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A review of Greek social, economic and cultural life No § * SUMMER * JUNE, JULY, AUGUST, 2000 h Gelb tokvwa se 8) .6/ (0) i Cyprus and the Ceioorros alos Christodoulos Yallourides The External Political Orientation of the Cypriot Republic: Limitations, Possibilities and Hazards in implementing isore) Tah ye Cyprus: A Lasting Promise. A Twelve-Year Endowment in Review Reels rcelsetares The Destruction Michel Cacoyannis: From Piatres Between the Two Wars to “Attila ?74” Yannis Katsouris: psa avrcieate| | Activity in Cyprus ENTOS a ‘ToHellenic Quarterly xdidera cers tic Exddoeis ENTOE én cs ons oougontaue ty Acre Mn-Kepocrcrea| Erat- ofa «Hl Riddda eetds ang Fikdbag-Hellenica» » Tiornfme: «ll Phidba exxée rng EiASdag-Helleniea» » Budde: Onuartonisis A. Dasothas + Aevdirota xeu uxesourn ohugove je tov eDDrVEAS ojo: Podha Kordanavdim » Sv- i: Thévrns Tuosiuas + Zovecueroay Exxrqons Akins Zrieas, Dove Titvexuyve-Anekavigarovhov, Tuigyos Mayaixovios, Kuvoravetvos Prfyos, Pedg7os Kovgovrds, ‘Eleva Xovcovgy * Yateveury Anoowwy Zyeoe- av: Mapte TloMrov + Magaywp)-Excinucn: De Facto HELLENIC QUARTERLY is published by ENTOS Publications under an agreement with the civil non-profit com- pany “Greece outside Greees-Helleaica” + Owner: “Grecce ouside Greece-Fiellenica” + Publisher. Themistocles L. Fasoulas + Editor and responsible according to Greek Law: Roula Kaklamanai « Associate Editor: Yannis Goumas + Editorial Board: Alexis Ziras, Sonia ILnskaya-Alexandropoulou, Yorgos Kouroupos, Yorgos Maskopoulos, Konstax- tinos Rigos, Elena Houzouri + Public Relations: Maria Politou + Typeset and layout: De Facto Exbéoeis ENFOE, Eevllosas 4 161-21 Keaoogua, Aspe EAS «Ty (00301) 7648.90 - Fens (00301) 748.901 uteri wwe faotogr emalk eotco@edeacto ge Avemucuaracieosero (copyright) 200) Exbiceig ENTOSIellonic Quarterly yet wus avrreees + Oar dvenGuera éyovr reget. + Kavéve tsa mg repoiows Suboons Sey preg va cvenaner {ety va exodnpevee te ozo. Biotec encogeyy, ngs, pororwnyeatyuss,urynFogumyensH omaworizowe Ao, poets mt cia vow eHSéa, Eom, ISSN 1108-345X » Tuner ary Eoddd, Notifigng 200 {ENTOS Publiations. 4 Eryenreas Stee, Kesaran, 161-21, Athens, Greece,» Tel (0030-1) 76.48.900* Fax: (0080-1) 76.48.01 + Jnter- net, wwwdetuco ge * emul: ercos@odedicio.g » Comets Copyright © 2060 ENTOS Publications / HELLENIC QUARTERLY for the authors Allright ese/vel “No par ofthis publication may be reproduced, stoved io a revieval system, mechanical, photocopy, recor ing or echerwise, without the prios permission of the publisher» Eaton ISSN 1108-3454 - Painted in Greece, Novernbet 2000, Haweric Quarttriy NO Christodoulos Yallourides ‘Yannos Kranidiotis Pavlos Tzermias Theano Kypri ‘Yorgos Moleskis ‘Nassa Patapiou ‘Sophocles Hadjisawvas ‘Vangelis Athenasopoulos Andreas Christofidis Michael Cacoyannis Takovos Kambanellis, Roger Milliex summen 2000 SPECIAL ISSUE ON CYPRUS: EDITORIAL ACKNOWLEDGMENTS From Ouranios M. Teannidis, Minister of Education and Culture of the Republic of Cyprus... Prom Christodoulos Pasiardis, Ambassador of the Republic of Cyprus in Athens 5 FOREIGN AFFAIRS The External Political Orientation of the Cypriot Republi: Limitations, Possibilities and Hazards in Implementing Cyprus end the European Union... eee Cyprus’ Suffering and Power Politics HISTORY AND MODERN LIFE ‘The Cyprus Research Centre and the Oral Tradition Archive .. Poetic Experiences on the Traumatic Landscape of Cyprus... ‘The Medieval Castles of Occupied Cyprus . ARCHAEOLOGY ‘The Destruction of the Archacological Heritage of Cyprus... NON-FICTION ‘The Rhetoric of Lament: The Speaker’s Dialecties in “amen forthe Capuue of Blessed Cyprus” ‘The Cypriot Invellectwal Prom Platies Between the Two Wars to “Attila "74" The Mythical Island . Cypros: A Lasting Promise. A Twelve-Year Endowment in Review 73 Music ‘Music and Theatre A Review of Theatrical Activity in Cyprus... Heuetic Quarrerty NoS Tatiana Gritsi-Milliex Niki Maragou Hebe Meleagrou ‘Kostas Montis Savas Pavlou ‘Mihalis Pieris Napa Anastasi ‘Yannis Goumas Zelia Grigoriou. Kyriakos Haralambidis ‘Adriana Terodiakonou Christos Mavris ‘Pandelis Mihanikos ‘Yorgos Moraris ‘Theodosis