The republication of Circular Route, Kondos' first book of poetry which was originally published in 1970, gives us the opportunity today to re-examine the thematic sources of this intensely individual writing and also to evaluate the general development in the poet's main stylistic choices. The variety of devices, the regular use of metaphors, the presentation of metalinguistic forms, together with an individualistic perseverance, determine from the very beginning a virtually axiomatic diction that wishes at all costs to undermine verisimilitude, convention and the spuriousness of daily life.
In its well-known opposition to the impersonal yet violent microcosm of the '70s, which stiflingly surrounds an obstinately liberal poetic existence, the word undertakes to fulfil the expectations and chief demands of the individual-citizen, at the same time highlighting both its constitutional and imperishable value and its parabolic scope. The density of the references, the terseness of the statements and the surprising correlation of concepts is placed in the service of a direct and vital processing of the poetic message. From this point of view, the Circular Route constitutes a first level of textual application.
The images of reality are dissected and recomposed, the current semantic routine is undermined, the oppressive regime of the Junta (1967-1974) becomes the target for a telling and at times allusive criticism. In other words, Yannis Kondos acts as a restorer of life's injured rhythms: poetry is an end and not a means. Without resorting to self-satisfaction or to excessive self-referentiality, his writing constantly endeavours to converse with the essence of things. This is why, despite having been written thirty years ago, the Circular Route is still very readable: it retains the freshness of an insubordinate, restless and developing language. Works by seven distinguished artists, present in the same period, adorn this publication and contribute to its wider reception.