I keep writing Viggorli fanfiction in my head, sometimes with a little help from Viggo's poetry. I think Viggo uses his art and poetry to express himself, but of course no one but him can know what he was thinking when writing it. But I can imagine. And I wish to imagine he wrote some of them thinking of Orlando. I'm sure my imaginations and theories are only new to me.
As with the O+H painting, the poems which are dated from the time frame of filming LotR (1999-2002) can reasonably be considered to be quite influenced by everything Viggo experienced while in New Zealand. He spent 18 months+ there, after all. For this reason, I read his poem Communion imagining he was also under the heavy influence of love for his elf boy. And to me, it reads like a very romantic but also very wistful poem. So this story would be labeled "friends to lovers, angst".
In my view, at least two sort of objective facts, support my not-very objective theory that Orlando is the unamed object of desire, namely Viggo's choice of words:
"Bloom of compassion" - the most obvious (too obvious even? - or hiding in plain sight?) - it's a common enough word, sure, but in this context, during this period of Viggo's life, is it really a coincidence? It seems to stand out like a neon sign: BLOOM. It's difficult to unsee.
"Anglican doorway" - "Anglican" mostly refers to "Church of England" or the Anglican communion as a whole. But it can also be another way of saying that something is English. And so it can be read as "English doorway", if you wish. Regardless, it certainly leads your thoughts towards England. Furthermore, Orlando was brought up in the Church of England (and born in Canterbury, the place of origin for the church, no less), while Viggo has no known connection to any religion really. It's perhaps not as obvious as bloom, but it's still quite a significant choice of word. Again, in this context, at this time, when we know Viggo spent so much of his time with Orlando.
Here's my interpretation of Viggo's Communion:
we've left shore somehow
become the friends of early theory
close enough to speak
desire and pain of absence
of mistakes we'd make
given the chance.
The two are described as friends, who have become closer, intimate in words and thoughts. Sharing secrets, fears, feelings. Bordering on something more.
each smile returned
makes harder avoiding
dreams that see us
lying in the early evening
curtain shadows, skin
safe against skin.
bloom of compassion
respect for moments
eyes lock turns
forever into one more
veil that falls away
He seems to be having thoughts of them becoming lovers, the veil of "just friends" falling away. But it seems to be still just a dream, a hope. It's such a beautiful image: the two of them, together, intimate, safe. And that "bloom of compassion", maybe V just wanted to get the word in...
this after seeing you
last night, first time
smelling you with
permission: shoulders to
wonder openly at
as carefully kissed
as those arms
waited impossibly on.
they've held me now
and your breath
down my back
sent away the night air
that had me shaking
in the unlit anglican
doorway.
But seems they've already been intimate, maybe just a first kiss, a lingering touch, holding each other. The "smelling you with permission" implies he's smelled O without permission before. Sneaking a little sniff when in close contact. Inhaling the sweet scent of a beloved friend. If we accept "anglican" as a reference to O, then what is this unlit doorway? Is it just an image of being allowed inside O's private space? And why is it unlit? As in Orlando being from that church, but not believing in its god? Or an opening into this other person which is difficult to find, maybe not fully opened to him.
are we ruined for
finding our faces fit
and want to know more
about morning? is
friendship cancelled
if we can't call
each other anymore
in amnesia, invite
ourselves to last glances
under suspicious clocks
telling us when we've
had enough?
A worry that sex will ruin their friendship, implying it's not clear what their relationship should be, even after crossing that line. I love that phrase "finding our faces fit", it's both funny and beautiful; finding that when they kiss, they felt a sense of belonging. And that they probably don't want to stop. I'm not sure if he also worries about other people seeing, finding out, being in the public eye. And he worries that they won't be able to talk like they did before, as friends.
your steady hands
cradling my grateful
skull: were you taking
in my face to
save an image
you've rarely allowed
yourself after leaving
that cold alcove?
am i a photograph
you gaze at in
moments of weakness?
Again, he seems to feel this relationship only exists in private, in bed. Maybe implying that O regards it as a weakness, these feelings. This part could also be read as if it's him looking back, when the relationship is over, or changed, distanced, wondering if O thinks of him.
you ordered me
off my knees
into your arms.
wasn't to beg
that i knelt; only
to see you once
from below.
The image of V on his knees could both be a sexual thing, but it could also be about worship; that he wants to be on his knees to adore O. But it's also a part of the poem's religious theme; you usually kneal while taking the communion. You kneal to pray.
tried to say something
that filled my mouth
and longed to rest
in your ear.
don't dare write
it down for fear it'll
become words, just
words.
The relationship seems fragile, filled with fear of loss. Like he can't say everything he wants to, afraid it'll lead to it ending. There's so much desire and longing, but also so much despair of the relationship being so brittle, that it can fall apart at any time.
Once I read it this way, like with that painting, I can't see anything else. Maybe it's just coincidences, maybe it's just something from inside Viggo's brain (and not connected to reality), maybe it can be read in many other ways. But since my brain is warped, I can only read it like this.