{"id":275,"date":"2015-07-14T00:09:33","date_gmt":"2015-07-13T21:09:33","guid":{"rendered":"http:\/\/parospoetrysymposium.chs.harvard.edu\/?page_id=275"},"modified":"2015-07-14T00:15:16","modified_gmt":"2015-07-13T21:15:16","slug":"275-2","status":"publish","type":"page","link":"https:\/\/parospoetrysymposium.chs.harvard.edu\/?page_id=275","title":{"rendered":"Participant bios"},"content":{"rendered":"<p><strong>Demosthenes Agrafiotis<\/strong> (1946), poet and intermedia artist, is active in the fields of poetry\/painting\/photography\/intermedia\/installations and their interactions, with books of poetry and essays, and exhibitions both in Greece and abroad. He has a special interest for the relations between art and new technologies, for multimedia or intermedia projects and also for performances. His book <em>Maribor<\/em> (The Post-Apollo Press), awarded the 2011 Northern California Book Award for Poetry in Translation, and <em>Chinese Notebook<\/em> (Ugly Duckling Presse)-both books are translated by Angelos and John Sakkis. His recent books: <em>+-graphies<\/em> (Veer Books, London), <em>Betises<\/em> (Editions Fidel Anthelme X, Marseille, in french), <em>ArtxArt<\/em> (Redfoxpress, Ireland). He has participated in different types of artistic activities: publications, artists books, production of videos, small press initiatives (anthology-formatted magazine \u2018Clinamen\u2019) and alternative &#8211; action art projects. He is based in Athens, Greece.<\/p>\n<p><strong>\u0394\u03b7\u03bc\u03bf\u03c3\u03b8\u03ad\u03bd\u03b7\u03c2 \u0391\u03b3\u03c1\u03b1\u03c6\u03b9\u03ce\u03c4\u03b7\u03c2<\/strong> (1946): \u03a0\u03bf\u03b9\u03b7\u03c4\u03ae\u03c2, \u0395\u03b9\u03ba\u03b1\u03c3\u03c4\u03b9\u03ba\u03cc\u03c2 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03b4\u03b9\u03b1\u03bc\u03ad\u03c3\u03c9\u03bd (\u03b6\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae, \u03c6\u03c9\u03c4\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae, \u03b4\u03b9\u03b1\u03bc\u03ad\u03c3\u03b1\/intermedia, performance\/\u03b5\u03c0\u03b9\u03c4\u03ad\u03bb\u03b5\u03c3\u03b7, \u03b5\u03b3\u03ba\u03b1\u03c4\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2). \u03a3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2 \u03b2\u03b9\u03b2\u03bb\u03af\u03c9\u03bd \u03bc\u03b5 \u03b4\u03bf\u03ba\u03af\u03bc\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03ac \u03ac\u03c1\u03b8\u03c1\u03b1 \u03b3\u03b9\u03b1 \u03c4\u03b7\u03bd \u03c4\u03ad\u03c7\u03bd\u03b7, \u03c4\u03b7\u03bd \u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\/\u03c4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03af\u03b1,\u03c5\u03b3\u03b5\u03af\u03b1 \u03c9\u03c2 \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03b9\u03ba\u03bf-\u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03ac \u03c6\u03b1\u03b9\u03bd\u03cc\u03bc\u03b5\u03bd\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7 \u03bd\u03b5\u03bf\u03c4\u03b5\u03c1\u03b9\u03ba\u03cc\u03c4\u03b7\u03c4\u03b1. \u0391\u03c4\u03bf\u03bc\u03b9\u03ba\u03ad\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03b9\u03ba\u03ad\u03c2 \u03b5\u03ba\u03b8\u03ad\u03c3\u03b5\u03b9\u03c2 \u03b6\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae\u03c2, \u03c6\u03c9\u03c4\u03bf\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae\u03c2 \u03ba\u03b1\u03b9 \u03bf\u03c0\u03c4\u03b9\u03ba\u03ae\u03c2\/\u03b5\u03b9\u03ba\u03bf\u03bd\u03bf\u03c3\u03c7\u03b7\u03bc\u03b1\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03bf \u03b5\u03be\u03c9\u03c4\u03b5\u03c1\u03b9\u03ba\u03cc. \u03a3\u03c5\u03bc\u03bc\u03b5\u03c4\u03bf\u03c7\u03ad\u03c2 \u03c3\u03b5 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2, \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03b9\u03ba\u03bf-\u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03c4\u03b9\u03ba\u03ad\u03c2 \u03b5\u03ba\u03b4\u03b7\u03bb\u03ce\u03c3\u03b5\u03b9\u03c2, \u03c4\u03b1\u03c7\u03c5\u03b4\u03c1\u03bf\u03bc\u03b9\u03ba\u03ae \u03c4\u03ad\u03c7\u03bd\u03b7, \u03c0\u03bf\u03bb\u03c5\u03bc\u03ad\u03c3\u03b1 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b1\u03bc\u03ad\u03c3\u03b1, \u03b5\u03b3\u03ba\u03b1\u03c4\u03b1\u03c3\u03c4\u03ac\u03c3\u03b5\u03b9\u03c2 (\u03b9nstallations) \u03b5\u03c0\u03b9\u03c4\u03b5\u03bb\u03ad\u03c3\u03b5\u03b9\u03c2 (performances), &#8220;\u03b5\u03bd\u03b1\u03bb\u03bb\u03b1\u03ba\u03c4\u03b9\u03ba\u03ad\u03c2\u201d \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ad\u03c2 \u03b4\u03c1\u03b1\u03c3\u03c4\u03b7\u03c1\u03b9\u03cc\u03c4\u03b7\u03c4\u03b5\u03c2. \u0395\u03b9\u03b4\u03b9\u03ba\u03cc \u03b5\u03bd\u03b4\u03b9\u03b1\u03c6\u03ad\u03c1\u03bf\u03bd \u03b3\u03b9\u03b1 \u03c4\u03b9\u03c2 \u03c3\u03c5\u03b6\u03b5\u03cd\u03be\u03b5\u03b9\u03c2 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03bd\u03ad\u03c9\u03bd \u03c4\u03b5\u03c7\u03bd\u03bf\u03bb\u03bf\u03b3\u03b9\u03ce\u03bd &#8211; \u03c4\u03b5\u03c7\u03bd\u03bf\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b7\u03c2. \u0388\u03ba\u03b4\u03bf\u03c3\u03b7 \u03c6\u03c5\u03bb\u03bb\u03b1\u03b4\u03af\u03bf\u03c5 \u03c4\u03ad\u03c7\u03bd\u03b7\u03c2 &#8216;\u039a\u03bb\u03af\u03bd\u03b1\u03bc\u03b5\u03bd&#8217; (1980-90) \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03bf\u03cd \u00ab\u039a\u03bb\u03af\u03bd\u03b1\u03bc\u03b5\u03bd\u00bb (\u0395\u03ba\u03b4. \u0395\u03c1\u03b1\u03c4\u03ce, 1990-94) \u03ba\u03b1\u03b9 \u03c0\u03b1\u03c1\u03b1\u03b3\u03c9\u03b3\u03ae \u03b2\u03b9\u03b2\u03bb\u03af\u03c9\u03bd \u2013 \u03ba\u03b1\u03bb\u03bb\u03b9\u03c4\u03b5\u03c7\u03bd\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd (artists books) &#8216;\u039a\u03bb\u03af\u03bd\u03b1\u03bc\u03b5\u03bd&#8217; . &#8216;\u039a\u03bb\u03af\u03bd\u03b1\u03bc\u03b5\u03bd&#8217; \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03cc (2001-).<\/p>\n<p><a href=\"http:\/\/www.dagrafiotis.com\">http:\/\/www.dagrafiotis.com<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>David Clarke<\/strong>\u2019s pamphlet, <em>Gaud,<\/em> was joint winner of the Flarestack Poets prize in 2012 and went on to win the Michael Marks Award 2013. His first collection, <em>Arc<\/em>, will be published in September 2015 by Nine Arches Press. He blogs at <a href=\"http:\/\/athingforpoetry.blogspot.co.uk\/\">http:\/\/athingforpoetry.blogspot.co.uk\/<\/a><\/p>\n<p>\u03a4\u03bf \u03b2\u03b9\u03b2\u03bb\u03b9\u03ac\u03c1\u03b9\u03bf \u03c4\u03bf\u03c5 <strong>David Clarke<\/strong>, <em>Gaud,<\/em> \u03ba\u03ad\u03c1\u03b4\u03b9\u03c3\u03b5 \u03bc\u03b1\u03b6\u03b9 \u03bc\u03b5 \u03ad\u03bd\u03b1\u03bd \u03ac\u03bb\u03bb\u03bf\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03ae \u03c4\u03bf \u03b2\u03c1\u03b1\u03b2\u03b5\u03af\u03bf Flarestack Poets Prize \u03c4\u03bf 2012, \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c3\u03c5\u03bd\u03ad\u03c7\u03b5\u03b9\u03b1 \u03ba\u03ad\u03c1\u03b4\u03b9\u03c3\u03b5 \u03b5\u03c0\u03b5\u03af\u03c3\u03b7\u03c2 \u03c4\u03bf Michael Marks Award \u03c4\u03bf 2013. \u0397 \u03c0\u03c1\u03ce\u03c4\u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c4\u03bf\u03c5, <em>Arc<\/em>, \u03b8\u03b1 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03b8\u03b5\u03af \u03c4\u03bf \u03a3\u03b5\u03c0\u03c4\u03ad\u03bc\u03b2\u03c1\u03b9\u03bf \u03c4\u03bf\u03c5 2015 \u03b1\u03c0\u03bf \u03c4\u03bf\u03bd \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03bf\u03af\u03ba\u03bf Nine Arches Press. \u03a4\u03bf blog \u03c4\u03bf\u03c5 \u03b5\u03af\u03bd\u03b1\u03b9: <a href=\"http:\/\/athingforpoetry.blogspot.co.uk\/\">http:\/\/athingforpoetry.blogspot.co.uk\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Helen Dimos<\/strong> lives and works in Boston, Massachusetts and Athens, Greece. Her poems and writings have been published in journals in the US, Greece and Kenya and she is a co-organizer of the Paros Translation Symposium founded by Susan Gevirtz and Siarita Kouka.<\/p>\n<p>\u0397 <strong>\u0395\u03bb\u03ad\u03bd\u03b7 \u0394\u03ae\u03bc\u03bf\u03c5<\/strong> \u03b6\u03b5\u03af \u03ba\u03b1\u03b9 \u03b4\u03bf\u03c5\u03bb\u03b5\u03cd\u03b5\u03b9 \u03c3\u03c4\u03b7 \u0392\u03bf\u03c3\u03c4\u03ce\u03bd\u03b7 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1. \u0394\u03b9\u03ac\u03c6\u03bf\u03c1\u03b1 \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03ba\u03b1\u03b9 \u03ba\u03b5\u03af\u03bc\u03b5\u03bd\u03ac \u03c4\u03b7\u03c2 \u03ad\u03c7\u03bf\u03c5\u03bd \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03b8\u03b5\u03af \u03c3\u03b5 \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac \u03c3\u03c4\u03b7\u03bd \u0397\u03a0\u0391, \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1 \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u039a\u03ad\u03bd\u03c5\u03b1. \u0395\u03af\u03bd\u03b1\u03b9 \u03c3\u03c5\u03bd\u03b4\u03b9\u03bf\u03c1\u03b3\u03b1\u03bd\u03ce\u03c4\u03c1\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03a3\u03c5\u03bc\u03c0\u03bf\u03c3\u03af\u03bf\u03c5 \u039c\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03a0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03a0\u03ac\u03c1\u03bf\u03c5 \u03c0\u03bf\u03c5 \u03b9\u03b4\u03c1\u03cd\u03b8\u03b7\u03ba\u03b5 \u03b1\u03c0\u03bf \u03c4\u03b7\u03bd Susan Gevirtz \u03ba\u03b1\u03b9 \u03a3\u03b9\u03b1\u03c1\u03af\u03c4\u03b1 \u039a\u03bf\u03c5\u03ba\u03ac.