Nikolaow Nikos Orfanidis Pen ‘Nasse Patapiou Lefkios Zafiriou Panayotis Agapitos Maria Angelidow Ff Strouza Alexis Ziras ‘Manes Kontolean ‘Yannos Kranidiotis Sumin 2000 FICTION Extract from “The Story of Kkashialos” ‘The Sweetness of the Past... . A Layer of Sand, Joanna's Dream - William Jarvis Pous . ‘The Reader Reading in an Athens Café Mikalis Ganas’ ‘Untinished Poem “Christmas Scary" cece eee ee 02 POETRY Angel - 104 Recipe oo... - vee LOS Farewell to Summer | o ve 106 Headless Statue 107 et 108 ‘The Red Bus ee . -- 109 Beautiful Morning, cee 10 Flowers of Rhamnous 66666 eee eee ever ceed Painting, Exhibition cosas cere IZ Hors in Nicosia ‘Tixe Man from the Moon Setting Sail... Exposed VISUAL ARTS Personal and Immediate Dialogue with Nikos Kouroussis’ Art... .117 ‘Nikos Kouroussis: “Rendezvous with History” 121 ‘The Odyssey of Nikos Kouroussis ..... ween ee ADE BOOKS AND AUTHORS: ‘The Invasion Generation of Cypriot Poets oo... 2s. 130) “The Story of Kkashialos" by Tatiana Gritsi-Milliex - 137 PERSONALITIES. ‘The Cultural Heritage of Cyprus eee eee el) In Memoriam Yannos Kranidiotis (1947-1999) . =. 142 CONTRIBUTORS eee 145 Crete was the spina nel cuore a thorn in the heart) for Venice, Cyprus for a completely different reason has been these many ‘a thorn in the heart of Greece Having a common language and @ common culture with the Hellenic metropolis (Greece), Cyprus, owing to its strategic position in the eastern Mediterranean, ‘has suffered in the last few centuries, and still suffers, a succession severe trials and experiences. A victim of power politics through- ut its history, today one finds on the island imprints of all its in- vaders, something which makes its past and more recent history most intriguing. . The history of Cyprus goes hand in hand with its civilization, An island at the crossroads of different cultures~Latin, Arabic and Asi- " atic= it managed, nonetheless, to preserve and subsequently exploit to good effect those aspects that connected its social fabric with the Hellenic tradition at large. That doesn’t mean, of course, that it didn’t in parallel develop its own individuality: reconciliation with the spirit of methodical organization and the ability to map out com- mon strategic targets This issue of the Hellenic Quarterly is devoted to Cyprus, by way of presenting to its readers and the public at large a panoramic view of the island's life. Articles written specially for this purpose describe the current political, economic and historical scene in Cyprus, while also fathoming its relationship with its immediate geographical en- "vironment, and revealing its throbbing cultural life, the impressive development of the visual arts, the theatre and lette:s, ‘The editorial board of the Hellenic Quarterly, while appreciating that the Cyprus problem remains a thorn in the heart of Hellenism, believes that every endeavour to make the island known to wider - public can only have positive results. With this conviction, it wishes, to thankall those whose help and support made this issue possible, _In particular, we extend our thanks to the Embassy of the Republic of Cyprus and the cultural institute Cyprus House in Athens, the Jeter of whom was so cooperative in our efforts to find material for this issue. And last but not least the Ministry of Education and Iture of Cyprus who helped finance the foregoing process, as well translation of articles contained herein, Alexis Ziras Yorgos Moleskis History and Poetry: Poetic Experiences on the Traumatic Landscape of Cyprus istory has a particular place in the con- science of the Greek and Cypriot poets, It Jays heavy on their shoulders because of its long continuity through the centuries. It comes like a swollen river, full of great events, often dramat- ic, that influence deeply the character and the conscience of people. It is an inheritance which you take, whether you want it or not, but it is al- so a burten, which makes you tired of it sometimes, I know that for some people this de- pendence on the past is difficult to be understood, but itis a reality: Twoke up with this marble head in my hands which exhausts my elbows and I don't kaow where £0 rest it. ‘Wrote