Margareta Curtescu’s third volume of poetry, suggestively entitled Love Otherwise, maintains a register of emphatic self-disclosure. Arranged on the poetic diary’s stave, the poems reveal the author’s tactile and olfactory sensitivity. Here, the poetess returned to old obsessions: the cries and tears, the shadows, the passage etc. The amniotic environment of her poetry is dominated by sadness and melancholy which are pushed beyoned metaphysical thresholds of pain. Margareta Curtescu’s poetry remains, in her view, a salvific institution.