<\/p>\n<p><a href=\"http:\/\/www.beton7artradio.gr\/index.php\/en\/producers\/item\/189-peopletalk-w-hd\">http:\/\/www.beton7artradio.gr\/index.php\/en\/producers\/item\/189-peopletalk-w-hd<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Lily Exarchopoulou<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Thanasis Fotiades<\/strong> has studied literature with a specialization in the Classics. He is currently also studying theology.<\/p>\n<p>\u039f <strong>\u0391\u03b8\u03b1\u03bd\u03ac\u03c3\u03b9\u03bf\u03c2 \u03a6\u03c9\u03c4\u03b9\u03ac\u03b4\u03b7\u03c2<\/strong> \u03b5\u03af\u03bd\u03b1\u03b9 \u03c6\u03b9\u03bb\u03cc\u03bb\u03bf\u03b3\u03bf\u03c2, \u03bc\u03b5 \u03b5\u03b9\u03b4\u03af\u03ba\u03b5\u03c5\u03c3\u03b7 \u03c3\u03c4\u03b7\u03bd \u039a\u03bb\u03b1\u03c3\u03b9\u03ba\u03ae \u03a6\u03b9\u03bb\u03bf\u03bb\u03bf\u03b3\u03af\u03b1. \u03a0\u03b1\u03c1\u03ac\u03bb\u03bb\u03b7\u03bb\u03b1 \u03c3\u03c0\u03bf\u03c5\u03b4\u03ac\u03b6\u03b5\u03b9 \u0398\u03b5\u03bf\u03bb\u03bf\u03b3\u03af\u03b1.<\/p>\n<p><a href=\"http:\/\/www.poeticanet.gr\/tetragrammato-a-1432.html\">http:\/\/www.poeticanet.gr\/tetragrammato-a-1432.html<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Petros Georgiou<\/strong> is a writer and translator from Athens. His studies were in communication, media &amp; culture, and translation, in Athens (Panteion University, EKEMEL). He has written poems, a play, and translated several books on various subjects. A few samples of his poetry work are at <a href=\"http:\/\/forevairsense.blogspot.gr\">http:\/\/forevairsense.blogspot.gr<\/a>.<\/p>\n<p>\u039f <strong>\u03a0\u03ad\u03c4\u03c1\u03bf\u03c2 \u0393\u03b5\u03c9\u03c1\u03b3\u03af\u03bf\u03c5<\/strong> \u03b5\u03af\u03bd\u03b1\u03b9 \u03c3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03ae\u03c2 \u03b1\u03c0\u03bf \u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1. \u039f\u03b9 \u03c3\u03c0\u03bf\u03c5\u03b4\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03ae\u03c4\u03b1\u03bd \u03c3\u03c4\u03b1 \u03bc\u03ad\u03c3\u03b1 \u03b5\u03c0\u03b9\u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03af\u03b1\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd \u03c0\u03bf\u03bb\u03b9\u03c4\u03b9\u03c3\u03bc\u03cc, \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 (\u03a0\u03ac\u03bd\u03c4\u03b5\u03b9\u03bf\u03bd \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u03ba\u03b1\u03b9 \u0395\u039a\u0395\u039c\u0395\u039b). \u0388\u03c7\u03b5\u03b9 \u03b3\u03c1\u03ac\u03c8\u03b5\u03b9 \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1, \u03ad\u03bd\u03b1 \u03b8\u03b5\u03b1\u03c4\u03c1\u03b9\u03ba\u03cc \u03ad\u03c1\u03b3\u03bf, \u03ba\u03b1\u03b9 \u03ad\u03c7\u03b5\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03b5\u03b9 \u03b1\u03c1\u03ba\u03b5\u03c4\u03ac \u03b2\u03b9\u03b2\u03bb\u03af\u03b1 \u03b5\u03c0\u03ac\u03bd\u03c9 \u03c3\u03b5 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b1 \u03b8\u03ad\u03bc\u03b1\u03c4\u03b1. \u039c\u03c0\u03bf\u03c1\u03b5\u03af\u03c4\u03b5 \u03bd\u03b1 \u03b2\u03c1\u03b5\u03af\u03c4\u03b5 \u03bc\u03b5\u03c1\u03b9\u03ba\u03ac \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03bf\u03c5 \u03b5\u03b4\u03ce: <a href=\"http:\/\/forevairsense.blogspot.gr\">http:\/\/forevairsense.blogspot.gr<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Susan Gevirtz<\/strong> lives in San Francisco. Her books of poetry include <em>CIRCADIA<\/em>, forthcoming from Nightboat Books in 2016; <em>Aerodrome Orion &amp; Starry Messenger<\/em> (Kelsey Street, 2010); <em>BROADCAST<\/em> (Trafficker, 2010); <em>Thrall<\/em> (Post-Apollo Press, 2007); <em>Hourglass Transcripts<\/em> (Burning Deck, 2001); <em>Spelt<\/em>, a collaboration with Myung Mi Kim (a+bend, 1999); <em>Black Box Cutaway<\/em> (Kelsey Street,1999); <em>PROSTHESIS : : CAESAREA<\/em> (Potes and Poets, 1994; reissue Little Red Leaves, 2009); <em>Taken Place<\/em> (Reality Street 1993); <em>Linen minus<\/em> (Avenue B 1992); and <em>Domino: point of entry<\/em> (Leave Books, 1992). Her critical study on the work of modernist Dorothy Richardson and early film, <em>Narrative&#8217;s Journey: The Fiction and Film Writing of Dorothy Richardson<\/em>, was published by Peter Lang in 1996. <em>COMING EVENTS (Collected Writing)<\/em>, Nightboat Books, came out in March 2013. Many essays have appeared in literary magazines and scholarly journals. Since 2004 she has co-organized the annual translation and conversation meeting of The Paros Symposium with Greek poet Siarita Kouka and other guest Greek and Anglophone poets.<\/p>\n<p>\u0397 <strong>\u03a3\u03bf\u03cd\u03b6\u03b1\u03bd \u0393\u03ba\u03b5\u03b2\u03ad\u03c1\u03c4\u03b6<\/strong> \u03bc\u03ad\u03bd\u03b5\u03b9 \u03c3\u03c4\u03bf \u03a3\u03b1\u03bd \u03a6\u03c1\u03b1\u03bd\u03c3\u03af\u03c3\u03ba\u03bf. \u039f\u03b9 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 \u03c4\u03b7\u03c2 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03c5\u03bd <em>CIRCADIA<\/em>, \u03c0\u03c1\u03bf\u03c3\u03b5\u03c7\u03ce\u03c2 \u03b1\u03c0\u03bf \u03c4\u03bf\u03bd \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03bf\u03af\u03ba\u03bf Nightboat Books \u03c4\u03bf 2016; <em>Aerodrome Orion &amp; Starry Messenger<\/em> (Kelsey Street, 2010); <em>BROADCAST<\/em> (Trafficker, 2010); <em>Thrall<\/em> (Post-Apollo Press, 2007); <em>Hourglass Transcripts<\/em> (Burning Deck, 2001); <em>Spelt<\/em>, \u03bc\u03b9\u03b1 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03bc\u03b5 \u03c4\u03b7\u03bd Myung Mi Kim (a+bend, 1999); <em>Black Box Cutaway<\/em> (Kelsey Street,1999); <em>PROSTHESIS : : CAESAREA<\/em> (Potes and Poets, 1994; \u03be\u03b1\u03bd\u03b1\u03b5\u03ba\u03b4\u03cc\u03b8\u03b7\u03ba\u03b5 \u03b1\u03c0\u03bf \u03c4\u03bf Little Red Leaves, 2009); <em>Taken Place<\/em> (Reality Street 1993); <em>Linen minus<\/em> (Avenue B 1992); \u03ba\u03b1\u03b9 <em>Domino: point of entry<\/em> (Leave Books, 1992). \u0397 \u03ba\u03c1\u03b9\u03c4\u03b9\u03ba\u03ae \u03bc\u03b5\u03bb\u03ad\u03c4\u03b7 \u03c4\u03b7\u03c2 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03bf \u03ad\u03c1\u03b3\u03bf \u03c4\u03b7\u03c2 \u03bc\u03bf\u03bd\u03c4\u03b5\u03c1\u03bd\u03af\u03c3\u03c4\u03c1\u03b9\u03b1\u03c2 Dorothy Richardson \u03ba\u03b1\u03b9 \u03c4\u03b9\u03c2 \u03b1\u03c1\u03c7\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03ba\u03b9\u03bd\u03b7\u03bc\u03b1\u03c4\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c5, <em>Narrative&#8217;s Journey: The Fiction and Film Writing of Dorothy Richardson<\/em>, \u03b5\u03ba\u03b4\u03cc\u03b8\u03b7\u03ba\u03b5 \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd Peter Lang \u03c4\u03bf 1996. <em>COMING EVENTS (Collected Writing)<\/em>, Nightboat Books, \u03b5\u03ba\u03b4\u03cc\u03b8\u03b7\u03ba\u03b5 \u03c4\u03bf \u039c\u03ac\u03c1\u03c4\u03b9\u03bf \u03c4\u03bf\u03c5 2013. \u03a0\u03bf\u03bb\u03bb\u03ac \u03b4\u03bf\u03ba\u03af\u03bc\u03b9\u03ac \u03c4\u03b7\u03c2 \u03ad\u03c7\u03bf\u03c5\u03bd \u03b5\u03bc\u03c6\u03b1\u03bd\u03b9\u03c3\u03c4\u03b5\u03af \u03c3\u03b5 \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03bf\u03bd\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac. \u0391\u03c0\u03cc \u03c4\u03bf 2004 \u03c3\u03c5\u03bd\u03b4\u03b9\u03bf\u03c1\u03b3\u03b1\u03bd\u03ce\u03bd\u03b5\u03b9 \u03c4\u03b7\u03bd \u03b5\u03c4\u03ae\u03c3\u03b9\u03b1 \u03c3\u03c5\u03bd\u03b5\u03b4\u03c1\u03af\u03b1\u03c3\u03b7 \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bd\u03bf\u03bc\u03b9\u03bb\u03af\u03b1\u03c2 \u03c4\u03bf\u03c5 \u03a3\u03c5\u03bc\u03c0\u03bf\u03c3\u03af\u03bf\u03c5 \u039c\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03a0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03a0\u03ac\u03c1\u03bf\u03c5, \u03bc\u03b1\u03b6\u03af \u03bc\u03b5 \u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03b7\u03bd\u03af\u03b4\u03b1 \u03c0\u03bf\u03b9\u03ae\u03c4\u03c1\u03b9\u03b1 \u03a3\u03b9\u03b1\u03c1\u03af\u03c4\u03b1 \u039a\u03bf\u03c5\u03ba\u03ac \u03cc\u03c0\u03bf\u03c5\u03c2 \u03ba\u03b1\u03b9 \u03bc\u03b5 \u03ac\u03bb\u03bb\u03bf\u03c5\u03c2 \u0388\u03bb\u03bb\u03b7\u03bd\u03b5\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03b3\u03b3\u03bb\u03cc\u03c6\u03c9\u03bd\u03bf\u03c5\u03c2 \u03c0\u03bf\u03b9\u03b7\u03c4\u03ad\u03c2.<\/p>\n<p><a href=\"http:\/\/writing.upenn.edu\/pennsound\/x\/Gevirtz.php\">http:\/\/writing.upenn.edu\/pennsound\/x\/Gevirtz.php<\/a><br \/>\n<a href=\"http:\/\/www.kelseyst.com\/listen\/2007\/04\/15\/susan-gevirtz-reads-from-black-box-cutaway\/\">http:\/\/www.kelseyst.com\/listen\/2007\/04\/15\/susan-gevirtz-reads-from-black-box-cutaway\/<\/a><br \/>\n<a href=\"http:\/\/www.theconversant.org\">http:\/\/www.theconversant.org<\/a><br \/>\n<a href=\"http:\/\/almostisland.com\/\">http:\/\/almostisland.com\/<\/a><br \/>\n<a href=\"http:\/\/commapoetry.com\/\">http:\/\/commapoetry.com\/<\/a><br \/>\n<a href=\"https:\/\/jacket2.org\/article\/outer-event\">https:\/\/jacket2.org\/article\/outer-event<\/a><br \/>\n<a href=\"http:\/\/www.kelseyst.com\/listen\/2009\/03\/21\/susan-gevirtz-interviews-hadley-hayden-guest-on-barbara-guests-life-and-work\/\">http:\/\/www.kelseyst.com\/listen\/2009\/03\/21\/susan-gevirtz-interviews-hadley-hayden-guest-on-barbara-guests-life-and-work\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p>Born in Athens, <strong>Siarita Kouka<\/strong> has her origin in Myconos. She is a conservator of Maritime antiquities. Her work has been translated into English and presented at the Poetry Center of San Francisco State University. Since 2004 she has co-organized with American poet Susan Gevirtz the annual translation and conversation meeting of the Paros Translation Symposium with Greek and Anglophone poets. Her books of poetry include <em>The Swing<\/em> (bilingual edition, English translation by Fani Karagouni, Angelos Sakkis, Susan Gevirtz, Steve Dickison, Thanassis Maskaleris and the author, Sokoli-Kouledakis, Athens, 2011); <em>Benthos<\/em> (bilingual edition, English translation by John Sakkis, Selas, Athens, 2005); <em>I Danaki<\/em> (Selas, Athens, 1994); and <em>Arodo<\/em> (Selas, Athens, 1990).