the poet George Seferis, pointing out at the same time that this inheritance is also im- printed in the Greek language. This language is spoken for thousands of years in the same geo- graphic area, by the same people. Asa result, di- achronic historical experiences and meanings were imprinted on the language. These meanings give a symbolic direction to the poetic language, parallel to the normal meaning, The language be- comes a source of historical images, meanings and ideas for poetry. All these help to make our historic conscience more acute and the relation between history and poetry closer. And this is not a phenomenon on- ly of modem poetry. We find it even in ancient Greek poetry. Homer delved into history to write his great works. History played a great part in the work of the great tragic poets, sometimes in a more direct way, like in the tragedy “The Per- sians” by Aeschylus, or more indirecty, like in the tragedy “Trojan Women” by Euripi¢es. In mod- em times, such significant poets as C.P.Cavafy, George Seferis and Yannis Ritsos were inspired by history. A very close relation with history, es- pecially modern history, have some of the best Cypriot poets of our time: Theodosis Pieridis, Kostas Montis, Pandelis Mihanikos, Kyriakos Haralambidis. They draw from historical events subjects and ideas for their poetry and express through them the inner flow of the history of the people of Cyprus, their feelings of bitterness, pride, disappointment and hope. The references of modern poetry to history start, almost always, from contemporary histori- cal events. Through the diachronic character of Tanguage and historical perspective, the poets strive to give to contemporary events a wider meaning, to express through them broader poct- ic feelings and philosophical ideas. Of course, what is an advantage in this case can be also a danger. It is known that for the poetic expression of an event or a story it is necessary, as in paint- ng an object, to take an appropriate distance from it, so that you can have the required per- spective. In the words of Vladimir Mayakovski “The bigger the objectis, the greater the distance you have to take from it. The weak make steps on the same spot... the strong run forwards or back- wards, so they can earn the vital time.” The bur- den of history makes the Cypriot poets step back- ‘wards rather than forwards, in order to obtain the necessary perspective. Tn the second half of the twenticth century, and especially the last three decades, Cypriot po- ets became witnesses to the most dramatic, de- structive and threatening events in the history of the island, that proved deeply traumatic to its ge- ographical and historical landscape. After the coup ¢'état against the government of Archhish- op Makerios II, organized by the Greek junta in 1974, and the subsequent invasion of Cyprus by Turkey that left behind destroyed houses, dead people and missing persons, the island, and its people, Greeks and Turks, were divided. People became refugees on both sides; they were evicted from the places they were born, from their hous- es, from their traditional lives. All these events constitute a threat to the long history, the tradi- tion, the cultural inheritance of Cyprus. The feel- ing of this threat makes the historical conscience of the poets more acute, The traumatic historical and geographical landscape of the island plays a leading part in poetry. The dialogue of the poets with history and even mythology takes place more often, Through references to historical even 1s, myths and names, the poets seek analogies with the past: historical, philosophical and poe: ical. This is a way to give perspective to contem- porary events and, subsequently, a perspective to your own feelings and suffering, so that you may overcome them, in the analogous language of po- etry the present becomes connected to the past, contemporary events to history, The main object is to overcome the tragedy and pursue hope. One of the most obvious characteristics of modem Cypriot poetry is the abundant use of names —names of people and names of places - taken from the history and geography of present- day Cyprus, as well as names