Slamnig is always Slamnig – unrepeatable, even when he repeats himself (Bagić 2001: 225). His literary persona is constructed out of several instances. The aim of this paper was to demonstrate why poeta amans could be considered his legitimate poetic nickname. This brief excursion through exactly one half of Slamnig's collections of poetry (Aleja poslije svečanosti, Dronta, Sed Scholae, Relativno naopako and Ranjeni tenk) on the example of 10 love poems has cleary illustrated what makes his love poetry so authentic, but at the same time so close to everyday, ordinary people: from exceptionally rich figural and rhetorical apparatus, experimenting with androgynous lyrical subject, skillful balancing between traditional forms and completely modern ones, through an extremely dialogical orientation of his texts to choosing the most common, but thus most powerful themes. Just like in all of his works, Slamnig's occupation par excellence in his love poetry are everyday situations (except certain surreal experiments from his literary begginings) – broken hearts, hearts full of lust, passion and desire, hearts who seek mutual understanding, but also hearts filled with a mature kind of love and loyalty. Without a grain of pretence, but with an abundance of (self) irony, mockery, and, on the other side, tenderness, Slamnig touches at the heart of human relationships and makes each and every one of his texts our own. What applies to all literary meteors, applies to Slamnig as well – even 21 years after his departure, his unordinary love poems radiate an unparalleled freshness and an incredible, almost frustrating everlasting appropriateness to every romantic liaison in this world.