seivvodan</i> (1999) and <i>Eanni eannážan</i> (2001). The style created by Valkeapää has been adopted by numerous other writers, and in fact it has become a trademark of Saami poetry. For example, in the poems of Synnöve Persen (Alit lottit girdilit (1981), <i>Biekkakeahtes bálggis</i> (1992) and <i>Ábiid eadni</i> (1994) the illustrations and the graphic format create an indisoluble whole together with the words. The same can be said of Thomas Marainen s work <i>Duddjojun sánit </i>(1997) and indeed of the works of many other Saami poets. </P>
<P align="justify"> The most productive of female poets has been Rauni Magga Lukkari. In her works <i>Jieŋat vulget</i> (1980), <i>Losses beaivigirji</i> (1986), <i>Mu gonagasa gollebiktasat</i> (1991), <i>Čalbmemihttu/Silmämitta</i> By Eye] (1995) <i>Arbeaadni</i> (1997), <i>Dearvvuođat</i> (1999), Lukkari deals with the change that has taken place in the Saami community and women's position in this upheaval. Many poets have also described the childhood experiences of Saamis at school and the effect of them on their later life. For example, Inghilda Tapio's work Ii fan dan dihte (1995) describes child's feelings when she sets out for school and has to live in a dormitory. Similarly in her work <i>Beaivváža bajásdánsun</i> (1985), Kirsti Palo returns in the recollections of her characters to the school experiences of a Saami child and young person,to the feelings she experienced then, which still continue to trouble her as an adult.</P>
<P align="justify"> In addition to emancipatory poetry, female poets have dealt with other subjects, one of the main themes naturally being love. Inger-Mari Aikio s first poetic work <i>Gollebiekkat almmi dievva</i> (1989) points the way to a new kind of poetry. Her poems radiate with a young woman's lust for life, and she has remained faithful to her own style in her later works: <i>Jiehki vuolde ruonas giđđa</i> (1993), <i>Silkeguobbara lákca</i> (1995) and <i>Máilmmis dása</i> (2001). The young Stina Inga also describes falling in love and betrayal in her work <i>Ferten eallima joksat</i> (1995). </P>
<P align="justify"> Much darker moods are expressed in Risten Sokki's two-language work <i>Bonán, bonán soga suonaid / Jeg tvinner tvinner slektas sener</i> (1996). In this work the vein becomes a symbol that links generations to one another and which permits the writer to deal with the blood-stained history of her family; her grandfather Aslak Jacobsen Hætta was executed in 1852 after the [[The Koutokeino mutiny 1852|Kautokeino revolt]].</P>
<P align="justify"> Rose-Marie Huuva also deals with death and the limitations of human life in her poem Galbna rádná (1999). The poem tells about a woman with cancer, the writer's alter ego: her feelings when she learns about the disease and her preparation for her operation and recovery. Loneliness, fear of death and gratitude for the life she has lived and for the days that remain to her alternate in the thoughts of the poem speaker. </P>
<P align="justify"> During the last few decades, poets of other Saami languages than North Saami have also begun to make themselves heard. Stig Gaelok Urheim has published several anthologies in Lule Saami: O, Oarjjevuodna (1983), Vuonak /Fra fjordene From the Fjords (1986), Amuk den fremmende (1988), -ale desti / -ikke mer Never Again (1992), Soaje / Venger (1993, and in collaboration with Kari Waag Gælok Det doppelte hjerte The Doubled Heart (1994). Claudia Fofonoff published a collection of stories and poems called Pââsjogg / Paatsjoen laulut Songs of Paatsjoki in Skolt Saami in 1988, and her second poetic work Jännam muttum nuuˊbbiooˊri came out in 1998. Oktyabrina Vorovna's (1930 1990) poetic work Yealla came out in Ter Saami in 1989, and a few years later Aune Kuuva's first poetic work Uáináh-uv / Oainnátgo (1992) appeared. The first poetic work in South Saami, Gaaltije, written by the 74-year-old Gaebpien Gåsta (Gustav Kappfjell), was published in 1987. </P>pfjell), was published in 1987. </P> +
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