from its history and mythology. The aim of poets isto bring names to a symbolic level and create a new mythology out of them, In the poetry of the seventies, and especially af= ter 1974, the relationship between historical events and poetry beceme more direct, the feel- ing of tragedy and the impasse more acute. The fact that the events are quite recent does not al- low a different approach, The burned land, the ruined houses, the dead and the missing emerge in the poetry’ Cyprus became a disputable place without a name fill of modern crosses ~ that of Nikos, of Kostis, of Mihalis a bumned surface without any reserve. Lefkios Zafiriou, Pocms, 1975. As Iam looking at you and you are looking at me semember this by heart Ike “Our Father” that we constantly lose height that we constantly lose motherhood. ‘Theoklis Kouyalis, Return, 1976, We have trespassed the line of paticnce now we sail like ships in open seas alone in the vastness; may our heart help us if we are to set boundaries to our loneliness without our land, without our houses that do not follow the given scheme. Phoevos Stavridis, Demythology Section, 1978, The old man tied his foot to the chait and planned to sleep straight in Hades when he saw his son talking to him: "Father, dont die for me, 5 am coming.” Behind the mountain his son was speaking enclosed in iron pitehforks with his body curved and the hand falling down, Kyriakos Haralambidis, Achacon Beach, 1977, In the historical and geographical landscape of modern Cyprus dominate names of cities, vil- Jages, mountains, seas, names of different sites, especially of the lost ones, because of the parti- cipation of the island, These names become po- etic symbols and a new mythology is created around them. The feeling of the loss suffered in- creases as time passes, and the distance that time brings gives to these names new mythological el- ements, You stretch the fingers of your weakest hand and reach Achora and the far away Afrentrika (o regain your virginity. You go up slightly and sec the other Pentadaktylos, Flamoudi, Davies, Sacred Akanthou. Small countries of the bee which nobody harvests. Polyvios Nikelaou, Prescription for Young Poets fom Ammochostos, 1976. First of all, these names have a subjective meaning and convey to poetry a very local colour, But through their transfer to more abstract and symbolic areas, as well as their relation to histo- ryand mythology, or sometimes etymology, with the use of linguistic means, they acquire a wider and diachronic dimension, Historical cities, mountains, villages, objects of poetic reference, especially by Yorgos Seferis, tend to acauire a new poetic role through their modern use, Also, their poetic use elevate the new names to a sym- bolic mythological level, I say whole villages are lost Lyssy Vatili, Kontea, probably the whole island is lost. Eleni Theoharous, Cause Death, my Angel He had to go to Trikomo, Levkoniko, Komi Kepir, Gastria, Kantara etc. Dirty places, dusty and miserable shit and garbage of ignorance. ‘The gentleman put on his cap and ran away with his thoroughbred among the stars of a night sifverdasted, with my eyes. Kyriakos Haralambidis, Postistoria ‘Trapped by the tragic fate of their country, fac- ing facts that change the environment where they live, facing a threat for the future, the Cypriot po- ets refer to their lost places because only there can they find stable and unchanged figures, which can serve them as symbols of memory able to fll the gap of modern life. The lost places, against the wound that opens in time and in memory, symbolize the wholeness and the stable values that are in danger. Thus, the sentimental vacuum we feel takes a materialistic shape through the sound of the recurrent names. The pronunciation of a name is like an appeal to the spirit of the place. The name becomes something like music, which geadually shifts to the area of abstraction. In this way not only geographical names (which belong to concrete places), but al- so names of individual persons (which do not in- dicate real persons) can function as symbols to our senses. When the village was gone a deep wound opened in time. The sky fell down and a vacuum was