<\/p>\n<p>\u0397 <strong>\u03a3\u03b9\u03b1\u03c1\u03af\u03c4\u03b1 \u039a\u03bf\u03c5\u03ba\u03ac<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1 \u03bc\u03b5 \u03ba\u03b1\u03c4\u03b1\u03b3\u03c9\u03b3\u03ae \u03b1\u03c0\u03bf \u03c4\u03b7 \u039c\u03cd\u03ba\u03bf\u03bd\u03bf. \u0395\u03af\u03bd\u03b1\u03b9 \u03c3\u03c5\u03bd\u03c4\u03b7\u03c1\u03ae\u03c4\u03c1\u03b9\u03b1 \u03b1\u03c1\u03c7\u03b1\u03b9\u03bf\u03c4\u03ae\u03c4\u03c9\u03bd \u03ba\u03b1\u03b9 \u03b5\u03c1\u03b3\u03ac\u03c3\u03b5\u03c4\u03b1\u03b9 \u03c3\u03c4\u03bf \u03a5\u03a0.\u03a0\u039f.\u03a4\u039f. \u0397 \u03c0\u03bf\u03af\u03b7\u03c3\u03ae \u03c4\u03b7\u03c2 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ae \u03b3\u03bb\u03ce\u03c3\u03c3\u03b1 \u03ba\u03b1\u03b9 \u03c0\u03b1\u03c1\u03bf\u03c5\u03c3\u03b9\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c3\u03c4\u03bf Poetry Center \u03c4\u03bf\u03c5 San Francisco. \u0391\u03c0\u03bf \u03c4\u03bf 2004 \u03c3\u03c5\u03bd\u03b4\u03b9\u03bf\u03c1\u03b3\u03b1\u03bd\u03ce\u03bd\u03b5\u03b9 \u03bc\u03b5 \u03c4\u03b7 Susan Gevirtz \u03c3\u03c5\u03bc\u03c0\u03cc\u03c3\u03b9\u03b1 \u03c0\u03bf\u03af\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2 \u03bc\u03b5 \u03ad\u03bb\u03bb\u03b7\u03bd\u03b5\u03c2 \u03ba\u03b1\u03b9 \u03b1\u03b3\u03b3\u03bb\u03cc\u03c6\u03c9\u03bd\u03b5\u03c2 \u03c0\u03bf\u03b9\u03b7\u03c4\u03ad\u03c2. \u0397 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 \u03c4\u03b7\u03c2 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03c5\u03bd: <em>\u0397 \u039a\u03bf\u03cd\u03bd\u03b9\u03b1<\/em> (\u03b4\u03af\u03b3\u03bb\u03c9\u03c3\u03c3\u03b7 \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7, \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c3\u03c4\u03b1 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03b1\u03c0\u03bf \u03c4\u03bf\u03c5\u03c2 \u03a6\u03ac\u03bd\u03b7 \u039a\u03b1\u03c1\u03b1\u03b3\u03ba\u03bf\u03cd\u03bd\u03b7, \u0386\u03b3\u03b3\u03b5\u03bb\u03bf\u03c2 \u03a3\u03b1\u03ba\u03ba\u03ae\u03c2, \u03a3\u03bf\u03cd\u03b6\u03b1\u03bd \u0393\u03ba\u03b5\u03b2\u03ad\u03c1\u03c4\u03b6, \u03a3\u03c4\u03ae\u03b2 \u039d\u03c4\u03af\u03ba\u03b9\u03c3\u03bf\u03bd, \u0398\u03b1\u03bd\u03ac\u03c3\u03b7\u03c2 \u039c\u03b1\u03c3\u03ba\u03b1\u03bb\u03ad\u03c1\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b7 \u03c3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2, \u03b5\u03ba\u03b4. \u03a3\u03cc\u03ba\u03bf\u03bb\u03b7-\u039a\u03bf\u03c5\u03bb\u03b5\u03b4\u03ac\u03ba\u03b7, \u0391\u03b8\u03ae\u03bd\u03b1, 2011), <em>\u0392\u03ad\u03bd\u03b8\u03bf\u03c2<\/em> (\u03b4\u03af\u03b3\u03bb\u03c9\u03c3\u03c3\u03b7 \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7, \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c3\u03c4\u03b1 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03a4\u03b6\u03ce\u03bd \u03a3\u03b1\u03ba\u03ba\u03ae\u03c2, \u03b5\u03ba\u03b4. \u03a3\u03ad\u03bb\u03b1\u03c2, \u0391\u03b8\u03ae\u03bd\u03b1 2005), <em>\u0397 \u0394\u03b1\u03bd\u03ac\u03ba\u03b7<\/em> (\u03b5\u03ba\u03b4. \u03a3\u03ad\u03bb\u03b1\u03c2, \u0391\u03b8\u03ae\u03bd\u03b1 1994), \u03ba\u03b1\u03b9 <em>\u0391\u03c1\u03cc\u03b4\u03bf<\/em> (\u03b5\u03ba\u03b4. \u03a3\u03ad\u03bb\u03b1\u03c2, \u0391\u03b8\u03ae\u03bd\u03b1 1990).<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Chloe Koutsoumbeli<\/strong> was born in Thessaloniki in 1962. She studied law at the Aristotle University of Thessaloniki. Her poetry collections include: <em>Relations of Silence<\/em> (Egnatia, 1984); <em>The Night is a Whale<\/em> (Bookstore Loxias, 1990); <em>The Departure of Lady Kapa<\/em> (Nea Poreia, 2004); <em>The Lake, the Garden, and the Loss<\/em> (Nea Poreia, 2006); <em>The Fox and the Red Dance<\/em> (Gavrilides, 2009); <em>In The Ancient World Dusk Comes Early<\/em> (Gavrilides, 2012); <em>Clinically Absent<\/em> (Gavrilides, 2014). The 47th edition of Kosta Rizaki\u2019s literary journal PARODOS in September of 2011 was dedicated to her work. She has contributed to many literary journals. In 2013 in Canada an anthology was published by Libros Libertad titled <em>Cloe and Alexandra<\/em> which included poems of hers and of Alexandra Bakonika translated into English by Manolis Aligizakis. She is a member of the Literary Society of Thessaloniki, the Hellenic Authors Society, and the Poets\u2019 Circle.<\/p>\n<p>\u0397 <strong>\u03a7\u03bb\u03cc\u03b7 \u039a\u03bf\u03c5\u03c4\u03c3\u03bf\u03c5\u03bc\u03c0\u03ad\u03bb\u03b7<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7 \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7 \u03c4\u03bf 1962. \u03a3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u03bd\u03bf\u03bc\u03b9\u03ba\u03ae \u03c3\u03c4\u03bf \u0391.\u03a0.\u0398. \u03a0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03bf\u03c5\u03bd: &#8220;\u03a3\u03c7\u03ad\u03c3\u03b5\u03b9\u03c2 \u03c3\u03b9\u03c9\u03c0\u03ae\u03c2&#8221; 1984, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0395\u03b3\u03bd\u03b1\u03c4\u03af\u03b1, &#8220;\u0397 \u03bd\u03cd\u03c7\u03c4\u03b1 \u03b5\u03af\u03bd\u03b1\u03b9 \u03bc\u03b9\u03b1 \u03c6\u03ac\u03bb\u03b1\u03b9\u03bd\u03b1&#8221; 1990, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0392\u03b9\u03b2\u03bb\u03b9\u03bf\u03c0\u03c9\u03bb\u03b5\u03af\u03bf\u03c5 \u039b\u03bf\u03be\u03af\u03b1\u03c2, &#8220;\u0397 \u03b1\u03c0\u03bf\u03c7\u03ce\u03c1\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03bb\u03b1\u03af\u03b4\u03b7\u03c2 \u039a\u03ac\u03c0\u03b1&#8221; 2004, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03ad\u03b1 \u03a0\u03bf\u03c1\u03b5\u03af\u03b1, &#8220;\u0397 \u03bb\u03af\u03bc\u03bd\u03b7, \u03bf \u03ba\u03ae\u03c0\u03bf\u03c2 \u03ba\u03b1\u03b9 \u03b7 \u03b1\u03c0\u03ce\u03bb\u03b5\u03b9\u03b1&#8221; 2006, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03ad\u03b1 \u03a0\u03bf\u03c1\u03b5\u03af\u03b1, &#8220;\u0397 \u03b1\u03bb\u03b5\u03c0\u03bf\u03cd \u03ba\u03b1\u03b9 \u03bf \u03ba\u03cc\u03ba\u03ba\u03b9\u03bd\u03bf\u03c2 \u03c7\u03bf\u03c1\u03cc\u03c2&#8221;, 2009, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0393\u03b1\u03b2\u03c1\u03b9\u03b7\u03bb\u03af\u03b4\u03b7\u03c2, &#8220;\u03a3\u03c4\u03bf\u03bd \u03b1\u03c1\u03c7\u03b1\u03af\u03bf \u03ba\u03cc\u03c3\u03bc\u03bf \u03b2\u03c1\u03b1\u03b4\u03b9\u03ac\u03b6\u03b5\u03b9 \u03c0\u03b9\u03b1 \u03bd\u03c9\u03c1\u03af\u03c2&#8221; 2012, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0393\u03b1\u03b2\u03c1\u03b9\u03b7\u03bb\u03af\u03b4\u03b7\u03c2 , &#8220;\u039a\u03bb\u03b9\u03bd\u03b9\u03ba\u03ac \u03b1\u03c0\u03ce\u03bd&#8221; 2014, \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0393\u03b1\u03b2\u03c1\u03b9\u03b7\u03bb\u03af\u03b4\u03b7\u03c2. \u03a4\u03bf \u03c4\u03b5\u03c3\u03c3\u03b1\u03c1\u03b1\u03ba\u03bf\u03c3\u03c4\u03cc \u03ad\u03b2\u03b4\u03bf\u03bc\u03bf \u03c4\u03b5\u03cd\u03c7\u03bf\u03c2 \u03c4\u03bf\u03c5 \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03bf\u03cd \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03bf\u03cd \u03a0\u0391\u03a1\u039f\u0394\u039f\u03a3 \u03c4\u03bf\u03c5 \u039a\u03ce\u03c3\u03c4\u03b1 \u03a1\u03b9\u03b6\u03ac\u03ba\u03b7 \u03c4\u03bf\u03bd \u03a3\u03b5\u03c0\u03c4\u03ad\u03bc\u03b2\u03c1\u03b9\u03bf \u03c4\u03bf\u03c5 2011 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b1\u03c6\u03b9\u03b5\u03c1\u03c9\u03bc\u03ad\u03bd\u03bf \u03c3\u03c4\u03bf \u03ad\u03c1\u03b3\u03bf \u03c4\u03b7\u03c2. \u0388\u03c7\u03b5\u03b9 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03c4\u03b5\u03af \u03bc\u03b5 \u03c0\u03bf\u03bb\u03bb\u03ac \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac. \u03a4\u03bf 2013 \u03b5\u03ba\u03b4\u03cc\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03bf\u03bd \u039a\u03b1\u03bd\u03b1\u03b4\u03ac \u03bc\u03af\u03b1 \u03b1\u03bd\u03b8\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03c0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf &#8220;Cloe and Alexandra&#8221; \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 Libros Libertad \u03c0\u03bf\u03c5 \u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03ac\u03bd\u03b5\u03b9 \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03b4\u03b9\u03ba\u03ac \u03c4\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03c2 \u0391\u03bb\u03b5\u03be\u03ac\u03bd\u03b4\u03c1\u03b1\u03c2 \u039c\u03c0\u03b1\u03ba\u03bf\u03bd\u03af\u03ba\u03b1 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03bc\u03ad\u03bd\u03b1 \u03c3\u03c4\u03b1 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u039c\u03b1\u03bd\u03ce\u03bb\u03b7 \u0391\u03bb\u03b9\u03b3\u03b9\u03b6\u03ac\u03ba\u03b7. \u0395\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0395\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b1\u03c2 \u039b\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03ce\u03bd \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7\u03c2, \u03c4\u03b7\u03c2 \u0395\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b1\u03c2 \u03a3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c4\u03bf\u03c5 \u039a\u03cd\u03ba\u03bb\u03bf\u03c5 \u03c0\u03bf\u03b9\u03b7\u03c4\u03ce\u03bd.