At night I dream of endings

This collection adds to the significant body of work produced by Yiannis Antiochou. His images, original as ever, reveal the bloody world of the present—a modern apocalypse whose roots, however, lie in the past. His intertextual readings of Seferis, Eliot, Hart Crane, Paul Celan, Rimbaud, and many others form part of the poet's cosmology, while remaining thoroughly genuine, deeply personal, and brilliantly assimilated poetically."

– To Vima

...this poetry does not function as a simple observation, but as a violent physical process that sweeps the reader along. Yiannis Antiochos's collection is, indeed, "a sea full of verses/ it is never a metaphor/ it swells, returns, and drowns you/ incessantly." The verses transform into waves of truth, swelling to drown illusions and nights plunged into the apocalypse.

Yiannis Antioχου has managed to create his own poetic universe by founding each successive book on the immediate predecessor. [...] In the composition “At Night I Dream of Apocalypses”, he re-examines the question of God, revealing first and foremost the passions of humanity, without ever bypassing the passion of the one and only human being. [...] With what truth and mastery does the poet ironize both the poetic object of the previous book and us readers—himself included...

The collection constantly returns to the fundamental anxiety: what does it mean to remember? And even more, what does it mean to survive within what you remember? And ultimately, perhaps this is the most disturbing yet also the most truthful element of the collection: that the apocalypses we dream of do not belong to the end of the world, but to the way we are already experiencing it.

Giannis Antiochou may experiment with his verses, form, intertextuality, and ideas—not because he needs to impress, but because he is a very capable poet, "comfortable" with his material.

A key characteristic of these poems is that they are permeated by a sense of cultural decay, a prevailing mood of subversion, and a kind of nostalgia for a lost homeland—not in the narrow sense of a paternal place, which is betrayed by references to the past. Yet, this current fixation on and coddling of a nightmare is humanly impossible; for while certain images of resignation—ranging from moral decadence to psychological illusion—are symptoms of personal slippage, they are, at the same time, connected to the broader external climate that prevails.

...the collection successfully accomplishes a difficult endeavor. It unites lyricism with contemplation without diminishing either. [...] Upon finishing the reading, I was left primarily with the sense that I had read a collection which treats poetic discourse as a space of continuous testing—a space where every image, every rhythmic choice, and every cultural reference undertakes to illuminate man's fragile position in the face of history and the power of language itself.