For Margarita the first month of her marriage was forever to stand outside the flow of real time, so full was it of wizardry; Homer Kyroleon, who had fallen an amazed victim to his new bride’s voice, foresook for those initial few weeks all other seductions in favour of making Margarita kis own, a project to which she responded with all the enthusiasm of someone who, practically from birth, had never been loved enough. The only witnesses to their acts of complicity were the iridescent pigeons which cooed on the window-sill of the shadowry bedroom in which the blissful couple vspent almost all their time. On the third day after the wedding its suddenly occurred to Homer Kyroleon that he did not keep pigeons; when he remarked casually on the fact to Margarita, she said, with a crystalline laugh, “Thy’re the pigeons from my aunt’s house; I told them to come.” “Ierodiaconou’s poetry mixes the folk element and the implacable modern world. There is a constant reference…to her roots, to the simple, picturesque but tortured world of her Cyprus. On the other hand, her subsequent experience of the modern world feeds her poetry with disillusionment and deception” –Katerina Angelaki-Rooke, “Ten Greek Women Poets”, Wire Press, San Francisco, 1981 “Using Cypriot themes with an intense, if oblique, sensual suggestiveness (Andriana Ierodiaconou) has written incisive, radical poems that express a kind of post-colonial revolt” – Nanos Valaorites, “Modern Greek Poetry:An Anthology”, Talisman House Publishers, New Jersey, 2003
|
Art 
