11 pm and mulling warm tea, contemplating my perversions – garden variety, darker and richer perhaps than some would be comfortable with but nothing overly problematic- and a hollow-eyed Dionysus comes to me, rising like a marble statue from a black fog. Around his head are living ivy wreathes, straining, dancing as though for the sun. His lips are curled in a grimace stolen from the countenance of Adam, his brow heavy bit still beautiful, his cheeks stone white but growing ruddier the longer I gaze upon him. It’s as though he’s the metaphorical to my thoroughly literal. I am sore from my dancing, and aggressively ignoring as usual my fears of abandonment- he did not come, not when I painted myself red with crushed berries, not when I swallowed the wine, not in the hours I flung myself rhythmically to madness–
But that was the problem, wasn’t it, it wasn’t madness. I could never leave the confines of my thoughts. Locked in my head I may as well have been dancing alone.
But here I feel him, swaying, aching as I ache but differently. The hangover in more ways than one, the greenish tinge to Caravaggio’s Bacchus, a hint of the slouch in Rodin’s bronze, the hands to big, the face too pained. Marble and flesh, this half-born, thrice-born god-man-child. His festivities, his beauty, his rage, but so rarely we see the shuddering breath that comes after. The fall beyond the crescendo. He’s there too. There’s madness in grief as much as there is in ecstasy. I wonder now if we confuse the Dionysian with the Apollonian in our manic golden age. No more the maenads alone: He rides the world. In every city his festival roars to life with the sleep of the sun, on every crackling screen his ithyphallic countenance groans and moans and rolls, rushing, languid, spent.