In Anabasi there is a fantastic projection of something strictly private, autobiographical: the author's relationship with his wife, which is poetically transfigured and goes through a series of metamorphoses: woman-fruit, woman-earth, praying mantis. (…) The recurring places inhabited or traveled by the Woman are the House and the Garden, a physical and mental place that becomes, from time to time, a primeval Eden and a Labyrinth full of dark presences. The Woman walks through the Garden-Labyrinth in search of a lost symbiosis with nature. Continuously enters and exits the Oedipal Womb-House. The vineyard and the cosmos in formation and perennial metamorphosis spring from his own body. At times they seem to incorporate it within themselves, in a panic relationship of total identification. The Garden, the Vineyard, the Sun allude to solar and telluric symbolism, to the great seasonal myths of fertility.

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