Self-referential poetry is where the
images of the verses dominate independently of their musicality.
Images that are void, painful, extreme, occasionally surreal.
Already, at the first page, the
lyricist’s palette emerges, translated into an abundant effusion of
Indeed, in this collection, Ioannis
Karalias exhausts the strings of his heart in order to allow us to
partake of his internal tremors that gradually become our own.
For example, in Foolish Years, the
tremors of explosive guilt that calls for “the bullet of frankness
to alleviate the soul;” (p. 56) even those of a ravaged childhood
in an environment that had already collapsed before the soul came to
life as in Looting “long before it could be conceived” (p. 68).
Also, the tremor of shaking off erotic
taboo, as when he writes in Infinity of Love, “I quench my thirst
in your lips and free myself of the irrational” (p. 40).
Can’t we also hear the tremulous
resonance of the father’s, that god-father’s course voice in
Yesterday’s Dream: “solid as a rock that leans on top of you
causing paralysis of the limbs?” (p. 24).
By this Kafkaesque reference, the
poet’s psychological atmosphere leaves no doubt as to his
subversiveness. It is a life attitude expressed in full through
Satrean existentialism, existential humanism, or, if you prefer,
Therefore, from beginning to end, the
poet remains true to himself. He does not flee before ruthless
reality of birth and decay. He does not slip in otherworldly recipes
of happiness. That means that he withstands the idea of human tragic
loneliness. There lies the meaning of the present collection,
entitled “Internal Journey”.