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Petros Lygizos<\/strong> was born in Athens in 1966. He is a teacher of Ancient and Modern Greek Literature. He writes poetry and novels. Many poetic collections of his have been published: \u2018\u2019Galaxies of love\u2019\u2019,1998, \u2018\u2019Astypalaia\u2019\u2019 1999, \u2018\u2019Bloodied roses\u2019\u2019 2000, (editions Code), \u2018\u2019Music at kennels\u2019\u2019 2010, \u2018\u2019Eros Nafplios\u2019\u2019 2011, \u2018\u2019Lekythos with memories\u2019\u2019 2012 (editions Notios Anemos). \u2018\u2019Lekythos with memories\u2019\u2019 was translated in English by Angelos Sakkis, during the 8th Symposium of American and Greek poets in Athens, in 2013. His last collection is called \u2018\u2019The absent-minded Speed of Life\u2019\u2019 (editions \u2018\u2019anonymo biblio\u2019\u2019). The writer and translator George Rouvalis (professor of University of Mexico city, Karakas and Athens) is going to translate it into Spanish. He also wrote the published novels : \u2018\u2019The muse, 2001 (editions Dioni), \u2018\u2019Dreams on the hover\u2019\u2019, 2012 and \u2018\u2019The Final wind of the Sea\u2019\u2019, 2013 (editions \u2018\u2019Notios Anemos\u2019\u2019). Another novel, called \u2018\u2019Socrates smile\u2019\u2019, is going to be published in November, this year. His basic source of inspiration is the agony of modern people, the hidden thoughts that a person has, his forbidden dreams. Petros Lygizos has also written many studies about Modern and Ancient Greek Literature : \u2018\u2019History of Modern Greek Literature\u2019\u2019 2001 (editions Savalas), \u2018\u2019Bravery in Ancient Greece\u2019\u2019, 2014 (editions Notios Anemos) etc. He lives in Nafplion.<\/p>\n<p>\u039f <strong>\u03a0\u03ad\u03c4\u03c1\u03bf\u03c2 \u039b\u03c5\u03b3\u03af\u03b6\u03bf\u03c2<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1 \u03c4\u03bf 1966. \u0395\u03af\u03bd\u03b1\u03b9 \u03ba\u03b1\u03b8\u03b7\u03b3\u03b7\u03c4\u03ae\u03c2 \u03c6\u03b9\u03bb\u03cc\u03bb\u03bf\u03b3\u03bf\u03c2. \u0393\u03c1\u03ac\u03c6\u03b5\u03b9 \u03c0\u03bf\u03af\u03b7\u03c3\u03b7 \u03ba\u03b1\u03b9 \u03bc\u03c5\u03b8\u03b9\u03c3\u03c4\u03bf\u03c1\u03ae\u03bc\u03b1\u03c4\u03b1. \u03a0\u03bf\u03bb\u03bb\u03ad\u03c2 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 \u03c4\u03bf\u03c5, \u03ad\u03c7\u03bf\u03c5\u03bd \u03b5\u03ba\u03b4\u03bf\u03b8\u03b5\u03af: \u2018\u2019\u03a3\u03c5\u03bd\u03b1\u03c3\u03c4\u03c1\u03af\u03b5\u03c2 \u03b1\u03b3\u03ac\u03c0\u03b7\u03c2\u2019\u2019, 1998, \u2018\u2019\u0391\u03c3\u03c4\u03c5\u03c0\u03ac\u03bb\u03b1\u03b9\u03b1\u0384\u0384, 1999, \u2018\u2019\u03a4\u03b1 \u03bc\u03b1\u03c4\u03c9\u03bc\u03ad\u03bd\u03b1 \u03c1\u03cc\u03b4\u03b1\u2019\u2019, 2000 (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039a\u03ce\u03b4\u03b9\u03ba\u03b1\u03c2), \u2018\u2019\u0397 \u039c\u03bf\u03c5\u03c3\u03b9\u03ba\u03ae \u03c3\u03c4\u03b1 \u03c1\u03b5\u03af\u03b8\u03c1\u03b1\u2019\u2019, 2010, \u2018\u2019\u039d\u03b1\u03cd\u03c0\u03bb\u03b9\u03bf\u03c2 \u0388\u03c1\u03c9\u03c4\u03b1\u03c2\u2019\u2019, 2011, \u2018\u2019\u0397 \u039b\u03ae\u03ba\u03c5\u03b8\u03bf\u03c2 \u03bc\u03b5 \u03c4\u03b9\u03c2 \u039c\u03bd\u03ae\u03bc\u03b5\u03c2\u2019\u2019, 2012, (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03cc\u03c4\u03b9\u03bf\u03c2 \u0386\u03bd\u03b5\u03bc\u03bf\u03c2). \u0397 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u2018\u2019\u0397 \u039b\u03ae\u03ba\u03c5\u03b8\u03bf\u03c2 \u03bc\u03b5 \u03c4\u03b9\u03c2 \u03bc\u03bd\u03ae\u03bc\u03b5\u03c2\u2019\u2019 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b1 \u03b1\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u0386\u03b3\u03b3\u03b5\u03bb\u03bf \u03a3\u03b1\u03ba\u03ba\u03ae, \u03c3\u03c4\u03b7 \u03b4\u03b9\u03ac\u03c1\u03ba\u03b5\u03b9\u03b1 \u03c4\u03bf\u03c5 \u03cc\u03b3\u03b4\u03bf\u03bf\u03c5 \u03a3\u03c5\u03bc\u03c0\u03bf\u03c3\u03af\u03bf\u03c5 \u03a0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03ba\u03b1\u03b9 \u039c\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2, \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1, \u03c4\u03bf 2013. \u0397 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03c4\u03bf\u03c5 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u2018\u2019\u0397 \u03b1\u03c6\u03b7\u03c1\u03b7\u03bc\u03ad\u03bd\u03b7 \u03a4\u03b1\u03c7\u03cd\u03c4\u03b7\u03c4\u03b1 \u03c4\u03b7\u03c2 \u0396\u03c9\u03ae\u03c2 (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u2018\u2019\u03a4\u03bf \u0391\u03bd\u03ce\u03bd\u03c5\u03bc\u03bf \u0392\u03b9\u03b2\u03bb\u03af\u03bf\u2019\u2019) \u03b8\u03b1 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03b5\u03af \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u0393\u03b9\u03ce\u03c1\u03b3\u03bf \u03a1\u03bf\u03cd\u03b2\u03b1\u03bb\u03b7, \u03c3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1, \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03ae \u03ba\u03b1\u03b9 \u03ba\u03b1\u03b8\u03b7\u03b3\u03b7\u03c4\u03ae \u03c3\u03c4\u03b1 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03b1 \u03c4\u03bf\u03c5 \u039c\u03b5\u03be\u03b9\u03ba\u03cc, \u039a\u03b1\u03c1\u03ac\u03ba\u03b1\u03c2 \u03ba\u03b1\u03b9 \u0391\u03b8\u03b7\u03bd\u03ce\u03bd, \u03c3\u03c4\u03b1 \u0399\u03c3\u03c0\u03b1\u03bd\u03b9\u03ba\u03ac. \u0388\u03c7\u03b5\u03b9 \u03b3\u03c1\u03ac\u03c8\u03b5\u03b9 \u03b1\u03ba\u03cc\u03bc\u03b7 \u03c4\u03b1 \u03b5\u03be\u03ae\u03c2 \u03b5\u03ba\u03b4\u03bf\u03b8\u03ad\u03bd\u03c4\u03b1 \u03bc\u03c5\u03b8\u03b9\u03c3\u03c4\u03bf\u03c1\u03ae\u03bc\u03b1\u03c4\u03b1: \u2018\u2019\u0397 \u03bc\u03bf\u03cd\u03c3\u03b1\u2019\u2019, 2001 (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0394\u03b9\u03ce\u03bd\u03b7), \u038c\u03bd\u03b5\u03b9\u03c1\u03b1 \u03c3\u03c4\u03b7\u03bd \u03b1\u03b9\u03ce\u03c1\u03b1\u2019\u2019, 2012, \u03ba\u03b1\u03b9 \u2018\u2019\u03a4\u03bf \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03bf \u03ba\u03cd\u03bc\u03b1 \u03c4\u03b7\u03c2 \u03b8\u03ac\u03bb\u03b1\u03c3\u03c3\u03b1\u03c2\u2019\u2019, 2014 (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03cc\u03c4\u03b9\u03bf\u03c2 \u0386\u03bd\u03b5\u03bc\u03bf\u03c2). \u0388\u03bd\u03b1 \u03b1\u03ba\u03cc\u03bc\u03b7 \u03bc\u03c5\u03b8\u03b9\u03c3\u03c4\u03cc\u03c1\u03b7\u03bc\u03b1, \u2018\u2019\u03a4\u03bf \u03bc\u03b5\u03b9\u03b4\u03af\u03b1\u03bc\u03b1 \u03c4\u03bf\u03c5 \u03a3\u03c9\u03ba\u03c1\u03ac\u03c4\u03b7\u2019\u2019, \u03c0\u03c1\u03cc\u03ba\u03b5\u03b9\u03c4\u03b1\u03b9 \u03bd\u03b1 \u03b5\u03ba\u03b4\u03bf\u03b8\u03b5\u03af \u03c4\u03bf\u03bd \u03c6\u03b5\u03c4\u03b9\u03bd\u03cc \u039d\u03bf\u03ad\u03bc\u03b2\u03c1\u03b9\u03bf. \u0397 \u03ba\u03cd\u03c1\u03b9\u03b1 \u03c0\u03b7\u03b3\u03ae \u03ad\u03bc\u03c0\u03bd\u03b5\u03c5\u03c3\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03b5\u03af\u03bd\u03b1\u03b9 \u03b7 \u03b1\u03b3\u03c9\u03bd\u03af\u03b1 \u03c4\u03bf\u03c5 \u03c3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03bf\u03c5 \u03b1\u03bd\u03b8\u03c1\u03ce\u03c0\u03bf\u03c5, \u03bf\u03b9 \u03ba\u03c1\u03c5\u03c6\u03ad\u03c2 \u03c4\u03bf\u03c5 \u03c3\u03ba\u03ad\u03c8\u03b5\u03b9\u03c2, \u03c4\u03b1 \u03b1\u03c0\u03b1\u03b3\u03bf\u03c1\u03b5\u03c5\u03bc\u03ad\u03bd\u03b1 \u03cc\u03bd\u03b5\u03b9\u03c1\u03ac \u03c4\u03bf\u03c5. \u039f \u03a0\u03ad\u03c4\u03c1\u03bf\u03c2 \u039b\u03c5\u03b3\u03af\u03b6\u03bf\u03c2 \u03ad\u03c7\u03b5\u03b9 \u03b3\u03c1\u03ac\u03c8\u03b5\u03b9 \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03c0\u03bf\u03bb\u03bb\u03ad\u03c2 \u03bc\u03b5\u03bb\u03ad\u03c4\u03b5\u03c2 \u03c3\u03c7\u03b5\u03c4\u03b9\u03ba\u03ac \u03bc\u03b5 \u03c4\u03b7\u03bd \u03bd\u03b5\u03cc\u03c4\u03b5\u03c1\u03b7 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03b1\u03c1\u03c7\u03b1\u03af\u03b1 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae \u0393\u03c1\u03b1\u03bc\u03bc\u03b1\u03c4\u03b5\u03af\u03b1: \u2018\u2019\u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u039d\u03ad\u03b1\u03c2 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u039b\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03af\u03b1\u03c2\u2019\u2019, 2001, (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03a3\u03b1\u03b2\u03ac\u03bb\u03bb\u03b1\u03c2), \u2018\u2019\u0397 \u0391\u03bd\u03b4\u03c1\u03b5\u03af\u03b1 \u03c3\u03c4\u03b7\u03bd \u0391\u03c1\u03c7\u03b1\u03af\u03b1 \u0395\u03bb\u03bb\u03ac\u03b4\u03b1\u2019\u2019, 2014, (\u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03cc\u03c4\u03b9\u03bf\u03c2 \u0386\u03bd\u03b5\u03bc\u03bf\u03c2) \u03ba\u03bb\u03c0. \u0396\u03b5\u03b9 \u03c3\u03c4\u03bf \u039d\u03b1\u03cd\u03c0\u03bb\u03b9\u03bf.