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Katerina Iliopoulou is a poet, artist and translator, who lives and works in Athens.
Her poetry books are Mister T., 2007 (first prize for a new author by the literary journal Diavazo), Asylum (2008), The Book of the soil (2011) Gestus, (poetry and photography, [frmk], 2014, with Yiannis Isidorou), Every place only once, and completely, 2015, all published by Melani editions. She is also the author of several essays and reviews on poetry. In her work she proposes poetry as a strategy for life, addressing issues of identity, perception and myth both in the personal and the collective field of experience. Her translations into Greek include the work of Sylvia Plath (Ariel, the restored edition, Melani 2012), Mina Loy, Robert Hass and Ted Hughes.
Her poetry has been translated and published in literary reviews, journals and anthologies in many languages (English, French, Italian, Spanish, Swedish, Finnish, Turkish, Bulgarian).
Her first book Mister T. has been published in French (Oie de Cravan editions, Montreal 2012) and in Turkish (Delta Yayinlari editions, Istanbul 2012). Katerina Iliopoulou has participated in a number of international writing and translation programs, festivals and Biennials.
She is the editor of a bilingual anthology of contemporary Greek poetry (Karaoke Poetry Bar, 2007) and co-editor of She is editor in chief of FRMK, (pharmakon) a biannual journal on poetry, poetics and visual arts


Karaoke Poetry Bar,  Athens Biennial 2007 (co-organizer)

Thessaloniki Biennale 2009 (performance with the project Poet's Machine)
Word Express 2009-2010 (organized by Literature Across Frontiers)
Voix de la Mediterrane, France 2010
Poetry Parnassus, London, Cultural Olympiad 2012
Istanbul International Poetry Festival 2012

Νorth Wales International Poetry Festival 2012

Greece is the word!, South Bank Center London 2013

Sofia Poetics 2014

LIWRE, Lahti, Finland, 2015

“….an imagery of exceptional intensity which evokes a constructed jungle. But the poems’ epicenter is located somewhere else, at a void which is unbearable to the senses, one which this poetry is astutely aware of and which it mollifies with a consistently paganistic use of language. This courageousness, transplanted from the existential into the poetic, with linguistic preciseness and due self-constraint, so that the poems are kept open-ended, is among the virtues of her poetry.’
Maria Topali, poet/ literary critic, Poiitiki magazine.

in her quest for quintessential sparseness, Iliopoulou exposes the means by which the gaze of perplexity, or aporia, becomes a speech that is variegated and aenigmatic.”
Titika Dimitroulia, literary critic, poema journal

A poetry which is seductive and transparent yet decidedly dense, to the point of being aphoristic, with perfect competence in the rhythms of language and in the ritual resonance they may have for the reader.”
Alexis Ziras, literary critic, newspaper Avgi

Patricia Kolaiti was born in Athens in 1976 and grew up in the island of Aegina.
Her first poetry book Celesteia (Nefeli Publishings, 2007) was nominated for the 2008 Diavazo First Book Award and her second book Lithopais is due to be published in 2015 by rthe same editions. Her poems appear in various journals and anthologies.
Patricia is also an emerging philosopher of literature and art, participating actively in the international theoretical discussion. Between 2002 and 2009 she lived in London where she took postgraduate and doctorate studies and worked as a researcher and temporary lecturer at University College London and the University of Middlesex. Currently she is working on a study in which she develops a new model for the Philosophy of Literature and Art.

Poetry, and more generally Art, involves a certain way of ‘seeing’, a certain modality of thought, in which an object is not just mentally projected but conceived and constructed afresh as a new coined object during the very action of vision. What I refer to is essentially a special kind of creativity that I term perspectival thought and ‘hold responsible’ for the underlying sense during the entire 20th century that Poetry/Art makes visible the invisible, brings into being something that did not exist before by re-arranging and enriching an existing world of possibilities.

Based on: Patricia Kolaiti 2008, ‘The Poetic Mind: Literariness and Essence’.

More interesting than the question ‘where Reality is in Poetry’ is the question ‘where Poetry is in Reality’.

Poetry above all? No. Life above all.

Dimitra Kotoula was born in 1974. She studied Archaeology and History of Art at the University of Ioannina, Greece and the Courtauld Institute of Art, London. Her first book of poetry, Three Notes for a Melody, appeared in 2004. She has translated, among others, selected poems by Louise Glück, Jorie Graham, Sharon Olds. Her poetry and translations were included in various modern greek poetry anthologies and journals.

*Dimitra Kotoula sometimes uses first-person and sometimes third-person narrative to forge an idiom that combines a visual perception of the immediate, tangible environment with a kind of lyrical transcendence of the world of objects as well as a purely acoustic record of the senses (Vangelis Chantzivassiliou, literary critic).

* A lyrical voice deprived from any sentimentalism or aestheticism without, however, lacking in warmth or beauty (Katerina Iliopoulou, poet).

*The inner polyphonic monologue in Three Notes for a Melody by Dimitra Kotoula may not dissociate the reader from his traditional and time-honoured relation with the printed work, however, it does tell us that novelty can know refute relations and ideas that up till now we thought immutable (Alexis Ziras,literary critic).