Neo-Hellene Poets_Feb8

Sadly, while many serious readers in Canada will have been exposed to the ancients, and to the works of some, high-profile modernists—like Cafavy, Seferis and, perhaps, even Ritsos—most modern Greek poetry has remained largely out of reach for English-speaking monoglots.  But that is changing quickly, chiefly as the result of the efforts of one man.


Enter Manolis Aligizakis, a Greek-Canadian poet of considerable lyrical achievements of his own.  Quite apart from having published many volumes of his own much-celebrated poems, Manolis has, for years now, devoted himself to preparing high-quality and nuanced translations of the works of modern Greek poets.  He has to this point given us his take mainly on the above-mentioned and better-known writers (for which we are all grateful).  Now, however, he has graduated to a truly Heraclean undertaking, one that opens the door for English-speaking readers to the work of many highly respected Greek poets who, it is to be regretted, are essentially unknown outside their own country.  Neo-Hellene Poets: An Anthology of Modern Greek Poetry, 1750-2018 is a skeleton key to the poems of 60 Greek moderns whose writings, we can now easily see, deserve a wider readership.  The deft and skilled translations that make up the Anthology are helpfully supplemented by brief but informative biographical profiles of the subject poets, putting them on the map for English-speaking readers in a way that has never been done before.


In an article published in The Guardian on March 1, 2018, Daniel Hahn made a compelling case for better recognition for translators, noting that they “are in the vanguard of literary change,” in part because they tend to bring together readers and writers whose paths would otherwise never cross.  Manolis has rendered a great service—both to Greek poets whose voices have seldom been heard in the West and to English-speaking readers who hunger for more Mediterranean seasoning from the land of Homer to excite and enliven their literary palates.  Bravo!


—P.W. Bridgman, author of Standing at an Angle to my Age.


Move over, Heracles. This is an unparalleled poetic accomplishment requiring great strength and endurance.


Alan Twigg, B.C. BookWorld



Βίκυ Παπαπροδρόμου: ό,τι πολύ αγάπησα (ποίηση, πεζογραφία & μουσική)

Στην ερημιά της φρόνησης

Αιμορραγούν τα όνειρα στον ύπνο μας
δικοί μας άνθρωποι γκρεμίζονται στο τίποτα
γονατιστοί κι ανυπεράσπιστοι μας αποχαιρετούν

μες στα πορνεία ξενυχτούν με λείψανα μιας εποχής
με τις ψυχές που είχαν κάποιοι εκδορείς λίγο πριν γίνουν άγγελοι —

έχω από χρόνια βολευτεί στης φρόνησης την ερημιά.

Από τη συλλογή Το νεκρό καφενείο (1997) του Μάνου Ελευθερίου

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Αδιάψευστη μαρτυρία, η φωτογραφία την οποία κατά πάσαν πιθανότητα τράβηξε μέλος της ΟΥΝΦΙΚΥΠ που βρισκόταν στην περιοχή.

Σαν σήμερα στις 17 Αυγούστου του 1974 στον δρόμο Δερύνειας -Αμμοχώστου, έγινε η σφαγή στα Περβόλια της Πέρτζιενας.

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Παιδείας Εγκώμιον

Του Evandro Agazzi*


Μτφρ.: Γιώργος Κουτσαντώνης

Συχνά μιλάμε για «απώλεια ταυτότητας» από την οποία υποφέρει ο άνθρωπος της εποχής μας και το νόημα που της δίνουμε είναι μια αδυναμία προσανατολισμού. Μιλάμε για μια βαθιά κρίση που έχει επηρεάσει όλα τα πλαίσια αναφοράς και αξιών εντός των οποίων οι άνθρωποι είχαν συνηθίσει να τοποθετούν τους εαυτούς τους και να δίνουν νόημα στην ύπαρξή τους.

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A Short Introduction to the Haiku

Posted: 13/08/2018 by vequinox in Literature

Interesting Literature

An overview of haiku as a poetic form

Many of the things we think we know about the Japanese poetic form of the haiku are inaccurate, if not downright incorrect. The common perception, or understanding, of haiku might be summarised as follows: ‘The haiku is a short Japanese poem containing 17 syllables, following a tradition, and a name, that remains unchanged after centuries.’ There are, however, several problems with such a definition of the haiku, which this short introduction aims to address and make clear.

Although the haiku as a verse form is centuries old, the word ‘haiku’ isn’t. Indeed, it was only surprisingly recently – as recently as the end of the nineteenth century, in fact – that people started referring to these miniature Japanese poems as haiku (never ‘haikus’: the plural is the same as the singular), when Masaoka Shiki (1867-1902) began referring to them as haiku as…

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