“The first canto has been constantly regenerated. Not rewritten, or edited, but re-generated. New versions. New iterations. Each one in turn rewritten and edited. There have thus been multiple versions of the first canto, completely in tune with its conceptual and philosophical essence.
The first canto embodied the perpetual beginning. Embodies, in the present tense, the perpetual beginning. It is the writing of the beginning. It is the putting in motion, the mise on scène, of the perpetual hesitation to go on. The ability to go on. The desire to go on… Not just existentially but œuvrically: in the construction of a body of work. In the construction of a single piece. In the construction of the grand epic. The conceptual core of the first canto has much to do with the entire ÉPÏKÂNÕVÀ in fact, whose poetics relies on durational unfolding, with constant thematic back and forths between beginnings and ends. Thus, the first canto of the grand epic entitled ÉPÏKÂNÕVÀ is in perpetual re-launch.” (pp. 9-10)