The author seems to recall, by the way he composes his lines through continuous interference, sounds, references and times that intersect, Dylan Thomas'' Under Milk Wood , that 1957''s radio drama where the dream voices of Llareggub inhabitants, imaginary Welsh village ("bugger all" read backwards, i.e., "all sons of bitches") are spoken. When Andrew Sinclair shoots the film version with a sublime Richard Burton as leading voice, accompanied by Elizabeth Taylor, Peter O''Toole (great), Glynis Johns and Vivien Merchant among others, in the little village of Fishguard, the author can not help but shudder remembering the lager ''pints'' enjoyed there waiting for a ferry. Perhaps it was this connection that led him ,many years later, to write his Turkey tour through Dylan''s key, this time based on Ottoman tea and coffee.
The poet includes date and even the exact time of the entries but, as he states in his synopsis,it is a journey both exoteric, which describes the environment and what is happening, as esoteric internalizing those experiences. So, time is explicitly split in his travel diary. Sounds, costumes, the Bosphorus and its ships and its people, movements and objects in the Souk, the prayer over the loudspeakers, the majestic mosques, the street vendors, etc. Everything is stirred into lines without punctuation, hardly any capitals, as in a mixer that is, for example, the Istanbul of eighteen million people, a flow where the inner voice comes and goes suddenly.
The author adds images that deliberately are airbrushed to compel the reader to ''re-create'' so that his/her mind does not adopt a passive attitude as with television and films, where everything is given in a Go(ne). His poetry, difficult in that aspect, starts from the same premise: waking up the imagination of the one reading so that, indeed, he/she views, and always was, from the word.