created a black sign—as in the forest when a tree is burnt and its empty place is more visible than alll the other trees 0 its tragedy is further underlined. As sounds of music which came up and stopped hanging Tike stil! birds in the air, that sound in our every day talk names of villages which in other times were living fall of cries and music which suddenly stopped... ‘Names of deserted villages dike shapes which now exist in the framework of abstraction ever losing their shape. In a colour of forgetfulness sink ‘houses, squares, streets, works, myths and gestures. Only their music comes through all these and touches our senses and confuses us filling us with a sense of fight. ‘Yorgos Moleskis, The Water of Memory, 1990. ‘The character of this poetry depends to a large extent on its subjects, the names and the symbols which it uses. Eventually, this draws poetry towards the land it speaks about, imposing a lo- cal colour anda local character which poetry tries to overcome. It finds a way out by extending those names (and those subjects) in time, open- ing a dialogue with history and mythology, The mythology section of contemporary names and their setting next to other diachronic names, help to transfer poetic feeling and ideas to wider areas and reach a wider acceptance. Kyriakos Haralambidis indicates his target even in the title of his book Ammochostos Reign- jing. The parallelism with the lost queen of the cities starts from an adjective to the occupied city of Ammochostos and develops on different lev- els in the hook. Personified Ammochostos in the pocms is associated with the personified in che poetic tradition “reigning city” and at the same time the mythologized name of the city. Through references to history, Homeric heroes and Byzan- tine historical events and names and pavallelisms to the capital of the Byzantine Empire, its lif, its fate and its tragic history, Ammochostos is placed on a diachronic podium, together with other historical cities. ‘There they are safe. No- body can touch them. Nobody can intervene and destroy what was built by history and time. hear that your head was transferred placed you in purple and gold. ‘The star of Saint Sophia is studying and protecting you. And you, a woman ina late hour opens our closed eyelids Poor city, the years in bed without the candlelight at your head headless and as cold as Jead. Your skull ina huge box decorated with small serpents and stars all made of paper, seeds of bravery, travelled in the world to be placed in brothels and cabarets jin the sky of the city where it reigned. Kyriakos Haralambidis, Ammochostos Reigning For the liberation of the real city, which can be inhabited by its own people, there is little faith in the book and less hope. But the city, even behind the iron fences, is fice. It is ree asa historical re- ality that had played its role and has become an immortal city, a city symbol, among the other symbols of history. ‘The references to different names in contem- porary Cypriot poetry are quite many. Sometimes this is the result of a poetic tradition and the po- ets repeat other prototypes. But in these cases they remain as plain references. They don't sue- ceed in overcoming the burden of their meaning and moving to an area of abstraction and myth, ‘Nevertheless, we have very interesting phenome- na in this sphere, like those I tried to present above, and often we have interesting poetic cre- ations that elevate these names to poetic abstrac- NAPA ANASTASI Translated by Yannis Goumas ANGEL Standing on the four corners of your mind 1 fought to find words to swathe my silence. Bereft of hope with every breath rebounding from the walls like an echo eyes set in my eyes 1 fought to find clothes to clothe my body. Drained of blood with every vein striking the pulse like the hours a heart beating in your heart 1 fought to find wings To fly away To be again the angel of day. Leave him for a while YANNIS GOUMAS Land a buffalo on it, like a figure ne ‘out of prehistoric art. ‘Make him understand ne is only an image in the setting. Release atiger, ‘who soon discovers the bait is April. - Taste the month for cruelty. Observe a minute's silence. Eliminate