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Stephen Mooney<\/strong> is a lecturer in Creative Writing at the University of Surrey, where he was also the Poet in Residence in 2012\/13. He is an associate member of the Contemporary Poetics Research Centre at Birkbeck, and co-runs the small poetry press, Veer Books. His poetry has appeared in various places and web-places, including as part of the performative poetry grouping \u2018London Under Construction\u2019. <em>DCLP<\/em> and <em>Shuddered<\/em>, the latter co-authored with Aodan McCardle and Piers Hugill, were published by Veer Books in 2008 and 2010 respectively, and <em>The Cursory Epic<\/em> by Contraband Books in 2014.<\/p>\n<p>O <strong>Stephen Mooney<\/strong> \u03b5\u03af\u03bd\u03b1\u03b9 \u039b\u03ad\u03ba\u03c4\u03bf\u03c1\u03b1\u03c2 \u0394\u03b7\u03bc\u03b9\u03bf\u03c5\u03c1\u03b3\u03b9\u03ba\u03ae\u03c2 \u0393\u03c1\u03b1\u03c6\u03ae\u03c2 \u03c3\u03c4\u03bf \u03c0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u03c4\u03bf\u03c5 Surrey, \u03cc\u03c0\u03bf\u03c5 \u03ae\u03c4\u03b1\u03bd \u03b5\u03c0\u03af\u03c3\u03b7\u03c2 \u03bf \u03a6\u03b9\u03bb\u03bf\u03be\u03b5\u03bd\u03bf\u03cd\u03bc\u03b5\u03bd\u03bf\u03c2 \u03a0\u03bf\u03b9\u03b7\u03c4\u03ae\u03c2 (Poet in Residence) \u03ba\u03b1\u03c4\u03ac \u03c4\u03bf \u03ad\u03c4\u03bf\u03c2 2012-2013. \u0395\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03bf\u03c5 \u0395\u03c1\u03b5\u03c5\u03bd\u03b7\u03c4\u03b9\u03ba\u03bf\u03cd \u039a\u03ad\u03bd\u03c4\u03c1\u03bf\u03c5 \u03a3\u03cd\u03b3\u03c7\u03c1\u03bf\u03bd\u03b7\u03c2 \u03a0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c4\u03bf\u03c5 Birkbeck, \u03ba\u03b1\u03b9 \u03c3\u03c5\u03bd\u03b4\u03b9\u03b5\u03c5\u03b8\u03cd\u03bd\u03b5\u03b9 \u03c4\u03bf\u03bd \u03bc\u03b9\u03ba\u03c1\u03cc \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03bf\u03af\u03ba\u03bf \u03c0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 Veer Books. \u0397 \u03c0\u03bf\u03af\u03b7\u03c3\u03ae \u03c4\u03bf\u03c5 \u03ad\u03c7\u03b5\u03b9 \u03b5\u03bc\u03c6\u03b1\u03bd\u03b9\u03c3\u03b8\u03b5\u03af \u03c3\u03b5 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b1 \u03bc\u03ad\u03c1\u03b7 \u03ba\u03b1\u03b9 \u03c3\u03b5 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b5\u03c2 \u03b9\u03c3\u03c4\u03bf\u03c3\u03b5\u03bb\u03af\u03b4\u03b5\u03c2, \u03c3\u03c5\u03bc\u03c0\u03b5\u03c1\u03b9\u03bb\u03b1\u03bc\u03b2\u03b1\u03bd\u03bf\u03bc\u03ad\u03bd\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03c2 \u03b5\u03bc\u03c6\u03ac\u03bd\u03b9\u03c3\u03ae\u03c2 \u03c4\u03bf\u03c5 \u03c9\u03c2 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03bf\u03c5 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03bf\u03cd performance \u03c3\u03c7\u03ae\u03bc\u03b1\u03c4\u03bf\u03c2 \u00abLondon Under Construction\u00bb (\u039b\u03bf\u03bd\u03b4\u03af\u03bd\u03bf \u03a5\u03c0\u03cc \u039a\u03b1\u03c4\u03b1\u03c3\u03ba\u03b5\u03c5\u03ae\u03bd). \u039f\u03b9 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 <em>DCLP<\/em> \u03ba\u03b1\u03b9 <em>Shuddered<\/em>, \u03b7 \u03c4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03bf\u03c0\u03bf\u03af\u03b5\u03c2 \u03b3\u03c1\u03ac\u03c6\u03c4\u03b7\u03ba\u03b5 \u03c3\u03b5 \u03c3\u03c5\u03bd\u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03bc\u03b5 \u03c4\u03bf\u03bd Aod\u00e1n McCardle \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd Piers Hugill, \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03b8\u03b7\u03ba\u03b1\u03bd \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 Veer Books \u03c4\u03bf 2008 \u03ba\u03b1\u03b9 \u03c4\u03bf\u03bd 2010 \u03ba\u03b1\u03c4\u2019\u03b1\u03bd\u03c4\u03b9\u03c3\u03c4\u03bf\u03b9\u03c7\u03af\u03b1, \u03ba\u03b1\u03b9 \u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae <em>The Cursory Epic<\/em> \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03bf\u03af\u03ba\u03bf Contraband Books \u03c4\u03bf 2014.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Eleni Nanopoulou<\/strong> was born in Argos and is a set-designer and costume designer. In 2009 she released her first collection of poems with the title <em>Hologram<\/em>, from Dromon; in 2011, from the same publisher, the collection <em>The Memory of Naked Words<\/em>; and in 2012 from Endymion, <em>Poems \/ Poemas<\/em>, a bilingual poetry collection in Greek and Spanish with translations by Mario Dominguez Parra. In 2014 her collection <em>Probable Afternoon<\/em> came out from Endymion. Poems from Hologram have been set to music by the song-writer Yianni Nanopoulou.<\/p>\n<p>\u0397 <strong>\u0395\u03bb\u03ad\u03bd\u03b7 \u039d\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03bf \u0386\u03c1\u03b3\u03bf\u03c2 \u03b5\u03af\u03bd\u03b1\u03b9 \u03a3\u03ba\u03b7\u03bd\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2 -\u0395\u03bd\u03b4\u03c5\u03bc\u03b1\u03c4\u03bf\u03bb\u03cc\u03b3\u03bf\u03c2 . \u03a4\u03bf 2009 \u03b5\u03be\u03ad\u03b4\u03c9\u03c3\u03b5 \u03c4\u03b7\u03bd \u03c0\u03c1\u03ce\u03c4\u03b7 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03b7\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf \u00ab\u039f\u03bb\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1\u00bb \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0394\u03c1\u03cc\u03bc\u03c9\u03bd, \u03c4\u03bf 2011 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03af\u03b4\u03b9\u03b5\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u03c4\u03b7\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u00ab\u0397 \u03bc\u03bd\u03ae\u03bc\u03b7 \u03c4\u03c9\u03bd \u03b3\u03c5\u03bc\u03bd\u03ce\u03bd \u03bb\u03ad\u03be\u03b5\u03c9\u03bd\u00bb \u03ba\u03b1\u03b9 \u03c4\u03bf 2102 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0395\u03bd\u03b4\u03c5\u03bc\u03af\u03c9\u03bd \u00ab\u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1\/Poemas\u00bb \u03bc\u03b9\u03b1 \u03b4\u03af\u03b3\u03bb\u03c9\u03c3\u03c3\u03b7 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c3\u03c4\u03b1 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u03c3\u03c4\u03b1 \u0399\u03c3\u03c0\u03b1\u03bd\u03b9\u03ba\u03ac, \u03c3\u03b5 \u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 Mario Dominguez Parra. \u03a4\u03bf 2014 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0395\u03bd\u03b4\u03c5\u03bc\u03af\u03c9\u03bd \u03c4\u03b7\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae &#8220;\u0395\u03bd\u03b4\u03b5\u03c7\u03cc\u03bc\u03b5\u03bd\u03b1 \u03b1\u03c0\u03bf\u03b3\u03b5\u03cd\u03bc\u03b1\u03c4\u03bf\u03c2&#8221;. \u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03b7\u03c2 \u03b1\u03c0\u03cc \u03c4\u03b7\u03bd \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u00ab\u039f\u03bb\u03cc\u03b3\u03c1\u03b1\u03bc\u03bc\u03b1\u00bb \u03ad\u03c7\u03bf\u03c5\u03bd \u03bc\u03b5\u03bb\u03bf\u03c0\u03bf\u03b9\u03b7\u03b8\u03b5\u03af \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u03c4\u03c1\u03b1\u03b3\u03bf\u03c5\u03b4\u03bf\u03c0\u03bf\u03b9\u03cc \u0393\u03b9\u03ac\u03bd\u03bd\u03b7 \u039d\u03b1\u03bd\u03cc\u03c0\u03bf\u03c5\u03bb\u03bf.<\/p>\n<p><a href=\"http:\/\/indianmist.blogspot.gr\/\">http:\/\/indianmist.blogspot.gr\/<\/a><br \/>\n<a href=\"http:\/\/argolikivivliothiki.gr\/tag\/\u03bd\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5-\u03b5\u03bb\u03ad\u03bd\u03b7\/\">http:\/\/argolikivivliothiki.gr\/tag\/\u03bd\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5-\u03b5\u03bb\u03ad\u03bd\u03b7\/<\/a><br \/>\n<a href=\"https:\/\/logotejnikimetafrasi.wordpress.com\/2014\/12\/08\/eleni-nanopulu-tres-poemas\/\">https:\/\/logotejnikimetafrasi.wordpress.com\/2014\/12\/08\/eleni-nanopulu-tres-poemas\/<\/a><br \/>\n<a href=\"http:\/\/stixodromio.blogspot.gr\/2009\/01\/blog-post_13.html\">http:\/\/stixodromio.blogspot.gr\/2009\/01\/blog-post_13.html<\/a><br \/>\n<a href=\"http:\/\/logotexnika-epikaira.blogspot.gr\/2009\/10\/blog-post_14.html\">http:\/\/logotexnika-epikaira.blogspot.gr\/2009\/10\/blog-post_14.html<\/a><br \/>\n<a href=\"http:\/\/stachtes.stratosfountoulis.com\/20.htm#ioan\">http:\/\/stachtes.stratosfountoulis.com\/20.htm#ioan<\/a><br \/>\n<a href=\"http:\/\/www.e-poema.eu\/blog.php?id=1&amp;pid\">http:\/\/www.e-poema.eu\/blog.php?id=1&amp;pid<\/a><br \/>\n<a href=\"http:\/\/perisinagogi.blogspot.gr\/search\/label\/\u0395\u03bb\u03ad\u03bd\u03b7%20\u039d\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5\">http:\/\/perisinagogi.blogspot.gr\/search\/label\/\u0395\u03bb\u03ad\u03bd\u03b7%20\u039d\u03b1\u03bd\u03bf\u03c0\u03bf\u03cd\u03bb\u03bf\u03c5<\/a><br \/>\n<a href=\"http:\/\/www.sodeia.net\/p\/blog-page_7742.html\">http:\/\/www.sodeia.net\/p\/blog-page_7742.html<\/a><br \/>\n<a href=\"http:\/\/www.bibliotheque.gr\/article\/48551\">http:\/\/www.bibliotheque.gr\/article\/48551<\/a><br \/>\n<a href=\"http:\/\/staxtes.com\/2003\/?p=6309\">http:\/\/staxtes.com\/2003\/?p=6309<\/a><br \/>\n<a href=\"http:\/\/thraka-magazine.blogspot.gr\/2014\/07\/blog-post.html\">http:\/\/thraka-magazine.blogspot.gr\/2014\/07\/blog-post.html<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Zafiris Nikitas<\/strong> was born in Thessaloniki in 1983. He studied law and theater at the Aristotle University of Thessaloniki and completed a post-graduate degree in the history, philosophy and sociology of justice. His first poetry collection, <em>Sky In Your Back<\/em> (Gavrilides, Athens) was published in 2010 and his poems, essays and translations have been published in literary journals. He works as a director and playwright in Greece and abroad. His last theater work was the performance <em>Post-Apocalyptic Blues<\/em> (On the Future of Religion) under the auspices of the Performance Laboratory Salzburg (\u0399nternational Platform for Young Directors) in March of 2015.