A tiny cupid cast from its
own antiquity.
The clay
shaped it half-lying on a
transparent base
to show also its secret side.
All these years resting safely
on a shelf - reredos of souvenirs.
I found it shattered.
Its parts now a pile of pieces
elsewhere the leg elsewhere the wings
elsewhere the blame.
I suspect by a duster
driven to take revenge
only God knows
by which determined old wound.
I can fix the damage
I have studied loss's anatomy
but I hesitate
I suppose if I leave it
shattered in pieces
it remains more like love.
Personal notes:
This poem was published as part of the collection 'Public time' (2014).
In this poem, Dimoula describes the destructive nature of love, whether in its loss or suffering.
Dimoula focuses on an object from her past, like in many of her other poems which reference photographs, souvenirs and personal items. The object - a small souvenir made of clay on a transparent base - represents one of love's most popular personifications: a cupid. Dimoula chooses this object to reflect on her view of love.
For Dimoula, love can be destructive - a state that is reflected by the shattered cupid. Dimoula seems to have reconciled with this view of love - for a moment she considers fixing the broken cupid but decides against it. This decision shows acceptance and realisation that she might prefer to be reminded of love's suffering.
own antiquity.
The clay
shaped it half-lying on a
transparent base
to show also its secret side.
All these years resting safely
on a shelf - reredos of souvenirs.
I found it shattered.
Its parts now a pile of pieces
elsewhere the leg elsewhere the wings
elsewhere the blame.
I suspect by a duster
driven to take revenge
only God knows
by which determined old wound.
I can fix the damage
I have studied loss's anatomy
but I hesitate
I suppose if I leave it
shattered in pieces
it remains more like love.
---------------------------------------------
Personal notes:
This poem was published as part of the collection 'Public time' (2014).
In this poem, Dimoula describes the destructive nature of love, whether in its loss or suffering.
Dimoula focuses on an object from her past, like in many of her other poems which reference photographs, souvenirs and personal items. The object - a small souvenir made of clay on a transparent base - represents one of love's most popular personifications: a cupid. Dimoula chooses this object to reflect on her view of love.
For Dimoula, love can be destructive - a state that is reflected by the shattered cupid. Dimoula seems to have reconciled with this view of love - for a moment she considers fixing the broken cupid but decides against it. This decision shows acceptance and realisation that she might prefer to be reminded of love's suffering.
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