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The book "2004" by Estonian poet fs is analysed as a text collection reflecting modern urban environment. First the poet's vision of the city is described by its colour spectrum, which consists mainly of black and dark tones only seldom con trasted by a brighter patch. The main landmarks of fs's cityscape are dust, cold, smells, machines, and certain social phenomena such as loneliness, poverty and hunger. It is pointed out that unlike a typical modernist poet fs is not trying to escape from the depressing city by the opposition of civilisation and wilderness, emphasizing instead the inescapability of a wild aggression of the urbanistic culture and thus the necessity to find some strategies for co-existence with the city. Another point discussed is the ambivalent relation of fs to a poet's "job" as well as the split identity of a city dweller in general.
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The works of Estonian poet fs is analysed in personality perspective, discussing his pen name as well as the intonational style of his poetry. The pseudonym fs is a signature of poetical utterances, which does not exactly function either as a personal name or a role name, being rather a signal of a name's place. Thus the pen name designates a half impersonal degree of subjectivity rather than a subject aspiring to a specific personality. Something similar is conveyed by the intonation and manner of utterance of fs's poetry – on the one hand it is clear and objective, not tending to the impersonality of dreams or language games, but on the other hand his poetic expression lacks a clearly individual style, "timbre" or specific tone. The language of fs's utterances is one of a neutral "man in the street", with personality hardly marked at all. All this harmonizes with the essential motives of his poetry, such as, for example, a split within the author, i.e. an existential split between the machine/animal in a person and his human self-awareness, as well as a split between a poet's desire for authenticity and the semiosis engendered by the cultural context. The poetry of fs somehow positions itself beyond the opposition of authenticity and cultural role-play, while fs managing it without the help of any mystical usage makes him quite unique in Estonian poetry. The article analyses the development of fs's poetry, comparing it, among else, with the changes observable in the works of J. Viiding, and localizing it in the landscape of the poetry by the younger generation of modern Estonian poets.
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