the buffalo, trap the tiger, ‘wrap a shaw! round the sun, Remove all but 50 stars in the sky, all but 13 stripes on the tiger. ‘Apologise in Yiddish, 1915 ZELIA GRIGORIOU Translated by Yannis Goumas FAREWELL TO SUMMER ‘They are back again the errant leaves. One came into the house ‘without asking and settled anyhow in a room with a south aspect that is August and December and no season, nobody argues about plants and temperatures or if those whites hovering over the beach are the forgotten petticoa of blond women or local gulls. _ KYRIAKOS HARALAMBIDIS Translated by Kimon Friar HEADLESS STATUE have heard that your head has been sent as a sacred skull to Constantinople, ‘Byzantine emperors manfally placed you in red and gold. ‘The star of God's Holy Wisdom studies you and covers you. ‘And you, a woman, ina late hour open your closed eyelashes, ‘You look fruitlessly, for we have gone away on a journey, ‘and you call out to us "come to my guest room.” But we, artful head, seek your whole body, in a city that resembles you. If we succeed, wwe shall call this bone our own. Poor city, ten years in bed, ‘without the lampstead at your head, as headless and cold as lead. I dont want to be distressed by seeing you, my bird. Tenow you are absent, all has been heard. ‘Your skull in a huge box embellished with small serpents and small stars all made of paper, seed of manliness tuavelled around the world to be placed in houses of ill repute and cabarets in the sky of the city where it reigned. ‘You who hear me, do not misuaderstand me. Such things serve the natural remembrance of mortals, others the cleansing of memory, ADRIANA IERODIAKONOU ‘Translated by Yannis Goumas BATTLEFIELD Strange how everything stands upside down on this island, Upside down is the road west that we take while our heart follows an exact parallel course _ on that other road now lost ‘being half a mile to the right of our sight. Upside down the neighbouring orange trees athirst contrary to our life's orange trees, air the earth and the air full of dry roots standing on end. If only we were on the other side and they not ever! If only who ousted us were ousted, our flights in the mirror’ rightful centre! If we take the entire island and turn it inside out like a shirt If at night we opened our doors CHRISTOS MAVRIS Translated by Yannis Goumas THE RED BUS A lighted tunnel, I recall, suddenly loomed up through the murky darkness. From its huge opening emerged a big red bus full of missing persons ~ hands sticking out of the windows waving white hankies. ‘Years later this big red bus that had emerged from the huge opening of the lighted tunnel 1 found parked inside me, broken down ona dark comer of myself. I turned and looked at my fellow travellers on the bus, as did Mr. Pentzikis, and saw, as [had then, Kostas, Nikos, Andreas, Chrystalla, persons known to me ~ friends ong dead sitting on the worn seats of the vehicle. I woke with a start in the middle of the night. The dream flowed and spread like a river still bubbling from my stone body. PANDELIS MIHANIKOS Translated by Yannis Goumas BEAUTIFUL MORNING Tt was a beautiful hand that pulled you out of the dark aficr the nigat the morning was beautiful. After the well the plain was beautiful green, its coloured birds fluttering = it was a beautifull hand that raised you. How beautiful is the morning, You are no longer hunted the beasts of night have simmered down, Plain and all things winged beautiful nature take me. Let me live with you, YORGOS MORARIS Translated by Yannis Goumas FLOWERS OF RHAMNOUS Nature is dying that gave birth to the gods and only bushes in Rhamnous do not share its fate, ‘Through winter's oversight their yellow flowers haven't faded. Far off, an old man js underscoring with his plough the landscapes script and watches over it before completing that crucial step there where life inclines, What fangs of time mangled the statues? Its destructive power hasn't spoiled their beauty. When triremes sink they take with them the deep With an Homeric stanza they buoyed up the vast sea, THEODOSIS NIKOLAOU Translated by Yannis Goumas PAINTING EXHIBITION Visitors are walking round the gallery; They look at