<\/p>\n<p>\u039f <strong>\u0396\u03b1\u03c6\u03b5\u03af\u03c1\u03b7\u03c2 \u039d\u03b9\u03ba\u03ae\u03c4\u03b1\u03c2<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7 \u0398\u03b5\u03c3\u03c3\u03b1\u03bb\u03bf\u03bd\u03af\u03ba\u03b7 \u03c4\u03bf 1983. \u03a3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u03bd\u03bf\u03bc\u03b9\u03ba\u03ae \u03ba\u03b1\u03b9 \u03b8\u03ad\u03b1\u03c4\u03c1\u03bf \u03c3\u03c4\u03bf \u0391.\u03a0.\u0398. \u0395\u03ba\u03c0\u03cc\u03bd\u03b7\u03c3\u03b5 \u03bc\u03b5\u03c4\u03b1\u03c0\u03c4\u03c5\u03c7\u03b9\u03b1\u03ba\u03cc \u03c3\u03c4\u03b7\u03bd \u03b9\u03c3\u03c4\u03bf\u03c1\u03af\u03b1, \u03c6\u03b9\u03bb\u03bf\u03c3\u03bf\u03c6\u03af\u03b1 \u03ba\u03b1\u03b9 \u03ba\u03bf\u03b9\u03bd\u03c9\u03bd\u03b9\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03c4\u03bf\u03c5 \u03b4\u03b9\u03ba\u03b1\u03af\u03bf\u03c5. \u0397 \u03c0\u03c1\u03ce\u03c4\u03b7 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae, <em>\u03a0\u03b9\u03c3\u03ce\u03c0\u03bb\u03b1\u03c4\u03bf\u03c2 \u03bf\u03c5\u03c1\u03b1\u03bd\u03cc\u03c2<\/em>, \u03ba\u03c5\u03ba\u03bb\u03bf\u03c6\u03cc\u03c1\u03b7\u03c3\u03b5 \u03c4\u03bf 2010 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0393\u03b1\u03b2\u03c1\u03b9\u03b7\u03bb\u03af\u03b4\u03b7\u03c2. \u0388\u03c7\u03b5\u03b9 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03cd\u03c3\u03b5\u03b9, \u03c3\u03c4\u03bf\u03bd \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03cc \u03c4\u03cd\u03c0\u03bf, \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1, \u03b4\u03bf\u03ba\u03af\u03bc\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03b5\u03b9\u03c2. \u0395\u03c1\u03b3\u03ac\u03b6\u03b5\u03c4\u03b1\u03b9 \u03c9\u03c2 \u03c3\u03ba\u03b7\u03bd\u03bf\u03b8\u03ad\u03c4\u03b7\u03c2 \u03ba\u03b1\u03b9 \u03b4\u03c1\u03b1\u03bc\u03b1\u03c4\u03bf\u03c5\u03c1\u03b3\u03cc\u03c2 \u03c3\u03b5 \u0395\u03bb\u03bb\u03ac\u03b4\u03b1 \u03ba\u03b1\u03b9 \u03b5\u03be\u03c9\u03c4\u03b5\u03c1\u03b9\u03ba\u03cc. \u03a4\u03b5\u03bb\u03b5\u03c5\u03c4\u03b1\u03af\u03b1 \u03c3\u03ba\u03b7\u03bd\u03bf\u03b8\u03b5\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03b5\u03c1\u03b3\u03b1\u03c3\u03af\u03b1 \u03c5\u03c0\u03ae\u03c1\u03be\u03b5 \u03b7 performance <em>Post apocalyptic blues<\/em> (: \u03bc\u03b9\u03b1 \u03c0\u03b1\u03c1\u03ac\u03c3\u03c4\u03b1\u03c3\u03b7 \u03b3\u03b9\u03b1 \u03c4\u03bf \u03bc\u03ad\u03bb\u03bb\u03bf\u03bd \u03c4\u03b7\u03c2 \u03b8\u03c1\u03b7\u03c3\u03ba\u03b5\u03af\u03b1\u03c2), \u03c3\u03c4\u03bf Performance Laboratory Salzburg ( \u0399nternational Platform for young Directors), \u03c4\u03bf \u039c\u03ac\u03c1\u03c4\u03b9\u03bf \u03c4\u03bf\u03c5 2015.<\/p>\n<p><a href=\"https:\/\/zafirisnikitas.wordpress.com\">https:\/\/zafirisnikitas.wordpress.com<\/a><br \/>\n<a href=\"http:\/\/www.thea.auth.gr\/2015\/03\/post-apocalyptic-blues\/\">www.thea.auth.gr\/2015\/03\/post-apocalyptic-blues\/<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p>\u039f <strong>\u03a7\u03b1\u03c1\u03af\u03bb\u03b1\u03bf\u03c2 \u039d\u03b9\u03ba\u03bf\u03bb\u03b1\u0390\u03b4\u03b7\u03c2<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u0391\u03b8\u03ae\u03bd\u03b1 \u03c4\u03bf\u03bd \u0394\u03b5\u03ba\u03ad\u03bc\u03b2\u03c1\u03b7 \u03c4\u03bf\u03c5 1986. \u0391\u03c3\u03c7\u03bf\u03bb\u03b5\u03af\u03c4\u03b1\u03b9 \u03bc\u03b5 \u03c4\u03b7\u03bd \u03ad\u03c1\u03b5\u03c5\u03bd\u03b1, \u03c4\u03b7\u03bd \u03b4\u03b9\u03b4\u03b1\u03c3\u03ba\u03b1\u03bb\u03af\u03b1 \u03ba\u03b1\u03b9 \u03c4\u03b7\u03bd \u03ac\u03c3\u03ba\u03b7\u03c3\u03b7 \u03c4\u03b7\u03c2 \u03bd\u03bf\u03bc\u03b9\u03ba\u03ae\u03c2, \u03ad\u03c7\u03bf\u03bd\u03c4\u03b1\u03c2 \u03bf\u03bb\u03bf\u03ba\u03bb\u03b7\u03c1\u03ce\u03c3\u03b5\u03b9 \u03b4\u03b9\u03b4\u03b1\u03ba\u03c4\u03bf\u03c1\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c0\u03bf\u03c5\u03b4\u03ad\u03c2 \u03c3\u03c4\u03bf \u039b\u03bf\u03bd\u03b4\u03af\u03bd\u03bf. \u0393\u03c1\u03ac\u03c6\u03b5\u03b9 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03b6\u03b5\u03b9 \u03c0\u03bf\u03af\u03b7\u03c3\u03b7. \u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03bf\u03c5 \u03ad\u03c7\u03bf\u03c5\u03bd \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03c4\u03b5\u03af \u03c3\u03b5 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b1 \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac \u03b5\u03bd\u03ce \u03b7 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c4\u03bf\u03c5 \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf \u00ab\u0391\u03bb\u03b5\u03c0\u03bf\u03cd \u03c3\u03c4\u03bf\u03bd \u0391\u03c5\u03c4\u03bf\u03ba\u03b9\u03bd\u03b7\u03c4\u03cc\u03b4\u03c1\u03bf\u03bc\u03bf\u00bb (\u039c\u03b5\u03bb\u03ac\u03bd\u03b9, 2015) \u03c0\u03c1\u03cc\u03ba\u03b5\u03b9\u03c4\u03b1\u03b9 \u03bd\u03b1 \u03ba\u03c5\u03ba\u03bb\u03bf\u03c6\u03bf\u03c1\u03ae\u03c3\u03b5\u03b9 \u03c3\u03cd\u03bd\u03c4\u03bf\u03bc\u03b1.<\/p>\n<p><strong>Charilaos Nikolaidis<\/strong> was born in Athens in December 1986. He practices, researches and teaches the law, having completed his doctoral studies in London. He writes and translates poetry. His poems have been published in several literary magazines while his collection of poems entitled \u2018Fox in a Highway\u2019 (Melani, 2015) is due to be published soon.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Angelos Parthenis<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Vassiliki Rapti<\/strong> is Preceptor in Modern Greek at Harvard University and the author of <em>Ludics in Surrealist Theatre and Beyond<\/em> (Ashgate, 2013) and three poetry collections: <em>A Tear in the Ocean<\/em> (2nd Prize, 1998, Parnassos Literary Society), <em>Glossopaidies<\/em> (2014) and <em>Transitorium<\/em>,(bilingual edition, Somerset Hall Press, 2015). Her scholarship and poetry are animated by the ludic principle. She is co-chair of the Ludics Seminar of the Harvard Mahindra Humanities Center and founder and director of the Advanced Training in Greek Poetry Translation and Performance Workshop at Harvard. Her poems have appeared in various literary journals, including <em>\u0391\u03b9\u03bf\u03bb\u03b9\u03ba\u03ac \u0393\u03c1\u03ac\u03bc\u03bc\u03b1\u03c4\u03b1, \u039d\u03ad\u03b1 \u03a3\u03ba\u03ad\u03c8\u03b9\u03c2, Journal of Creative Work, Eliot Review, Poeticanet, Levure Litt\u00e9raire, <\/em>and<em> Poetix.<\/em><\/p>\n<p>\u0397 <strong>\u0392\u03b1\u03c3\u03b9\u03bb\u03b9\u03ba\u03ae \u03a1\u03ac\u03c0\u03c4\u03b7<\/strong> \u03b5\u03af\u03bd\u03b1\u03b9 \u039b\u03ad\u03ba\u03c4\u03bf\u03c1\u03b1\u03c2 \u039d\u03b5\u03bf\u03b5\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03ae\u03c2 \u0393\u03bb\u03ce\u03c3\u03c3\u03b1\u03c2 \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u03c4\u03bf\u03c5 \u03a7\u03ac\u03c1\u03b2\u03b1\u03c1\u03bd\u03c4 \u03ba\u03b1\u03b9 \u03c3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03b1\u03c2 \u03c4\u03b7\u03c2 \u03bc\u03bf\u03bd\u03bf\u03b3\u03c1\u03b1\u03c6\u03af\u03b1\u03c2 <em>Ludics in Surrealist Theatre and Beyond<\/em> (Ashgate, 2013) \u03ba\u03b1\u03b9 \u03c4\u03c9\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ce\u03bd \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ce\u03bd <em>\u0388\u03bd\u03b1 \u0394\u03ac\u03ba\u03c1\u03c5 \u03c3\u03c4\u03bf\u03bd \u03a9\u03ba\u03b5\u03b1\u03bd\u03cc<\/em> (2nd \u0392\u03c1\u03b1\u03b2\u03b5\u03af\u03bf \u039b\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03b9\u03ba\u03bf\u03cd \u0394\u03b9\u03b1\u03b3\u03c9\u03bd\u03b9\u03c3\u03bc\u03bf\u03cd \u03c4\u03bf\u03c5 \u03a6\u03b9\u03bb\u03bf\u03bb\u03bf\u03b3\u03b9\u03ba\u03bf\u03cd \u03a3\u03c5\u03bb\u03bb\u03cc\u03b3\u03bf\u03c5 \u00ab\u03a0\u03b1\u03c1\u03bd\u03b1\u03c3\u03c3\u03cc\u03c2\u00bb, 1998), <em>\u0393\u03bb\u03c9\u03c3\u03c3\u03bf\u03c0\u03b1\u03b9\u03b4\u03b9\u03ad\u03c2<\/em> (2014) \u03ba\u03b1\u03b9 <em>Transitorium<\/em>, (bilingual edition, Somerset Hall Press, 2015). \u0397 \u03c0\u03bf\u03af\u03b7\u03c3\u03ae \u03c4\u03b7\u03c2 \u03c3\u03c5\u03bc\u03c0\u03bb\u03b7\u03c1\u03ce\u03bd\u03b5\u03b9 \u03c4\u03b7\u03bd \u03ad\u03c1\u03b5\u03c5\u03bd\u03ac \u03c4\u03b7\u03c2 \u03b7 \u03bf\u03c0\u03bf\u03af\u03b1 \u03b5\u03c0\u03b9\u03ba\u03b5\u03bd\u03c4\u03c1\u03ce\u03bd\u03b5\u03c4\u03b1\u03b9 \u03c3\u03c4\u03b7\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03c0\u03b1\u03b9\u03c7\u03bd\u03b9\u03b4\u03b9\u03bf\u03cd. \u0391\u03c0\u03cc \u03c4\u03bf 2013 \u03c3\u03c5\u03bd\u03b4\u03b9\u03b5\u03b8\u03cd\u03bd\u03b5\u03b9 \u03c4\u03bf \u03a3\u03b5\u03bc\u03b9\u03bd\u03ac\u03c1\u03b9\u03bf Ludics \u03c4\u03bf\u03c5 \u039a\u03ad\u03bd\u03c4\u03c1\u03bf\u03c5 \u0391\u03bd\u03b8\u03c1\u03c9\u03c0\u03b9\u03c3\u03c4\u03b9\u03ba\u03ce\u03bd \u03a3\u03c0\u03bf\u03c5\u03b4\u03ce\u03bd Mahindra \u03c4\u03bf\u03c5 \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03b7\u03bc\u03af\u03bf\u03c5 \u03c4\u03bf\u03c5 \u03a7\u03ac\u03c1\u03b2\u03b1\u03c1\u03bd\u03c4 \u03ba\u03b1\u03b9 \u03b4\u03b9\u03b5\u03b8\u03cd\u03bd\u03b5\u03b9 \u03c4\u03bf \u0395\u03c1\u03b3\u03b1\u03c3\u03c4\u03ae\u03c1\u03b9\u03bf \u039c\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7\u03c2 Advanced Training in Greek Poetry Translation and Performance at Harvard \u03c4\u03bf \u03bf\u03c0\u03bf\u03af\u03bf \u03ba\u03b1\u03b9 \u03af\u03b4\u03c1\u03c5\u03c3\u03b5. \u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03ac \u03c4\u03b7\u03c2 \u03ad\u03c7\u03bf\u03c5\u03bd \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03b8\u03b5\u03af \u03c3\u03b5 \u03b4\u03b9\u03ac\u03c6\u03bf\u03c1\u03b1 \u03ad\u03bd\u03c4\u03c5\u03c0\u03b1 \u03ba\u03b1\u03b9 \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03ac \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03ac \u03bc\u03b5\u03c4\u03b1\u03be\u03cd \u03c4\u03c9\u03bd \u03bf\u03c0\u03bf\u03af\u03c9\u03bd \u03ba\u03b1\u03b9 \u03c4\u03b1 \u03b5\u03be\u03ae\u03c2: <em>\u0391\u03b9\u03bf\u03bb\u03b9\u03ba\u03ac \u0393\u03c1\u03ac\u03bc\u03bc\u03b1\u03c4\u03b1, \u039d\u03ad\u03b1 \u03a3\u03ba\u03ad\u03c8\u03b9\u03c2, Journal of Creative Work, Eliot Review, Poeticanet, Levure Litt\u00e9raire, <\/em>\u03ba\u03b1\u03b9<em> Poetix.