Seemingly narrative, but in its essence strongly poetic, the expression of the lyrics of So Spoke Penelope (2013) derives from an intense sense of life that is combined with intellectual subtlety and deep sensitivity. The charm of the poems in the collection lies in the tension given to them by the constant emotional transitions between love and anger or hope and despair felt by the heroine. Penelope’s existence is “built” on the omnipotent absence of Odysseus, who determines every aspect of her reactions. Her voice—lyrical, melancholic, and, at the same time, romantic and contemplative—finds its expression in the first-person narrative interspersed with the second person, when she addresses Odysseus or invokes the gods. Penelope does not describe, nor does she simply narrate: She outlines, unfolds with painterly clarity her different qualities as a woman, mother, and queen, even a weaver-artist, with distinctive imagery. Thus, her self-referential demystification does not highlight self-centeredness but creatively composes her personal universe through a conjecture of living or lived experiences. The figurative lyricism of the collection stimulates the reader’s senses and marks the dialogue between speech and representation, as seen through the pages of the collection. This approach paves the way for the current bifocal project: On the one hand, it examines the uses of imagery in the poetic flow and, on the other hand, explores the interconnection(s) of the synesthetic imagery with visual arts.