Georgia Giota's new poetry collection with the characteristic symbolic title «Flammable fleece" which refers not only to the golden fleece of ancient myths, but also to the precious price of inner search.
"The Flammable Fleece" is not external glory or obvious conquests, it is the depth of the soul that seeks light, it is the blood that becomes a poem, it is the mistake that becomes knowledge, the passion that becomes redemption.
The "Flammable Fleece" comes to expand the boundaries of modern Greek poetry, weaving a unique, deeply emotional and at the same time philosophical discourse that moves between poetic confession and existential narrative.
The project is divided and structured into three sections: The PASSIONS, The ERRORSAnd THE RESURRECTIONDeclarative from the very title, each one refers to an inner cycle of pain, realization, and ultimate redemption.
The first section, The PASSIONS (emotion and anger), opens the collection with an almost confessional tone. Here, the poet is not ashamed to reveal her cracks, on the contrary, she turns them into verse. The poems in this unit are like cries in inner landscapes full of resistance, emotional outbursts, but also a raw tenderness. The emotion It is not just pain, but a way of being. anger It is not anger against the other, but acceptance of the deeper self, which refuses to continue to pretend.
Excerpt from the poem:
Tolerance
I endured thorns on an amaranth wheel
With a cheap excuse to not catch the eye.
I tolerated it
reptiles in luxury zoos
to steal the show
of proud lions and rare deer
Misled by the howls of wolves as he fell
deep darkness.
I tolerated it
rapes of the soul
those who
the tender hours with a raised finger
They pointed to the dome of the sky of imagination
the almicantaratus.
The jellyfish had a full head of hair, a beautiful appearance
It wasn't a monster, it happened,
Like Poseidon, he brought them by force to the sanctuary of Athena.
The second section, The MISTAKES (tears and search), functions as an intermediate purgatory space. Here, Giota shifts her poetic gaze from external rupture to internal renewal. The tears it is not just sadness, it is washing, clearing, purification. The search becomes a tool for self-knowledge, the poems acquire a more contemplative rhythm, a more subterranean anguish, as if the reader is walking with the poet in a mental labyrinth, where every corner is a memory, a mistake, a hope. Elements known to all of us as experiences, that she has lived and faced.
Excerpt from the poem:
Guillotine need
And yet I had a need, a guillotine
to feed my soul with crumbs.
Let's say...
From these, the table falls out of mind
as the nights fall,
from being made by wanderings,
leaning in awe on the headrests of orphaned dreams,
And at times I was thirsty,
But where can one find water that flows from a spring of resurrection?
Water scarcity fell sharply on the plain's calm bowels.
And now what;
The third and final section, THE RESURRECTION (redemption and acceptance), seals the collection with a gentle intensity. There is no easy optimism here, but a deep, mature acceptance. The admission does not mean defeat, but awareness. The redemption it is not heroic, but a silent victory that occurs in the pauses, in the words that were not spoken, in the embraces that became shadows. Giota's poetry at this stage acquires an almost metaphysical dimension, as if it penetrates time and space, touching something universal, almost archetypal.
Excerpt from the poem:
At the height of the circumstances
At the height of the circumstances
At the height of the circumstances
In the breadth of dignity
In the raw depth of man.
At regular intervals I hear the stopwatch.
And I repeat at a steadily accelerating pace
Lest the mind wander helplessly
Lest the heart become a beggar.
These are the moments when Odysseus and Palamedes fight
Who will carry Sisyphus' rock?
As a whole, the poems in the collection display the poet's dynamic expression as they are presented by long narratives, who often approach the prose, not in the sense of prose, but with a narrative technique that extends, persists, and is in no hurry to conclude. The style remains absolutely poetic, rich in imagery, emotional depth, but also an almost musical rhythm that guides the reader to the poet's inner map.
A special element of the collection is the language diversity and density of allegorical allusions. Georgia Giota does not speak directly: she hints, shadows, plays with metaphors, gives form to the words, ideas and knowledge she has in her mind, inviting the reader to awaken and not just read, but to penetrate to become a fellow traveler and to experience, feeling for himself, the inner transformation she describes.
The "flammable fleece", metaphorically, becomes the sacred quest of existence. That which is claimed with empathy through pain, and is lost in mistakes and ultimately recovered with the purification of the soul.
As a result, what remains of the «Flammable fleece" is a inner odyssey, a journey of self-knowledge and stripping, inspired by the depth of human emotions where the poet transforms them into poetic speech. A collection that it is not easy to read, but is experienced as if one were holding in one's hands not just poems, but the traces of a soul that dared to speak, to strip itself bare and ultimately to transform itself, leaving the beauty of the word on the pages, subjecting the reader to the magical effect of the poetic myth.