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>William Rowe<\/strong> is a poet, translator and essayist. He is Emeritus Professor of Poetics at Birkbeck College University of London and a Fellow of the British Academy. Recent books of poetry: <em>The Earth Has Been Destroyed<\/em> (Veer Books, 2009), <em>INRI<\/em> (translation of Ra\u00fal Zurita; Marick Press, 2009), <em>Nation<\/em> (Klinamen, 2012; enlarged edition, Knives, Forks and Spoons, 2015), <em>LVB<\/em> (Translation of Ra\u00fal Zurita, Veer Books, 2013), <em>A Cruise to the Galapagos Islands<\/em> (translation of Antonio Cisneros; Shearsman, 2013), <em>Incisions<\/em> (Iodine, 2014). <em>Essays: Three Lyric Poets: Harwood, Torrance and MacSweeney<\/em> (Northcote House, 2009), <em>Hacia una po\u00e9tica radical: ensayos de hermen\u00e9utica cultural<\/em> (Mexico, Fondo de Cultura Econ\u00f3mica, 2014). <em>Collected Poems<\/em> (forthcoming Crater Press).<\/p>\n<p>\u039f <strong>William Rowe<\/strong> \u03b5\u03af\u03bd\u03b1\u03b9 \u03c0\u03bf\u03b9\u03b7\u03c4\u03ae\u03c2, \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03ae\u03c2 \u03ba\u03b1\u03b9 \u03b4\u03bf\u03ba\u03b9\u03bc\u03b9\u03bf\u03b3\u03c1\u03ac\u03c6\u03bf\u03c2. \u0395\u03af\u03bd\u03b1\u03b9 \u039f\u03bc\u03cc\u03c4\u03b9\u03bc\u03bf\u03c2 \u039a\u03b1\u03b8\u03b7\u03b3\u03b7\u03c4\u03ae\u03c2 \u03c4\u03b7\u03c2 \u03a0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae\u03c2 \u03c3\u03c4\u03bf Birkbeck College \u03c3\u03c4\u03bf \u03a0\u03b1\u03bd\u03b5\u03c0\u03b9\u03c3\u03c4\u03ae\u03bc\u03b9\u03bf \u03c4\u03bf\u03c5 \u039b\u03bf\u03bd\u03b4\u03af\u03bd\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0392\u03c1\u03b5\u03c4\u03b1\u03bd\u03b9\u03ba\u03ae\u03c2 \u0391\u03ba\u03b1\u03b4\u03b7\u03bc\u03af\u03b1\u03c2. \u03a0\u03c1\u03cc\u03c3\u03c6\u03b1\u03c4\u03b1 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ac \u03c4\u03bf\u03c5 \u03b2\u03b9\u03b2\u03bb\u03af\u03b1: <em>The Earth Has Been Destroyed<\/em> (Veer Books, 2009), <em>INRI<\/em> (\u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 Ra\u00fal Zurita; Marick Press, 2009), <em>Nation<\/em> (Klinamen, 2012; \u03b5\u03c0\u03b1\u03c5\u03be\u03b7\u03bc\u03ad\u03bd\u03b7 \u03ad\u03ba\u03b4\u03bf\u03c3\u03b7, Knives, Forks and Spoons, 2015), <em>LVB<\/em> (\u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 Ra\u00fal Zurita, Veer Books, 2013), <em>A Cruise to the Galapagos Islands<\/em> (\u03bc\u03b5\u03c4\u03ac\u03c6\u03c1\u03b1\u03c3\u03b7 \u03c4\u03bf\u03c5 Antonio Cisneros; Shearsman, 2013), <em>Incisions<\/em> (Iodine, 2014). \u0394\u03bf\u03ba\u03af\u03bc\u03b9\u03b1: <em>Three Lyric Poets: Harwood, Torrance and MacSweeney<\/em> (Northcote House, 2009), <em>Hacia una po\u00e9tica radical: ensayos de hermen\u00e9utica cultural<\/em> (Mexico, Fondo de Cultura Econ\u00f3mica, 2014). \u03a0\u03c1\u03bf\u03c3\u03b5\u03c7\u03ce\u03c2 \u03b1\u03c0\u03bf \u03c4\u03bf\u03bd \u03b5\u03ba\u03b4\u03bf\u03c4\u03b9\u03ba\u03cc \u03b5\u03af\u03ba\u03bf Crater Press, \u03c4\u03bf <em>Collected Poems<\/em>.<\/p>\n<p><a href=\"http:\/\/www.veerbooks.com\">www.veerbooks.com<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Angelos Sakkis<\/strong> was born in Greece. He immigrated to California, 1970. BFA SFAI, 1989. He has been translating Greek poetry to English and co-translating, with John Sakkis, the work of poet and multimedia artist Demosthenes Agrafiotis. His own work has appeared in Ambush Review, Try and Hellenic Voices. His chapbooks <em>Memory-of<\/em> and <em>Fictional Character<\/em> were published by Zarax Books, 2012. <em>Travel log with Homer on my mind<\/em> 2011 was published also in 2012 by Both Both Books. He most recently co-translated with Jack Hirschman <em>Food Line<\/em> by Sotirios Pastakas (Forepaw Press, 2015). He lives in Oakland, California.<\/p>\n<p>O <strong>\u0386\u03b3\u03b3\u03b5\u03bb\u03bf\u03c2 \u03a3\u03b1\u03ba\u03ba\u03ae\u03c2<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b7\u03bd \u0395\u03bb\u03bb\u03ac\u03b4\u03b1, 1946. \u03a3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u03c3\u03c4\u03b7 \u03c3\u03c7\u03bf\u03bb\u03ae \u0394\u03bf\u03be\u03b9\u03ac\u03b4\u03b7 \u03ba\u03b1\u03b9 \u03b5\u03c1\u03b3\u03ac\u03c3\u03c4\u03b7\u03ba\u03b5 \u03c3\u03b1\u03bd \u03b2\u03bf\u03b7\u03b8\u03cc\u03c2 \u03c4\u03bf\u03c5 \u03b6\u03c9\u03b3\u03c1\u03ac\u03c6\u03bf\u03c5 \u03a3\u03c0\u03cd\u03c1\u03bf\u03c5 \u0392\u03b1\u03c3\u03b9\u03bb\u03b5\u03af\u03bf\u03c5. \u039c\u03b5\u03c4\u03b1\u03bd\u03ac\u03c3\u03c4\u03b5\u03c5\u03c3\u03b5 \u03c3\u03c4\u03b7\u03bd \u039a\u03b1\u03bb\u03b9\u03c6\u03cc\u03c1\u03bd\u03b9\u03b1, 1970. \u03a3\u03c0\u03bf\u03cd\u03b4\u03b1\u03c3\u03b5 \u03b6\u03c9\u03b3\u03c1\u03b1\u03c6\u03b9\u03ba\u03ae \u03c3\u03c4\u03bf San Francisco Art Institute, BFA, 1989. \u0393\u03c1\u03ac\u03c6\u03b5\u03b9 \u03ba\u03b1\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03b6\u03b5\u03b9 \u0395\u03bb\u03bb\u03b7\u03bd\u03b9\u03ba\u03b7 \u03a0\u03bf\u03af\u03b7\u03c3\u03b7 \u03c3\u03c4\u03b1 \u0391\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac, \u03c3\u03c5\u03bd-\u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03ae\u03c2, \u03bc\u03b5 \u03c4\u03bf\u03bd John Sakkis, \u03c4\u03b7\u03c2 \u03b4\u03bf\u03c5\u03bb\u03b5\u03b9\u03ac\u03c2 \u03c4\u03bf\u03c5 \u0394\u03b7\u03bc\u03bf\u03c3\u03b8\u03ad\u03bd\u03b7 \u0391\u03b3\u03c1\u03b1\u03c6\u03b9\u03ce\u03c4\u03b7, \u03c0\u03bf\u03b9\u03b7\u03c4\u03ae \u03c0\u03bf\u03bb\u03c5\u03bc\u03ad\u03c3\u03c9\u03bd. \u03a3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 \u03c4\u03bf\u03c5, \u201cMemory of\u201d \u03ba\u03b1\u03b9 \u201cFictional Character\u201d Zarax Books, 2012. \u201cTravel log with Homer on my mind\u201d Both Both Books, 2012. \u03a0\u03b9\u03cc \u03c0\u03c1\u03cc\u03c3\u03c6\u03b1\u03c4\u03b1 \u03bc\u03b5\u03c4\u03ad\u03c6\u03c1\u03b1\u03c3\u03b5, \u03bc\u03b5 \u03c4\u03bfn Jack Hirschman, \u03c4\u03b7\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c4\u03bf\u03c5 \u03a3\u03c9\u03c4\u03b7\u03c1\u03af\u03bf\u03c5 \u03a0\u03b1\u03c3\u03c4\u03ac\u03ba\u03b1 \u00ab\u03a3\u03c5\u03c3\u03c3\u03af\u03c4\u03b9\u03bf\u00bb (\u201cFood Line\u201d Forepaw Press, 2015). \u0396\u03b5\u03b9 \u03c3\u03c4\u03b7\u03bd \u038c\u03ba\u03bb\u03b1\u03bd\u03c4, \u039a\u03b1\u03bb\u03b9\u03c6\u03cc\u03c1\u03bd\u03b9\u03b1.<\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Jim Stone<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>*<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Iossif Ventura<\/strong> was born in the Canea (Crete) and lives and works in Athens. He directs the electronic poetry magazine \u201cPoeticanet\u201d (www.poeticanet.gr \/ www.poeticanet.com). He is a member of the Hellenic Author\u2019s Society and a member of the international committee of the Poetry Festival \u201cVOIX VIVES DE MEDITERANEE EN MEDITERRANEE\u201d, SETE, FRANCE. His collections of poems include <em>Liquid Circle<\/em>, Athens, Gavrilidis, 1997; <em>The Arithmetic of a Reminiscence<\/em>, Athens, Gavrilidis,1998; <em>Tanais<\/em>, Athens, Gavrilidis, 2001; <em>Comments in Black<\/em>, Athens, Gavrilidis, 2006; <em>Zyklon<\/em> (Athens, Melani, 2009); <em>The game<\/em> (Athens, Dardanos, 2015); and \u201cJewish Poetry in the Middle Ages\u201d, Athens, Nefeli, 2005. His poems have been translated into English, French, Hebrew, Spanish, Serbian and Arabic. Foreign editions of his poems include <em>Anthology of poems<\/em> (translated in Hebrew by Rami Saari, Carmel Publishinh house, 2008, Israel) and <em>TANAI\u03a3, Kyklonio &amp;Tanais,<\/em> Bilingual Edition, Red Heifer Press, California. He has translated poems of Jerome Rothenberg and of the Troubadours of the 12th century. He has published both poems and essays in literary magazines and he has been invited as a speaker in several conferences.