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milk has gone sour as if time is standing still,/in the cradle the child is screaming itself bloody after the mother"].
The same two-foldness in Deliria shows in the depiction of language. In Gothic the irrational language is a source of distress. Language becomes fragmented, irrational and unreadable, and this is connected to terrible feelings. In Gothic works the language itself becomes an unwanted laby rinth. But in Deliria these kinds of seemingly meaningless structures in the language are often positive. They exist in poetry. Kandre writes that poetry repeats words in an irrational way and shows us strange meanings which make us ask good questions about what the words mean, and because of this we see the world in new, deeper ways: "Vaddå ' sommarvat ten' , ' skymningsfält' , ' sylt skrapad/från kryptans väggar ' [...] sådant händer inte,/har ingen mening, det/betyder ingenting alls och/kan heller inte ske!//Eller?" (s.20) ["What 'summerwater', 'twilight field', 'jam scraped/from the walls of the crypt' [...] such things do not happen,/have no meaning, it/means nothing at all and/cannot even happen!/– /Or?"]. But language, for example poetry, might also become Gothic. An example is the poem about a poet whose poem imprisons him and shows him terrifying visions connected with his life. This text also uses the structure of Chinese boxes because the poet who is depicted in this poem is himself in a poem in this poem. In this text we also find Gothic stage props like a terrible castle:
Från att ha varit tam och beskedlig
sprang dikten plötsligt upp ur det
omedvetna
och uppslukade,
likt ett hiskeligt vidunder,
med hull och hår,
vällustigt,
sin egen skapare,
diktaren själv,
som ylande sprang omkring i dess
vindlande meningar.
Och dessa var som långa gångar.
Som ödsliga korridorer i ett obebott
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