the paintings on the walls; They chat and make comments, “An attist should lend force to his dreams. The horror of death is totally lacking in these works. ‘Whats the use of birds, trees, idyllic landscapes, When brutal acts are crushing us?" But at night, when the guard turas off the lights ‘And latches the door, The birds open their beaks And the empty gallery echoes with weeping As if they're all mourning for Adrianople. Moreover, the rising wind at night Doesn't overlook this space. It blows And stirs the trees’ leaves in the paintings ‘A moan is heard betweert the four walls Like Hecuba's lament When she and other Trojan women looked For their children among the rains of Troy. What seems more important is not what but how. NIKOS ORFANIDIS Translated by Yannis Gouas HOURS IN NICOSIA ‘And here I stand in the foreign winds that sweep your body. Nicosia Nicosia Ilook for you among the countless lights of your night amid the iridescence that tortures my soul tonight the forgotten jukeboxes perforate my mind Took for you among the lines of slain companions they come out at night, their faces gnawed they knock on doors Green Line captured graves “the memory of your death shatters me ‘years now slaughter after slaughter gall and blood flow on your streets, neon signs are being raised on your roofs ‘you emerge half in the light and half in darkness your lifeless neighbourhoods blots us out Nicosia Nicosia Took for you amid your intoxicating scent that jolts my memory tonight that a cloud of birds traverses your deadened avenues. 24 August, 1980, MIHALIS PASIARDIS Translated by Yannis Goumas THE MAN FROM THE MOON He descended from the moon with all the earth’s old wounds ~ hunger, death, him who only yesterday fell in the final battle. He came riddled with the future's lights - tomorrow's certainty bread, spinach, celery and a horizon of brotherly and brilliant depth. ‘Through his tiny porthole he observed the carth convulsing ~ half and horizontal like the Kiss of a lost lover, and then entire radiant and proud from centuries of sacrifices. He Gescended from the moon sad with all the earth's old wounds and happy with all the morrow, 11.7068 NASSA PATAPIOU Translated by Yannis Goumas SETTING SAIL iim, Andreas Christofias Tclose my eyes And the sound of lapping waves awakes It comes down the tall headland Nears the wide bay And greets the ramparts Before intersecting the empty plain Again at night It passes under my bed And instantly converts it into a life raft Outside gallops the horse of Saint Dimitrios Bygone scents invite me Legendary scenes unfold in the sky Strange whispers Interpret oracles and omens Ishall travel Charting your shores Idlets, portolanos, compasses Cannot save me Pirate nightmares Capture me Truss me up Question me A thousand years they grill me Irecognize the rust on the chains Iclaim my roots Just the soil that nurtured me I profess to be a self-sown wiite anemone But the heartless pirates Are unmoved They demand my blood for ransom But they won't be redeemed Only this ranunculus will Red Dark-red In the same blood ‘When it blooms LEFKIOS ZAFIRIOU Translated by Yannis Goumas EXPOSED I'm coming through an ashen cloud into the horrid game of madness stretched out on the nails of civil rights, ravens sent the air their yowling piercing the moonless night. Childhood's voyage rests on clogs asad dream abandoned to stony boredom — I'ma red spot ared flame I know well hope's secrets amid dire despair T'm the feverish murderer of the judge the general the miser I'm the halé-caste angel of the poor with a jackknife in my hand the embezzler of public finances who pisses on diplomats’ faces; my vices are outbursts of tenderness amid idiotic consumeristic ethics in my eyes are tears of Palestine and Cyprus at swords’ points with the coarseness of my days — T'm an extremely fine lout in a lawless city a jumper who with the sting of bitterness confronts the tanks doing away with cowardice, a lover of women on a bed of winds. Tam fire and cloud a prodigal song throbbing in time's temples a clarion call in time is man's unattached freedom Tam nothing and everything in this blessed life and on the angelic path of existence.