From the House of Dionysos
By Virginia M. Mohlere
16 April 2012
Here's the thing: you never had a voice before
(merely the suggestion of laughter).
You never had a scent:
until my feet locked
to the pavements of Delos,
until I rooted in the island's chain.
You peeled up out of that mosaic,
tesserae running together,
popped into a third dimension
with one breath of chamomile,
another of sun-warmed parsley.
Inhaled to a form stolen
from my memory:
three gloomy Swedish mysteries
and one superhero film.
You rose up;
I sank down.
You were never blond before Delos,
with curls mad enough to suit even you,
risen,
and me smashed like the ruins around us.
You rose up, lord,
and stretched me transparent:
feet inside Greek earth,
herb-maddened head back home.
No god of delight risen from stone
will be gentle.
I live to dream but cannot sleep—
the god's horse,
ridden long;
ink stains my fingers and sheets,
but it is not the words, lord,
it is the narcoleptic worship.
Fevered days,
hot-eyed,
seeking shade under notebooks:
you stand in the sun,
in the shape you made for me,
and there is your hand,
reaching.
My answer is yes, lord.
My answer is yes.
Comments
Hi, Steven -
Thanks for asking, and I'm sorry for the delay in replying.
Those two lines are a reference to the specific face that Dionysos wore in my dreams for a while. It was jarring there, too.
Oh, and to actually answer your question: yes, that was a deliberate choice. It is meant to be a moment of imbalance, of yanking.


"three gloomy Swedish mysteries / and one superhero film."
These two lines seem so jarring to me, especially given the register and motifs employed throughout the rest of the poem. Was that an intentional choice, and if so, what were you trying to convey with that? The lines are an ultra-modern blade lancing the mythic spell of the greater poem.