<\/p>\n<p>\u039f <strong>\u0399\u03c9\u03c3\u03ae\u03c6 \u0392\u03b5\u03bd\u03c4\u03bf\u03cd\u03c1\u03b1\u03c2<\/strong> \u03b3\u03b5\u03bd\u03bd\u03ae\u03b8\u03b7\u03ba\u03b5 \u03c3\u03c4\u03b1 \u03a7\u03b1\u03bd\u03b9\u03ac. \u0395\u03af\u03bd\u03b1\u03b9 \u03c0\u03c4\u03c5\u03c7\u03b9\u03bf\u03cd\u03c7\u03bf\u03c2 \u03c4\u03b7\u03c2 \u03a3\u03c7\u03bf\u03bb\u03ae\u03c2 \u039c\u03b7\u03c7\u03b1\u03bd\u03bf\u03bb\u03cc\u03b3\u03c9\u03bd \u2013\u0397\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bb\u03cc\u03b3\u03c9\u03bd \u03c4\u03bf\u03c5 \u0395.\u039c.\u03a0. \u0388\u03c7\u03b5\u03b9 \u03ba\u03ac\u03bd\u03b5\u03b9 \u03b5\u03bb\u03b5\u03cd\u03b8\u03b5\u03c1\u03b5\u03c2 \u03c3\u03c0\u03bf\u03c5\u03b4\u03ad\u03c2 \u03c3\u03c4\u03b7 \u03b8\u03b5\u03c9\u03c1\u03af\u03b1 \u03c4\u03b7\u03c2 \u03bb\u03bf\u03b3\u03bf\u03c4\u03b5\u03c7\u03bd\u03af\u03b1\u03c2, \u03a6\u03b9\u03bb\u03bf\u03c3\u03bf\u03c6\u03af\u03b1 \u03ba\u03b1\u03b9 \u0399\u03c3\u03c4\u03bf\u03c1\u03af\u03b1 \u03a4\u03b7\u03c2 \u03a4\u03ad\u03c7\u03bd\u03b7\u03c2. \u0394\u03b9\u03b5\u03c5\u03b8\u03cd\u03bd\u03b5\u03b9 \u03c4\u03bf \u03b7\u03bb\u03b5\u03ba\u03c4\u03c1\u03bf\u03bd\u03b9\u03ba\u03cc \u03c0\u03b5\u03c1\u03b9\u03bf\u03b4\u03b9\u03ba\u03cc \u03c0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 Poeticanet ( www.poeticanet.gr). \u0395\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0395\u03c4\u03b1\u03b9\u03c1\u03b5\u03af\u03b1\u03c2 \u03a3\u03c5\u03b3\u03b3\u03c1\u03b1\u03c6\u03ad\u03c9\u03bd ( www.dedalus.gr) \u03ba\u03b1\u03b9 \u03c5\u03c0\u03ae\u03c1\u03be\u03b5 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03bf\u03c5 \u0394.\u03a3. \u03c4\u03b7\u03c2. \u0395\u03af\u03bd\u03b1\u03b9 \u03bc\u03ad\u03bb\u03bf\u03c2 \u03c4\u03b7\u03c2 \u0394\u03b9\u03b5\u03b8\u03bd\u03bf\u03cd\u03c2 \u0395\u03c0\u03b9\u03c4\u03c1\u03bf\u03c0\u03ae\u03c2 \u039f\u03c1\u03b3\u03ac\u03bd\u03c9\u03c3\u03b7\u03c2 \u03c4\u03bf\u03c5 \u03bc\u03b5\u03b3\u03ac\u03bb\u03bf\u03c5 \u03a6\u03b5\u03c3\u03c4\u03b9\u03b2\u03ac\u03bb \u03a0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 VOIX VIVES de M\u00e9diterran\u00e9e en M\u00e9diterran\u00e9e \u03c0\u03bf\u03c5 \u03bf\u03c1\u03b3\u03b1\u03bd\u03ce\u03bd\u03b5\u03c4\u03b1\u03b9 \u03ba\u03ac\u03b8\u03b5 \u03c7\u03c1\u03cc\u03bd\u03bf \u03c3\u03c4\u03b7 Sete \u03c4\u03b7\u03c2 \u0393\u03b1\u03bb\u03bb\u03af\u03b1\u03c2. \u0388\u03c7\u03b5\u03b9 \u03b5\u03ba\u03b4\u03ce\u03c3\u03b5\u03b9 5 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ad\u03c2 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ad\u03c2 (<em>\u03a5\u03b3\u03c1\u03cc\u03c2 \u039a\u03cd\u03ba\u03bb\u03bf\u03c2 , \u0391\u03c1\u03b9\u03b8\u03bc\u03b7\u03c4\u03b9\u03ba\u03ae \u03bc\u03b9\u03b1\u03c2 \u0391\u03bd\u03ac\u03bc\u03bd\u03b7\u03c3\u03b7\u03c2, \u03a4\u03b1\u03bd\u03b1\u03ca\u03c2, \u03a3\u03c7\u03cc\u03bb\u03b9\u03b1 \u03c3\u03b5 \u039c\u03b1\u03cd\u03c1\u03bf, \u039a\u03c5\u03ba\u03bb\u03ce\u03bd\u03b9\u03bf<\/em>) \u03ba\u03b1\u03b9 \u03bc\u03af\u03b1 \u03b1\u03bd\u03b8\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03c4\u03b7\u03c2 \u0395\u03b2\u03c1\u03b1\u03ca\u03ba\u03ae\u03c2 \u039c\u03b5\u03c3\u03b1\u03b9\u03c9\u03bd\u03b9\u03ba\u03ae\u03c2 \u03a0\u03bf\u03af\u03b7\u03c3\u03b7\u03c2 \u03bc\u03b5 \u03b5\u03ba\u03c4\u03b5\u03c4\u03b1\u03bc\u03ad\u03bd\u03b7 \u03b5\u03b9\u03c3\u03b1\u03b3\u03c9\u03b3\u03ae (\u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u039d\u03b5\u03c6\u03ad\u03bb\u03b7). \u039c\u03b9\u03b1 \u03ad\u03ba\u03c4\u03b7 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c4\u03bf\u03c5 \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03bc\u03b5 \u03c4\u03af\u03c4\u03bb\u03bf <em>\u03a4\u03bf \u03a0\u03b1\u03b9\u03c7\u03bd\u03af\u03b4\u03b9<\/em> \u03ba\u03c5\u03ba\u03bb\u03bf\u03c6\u03cc\u03c1\u03b7\u03c3\u03b5 \u03c6\u03ad\u03c4\u03bf\u03c2 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0394\u03b1\u03c1\u03b4\u03b1\u03bd\u03cc\u03c2 (\u039b\u03ac\u03bb\u03c9\u03bd \u038e\u03b4\u03c9\u03c1).\u0388\u03c7\u03b5\u03b9 \u03b1\u03c3\u03c7\u03bf\u03bb\u03b7\u03b8\u03b5\u03af \u03bc\u03b5 \u03c4\u03b7\u03bd \u03c0\u03bf\u03af\u03b7\u03c3\u03b7 \u03c4\u03c9\u03bd \u03c4\u03c1\u03bf\u03b2\u03b1\u03b4\u03bf\u03cd\u03c1\u03c9\u03bd \u03c4\u03b7\u03c2 \u039f\u03be\u03b9\u03c4\u03b1\u03bd\u03af\u03b1\u03c2 (\u039d\u03cc\u03c4\u03b9\u03b1 \u0393\u03b1\u03bb\u03bb\u03af\u03b1) \u03c0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03c9\u03bd \u03bf\u03c0\u03bf\u03af\u03c9\u03bd \u03ad\u03c7\u03b5\u03b9 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03b5\u03b9. \u0397 \u03c0\u03bf\u03b9\u03ae\u03c4\u03c1\u03b9\u03b1 \u039c\u03ac\u03c1\u03c9 \u03a0\u03b1\u03c0\u03b1\u03b4\u03b7\u03bc\u03b7\u03c4\u03c1\u03af\u03bf\u03c5 \u03ba\u03b1\u03b9 \u03bf \u0399\u03c9\u03c3\u03ae\u03c6 \u0392\u03b5\u03bd\u03c4\u03bf\u03cd\u03c1\u03b1\u03c2 \u03ad\u03c7\u03bf\u03c5\u03bd \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03ac\u03c3\u03b5\u03b9 \u03c4\u03b7\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ae \u03c3\u03c5\u03bb\u03bb\u03bf\u03b3\u03ae \u03c4\u03bf\u03c5 \u0391\u03bc\u03b5\u03c1\u03b9\u03ba\u03b1\u03bd\u03bf\u03cd \u03c0\u03bf\u03b9\u03b7\u03c4\u03ae Jerome Rothenberg \u00abAn Oracle for Delphi\u00bb \u03c0\u03bf\u03c5 \u03b8\u03b1 \u03b5\u03ba\u03b4\u03bf\u03b8\u03b5\u03af \u03c6\u03ad\u03c4\u03bf\u03c2 \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u0395\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u0394\u03b1\u03c1\u03b4\u03b1\u03bd\u03cc\u03c2. \u039c\u03b9\u03b1 \u03bc\u03b9\u03ba\u03c1\u03ae \u03b1\u03bd\u03b8\u03bf\u03bb\u03bf\u03b3\u03af\u03b1 \u03c4\u03c9\u03bd \u03c0\u03bf\u03b9\u03b7\u03bc\u03ac\u03c4\u03c9\u03bd \u03c4\u03bf\u03c5 \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03bc\u03ad\u03bd\u03c9\u03bd \u03c3\u03c4\u03b1 \u0395\u03b2\u03c1\u03b1\u03ca\u03ba\u03ac \u03b1\u03c0\u03cc \u03c4\u03bf\u03bd \u03c0\u03bf\u03b9\u03b7\u03c4\u03ae RAMI SAARI \u03ad\u03c7\u03b5\u03b9 \u03ba\u03c5\u03ba\u03bb\u03bf\u03c6\u03bf\u03c1\u03ae\u03c3\u03b5\u03b9 \u03c3\u03c4\u03bf \u0399\u03c3\u03c1\u03b1\u03ae\u03bb. \u039f\u03b9 \u03b5\u03bb\u03b5\u03b3\u03b5\u03af\u03b5\u03c2 \u03c4\u03bf\u03c5 \u03a4\u0391\u039d\u0391\u0399\u03a3 \u03ba\u03b1\u03b9 \u039a\u03a5\u039a\u039b\u03a9\u039d\u0399\u039f \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03bc\u03ad\u03bd\u03b5\u03c2 \u03c3\u03c4\u03b1 \u0391\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac \u03ba\u03c5\u03ba\u03bb\u03bf\u03c6\u03cc\u03c1\u03b7\u03c3\u03b1\u03bd \u03c6\u03ad\u03c4\u03bf\u03c2 \u03c3\u03c4\u03b9\u03c2 \u0397.\u03a0.\u0391. \u03b1\u03c0\u03cc \u03c4\u03b9\u03c2 \u03b5\u03ba\u03b4\u03cc\u03c3\u03b5\u03b9\u03c2 \u201cRED HEIFER PRESS\u201d. \u03a0\u03bf\u03b9\u03ae\u03bc\u03b1\u03c4\u03b1 \u03c4\u03bf\u03c5 \u03ad\u03c7\u03bf\u03c5\u03bd \u03bc\u03b5\u03c4\u03b1\u03c6\u03c1\u03b1\u03c3\u03c4\u03b5\u03af \u03ba\u03b1\u03b9 \u03b4\u03b7\u03bc\u03bf\u03c3\u03b9\u03b5\u03c5\u03c4\u03b5\u03af \u03c3\u03c4\u03b1 \u0393\u03b1\u03bb\u03bb\u03b9\u03ba\u03ac, \u0391\u03b3\u03b3\u03bb\u03b9\u03ba\u03ac, \u0399\u03c3\u03c0\u03b1\u03bd\u03b9\u03ba\u03ac, \u0391\u03c1\u03b1\u03b2\u03b9\u03ba\u03ac, \u03a3\u03b5\u03c1\u03b2\u03b9\u03ba\u03ac \u03ba\u03b1\u03b9 \u0395\u03b2\u03c1\u03b1\u03ca\u03ba\u03ac. \u0388\u03c7\u03b5\u03b9 \u03bb\u03ac\u03b2\u03b5\u03b9 \u03bc\u03ad\u03c1\u03bf\u03c2 \u03c3\u03b5 \u03c0\u03bf\u03b9\u03b7\u03c4\u03b9\u03ba\u03ac \u03c3\u03c5\u03bd\u03ad\u03b4\u03c1\u03b9\u03b1 \u03ba\u03b1\u03b9 \u03c6\u03b5\u03c3\u03c4\u03b9\u03b2\u03ac\u03bb.<\/p>\n<p><a href=\"https:\/\/www.youtube.com\/watch?v=GIIyAH3GYp0\">https:\/\/www.youtube.com\/watch?v=GIIyAH3GYp0<\/a><br \/>\n<a href=\"http:\/\/avgi-anagnoseis.blogspot.gr\/2010\/04\/blog-post_9604.html\">http:\/\/avgi-anagnoseis.blogspot.gr\/2010\/04\/blog-post_9604.html<\/a><br \/>\n<a href=\"http:\/\/www.24grammata.com\/?p=37405\">http:\/\/www.24grammata.com\/?p=37405<\/a><br \/>\n<a href=\"http:\/\/www.ilioupolisonline.gr\/modules.php?name=News&amp;file=article&amp;sid=2783\">http:\/\/www.ilioupolisonline.gr\/modules.php?name=News&amp;file=article&amp;sid=2783<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Demosthenes Agrafiotis (1946), poet and intermedia artist, is active in the fields of poetry\/painting\/photography\/intermedia\/installations and their interactions, with books of poetry and essays, and exhibitions both in Greece and abroad. He has a special interest for the relations between art and new technologies, for multimedia or intermedia projects and also for performances. His book Maribor [&hellip;] <a href=\"https:\/\/parospoetrysymposium.chs.harvard.edu\/?page_id=275\" rel=\"bookmark\"><!--more--><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"parent":234,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/pages\/275"}],"collection":[{"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=275"}],"version-history":[{"count":5,"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/pages\/275\/revisions"}],"predecessor-version":[{"id":280,"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/pages\/275\/revisions\/280"}],"up":[{"embeddable":true,"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=\/wp\/v2\/pages\/234"}],"wp:attachment":[{"href":"https:\/\/parospoetrysymposium.chs.harvard.edu\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=275"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}