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ief commentaries by following this link http und athens com journal und poetry 2021 01 53 no comments _ editing translation poetry und poetry und athens 17 9 19 poetry as an art of sounds and a quest to immortalise the moment through words interview by athina rossoglou themis zafeiropoulos panayotis ioannidis was born in 1967 in athens where he now lives he has published three poetry books all by kastaniotis editions the lifesaver 2008 uncovered 2013 poland 2016 a fourth rhinoceros is forthcoming his poems have appeared in two english language anthologies t chiotis futures penned in the margins 2015 and k van dyck s austerity measures penguin 2016 nyrb books 2017 two german ones and several greek english swedish and turkish journals he is poetry editor for the monthly the books journal on the editorial board of the biannual journal for poetry theory and the visual arts frmk curates the monthly poetry readings words can do it and translates english language poetry s heaney r creeley t gunn d harsent a o he has also collaborated with visual artists e g at the 2nd athens biennale and teaches poetry as creative writing to children e g in educational programmes of the onassis foundation s cavafy archive and adults at the british council athens his personal english language blogs is called spring s treefellers some of his poems may be found in english translations online at greek poetry now and poets gr panayotis ioannidis spoke to reading greece about the main issues his poetry delves into noting that his books were strictly conceived as architectural and musical structures and that irrespective of the quite different terms of birth of each book there is that over arching almost obsessive quest to highlight to immortalise the moment through words asked about his venture words can do it he explains that it sprang from a twin root the firm belief in and deep enjoyment of poetry as an art of sounds requiring auditory presentation and the conviction that poetry is best enjoyed straight and from the source the people who write it he comments that c ontemporary greek poetry is currently flourishing the increasing number of good poems published in journals is proof enough noting however that he would greatly hesitate to equate a burgeoning of any art with an increased civic awareness and adds that successful interweavings or collaborations between different arts are rare unless of course they result in and obey a new art form the theatre for example or opera he concludes that the newer generations of greek writers are generally quite conversant with other linguistic environments yet how and to what extent this will result in better greek writing it would certainly be quite complicated and is probably too early to assess which are the main issues your poetry delves into are there recurrent themes in your writings whether due to my belief that the author s view of her or his own work does not matter in the least or matters as much as any reader s or simply out of an old fashioned sense of decorum i am generally usually reticent to speak about my own poems and find the prospect rather ungraceful however since in one of your other questions you pick up on the element of a self imposed wager in translation i might as well accept this one too to translate my own work of words into another set of my own words my first four books have been composed of poems that were written without a conscious plan in mind which however does not make these books collections they are strictly conceived as architectural and musical structures some poems they contain have had to wait for years before finding their appropriate place in a book others never did the first one the lifesaver kastaniotis editions 2008 is principally a coming of age book recollections and meditations on childhood adolescence and early youth experiences culminate in a tripartite requiem for a loved person who was also a poet the book s title is quite eloquent i think as to its intentions how much of life can poems salvage and redeem is there any substance in the hope that poems might also work as life saving devices poland artwork by nikos kryonidis uncovered engraving by bedrich glaser the lifesaver engraving by monika zawadzka the second book whose title i have tended to translate as uncovered but a e stallings rendering as unsheltered is equally interesting also declares its intentions on the front cover an opening up in and it seemed to me a more daring approach to form style and subject matter whereas the lifesaver s poems had been chiselled if not indeed sand papered over many years to the minutest to my ability detail of word choice and position in uncovered kastaniotis editions 2013 i felt i was allowing myself a freer form with phrases becoming more supple as well as the compositional unit instead of previously words humour surfacing more evidently etc a widening of the field in the photographic as well as in the poetic sense and a trying out of different techniques are some i think of its features vassilis dioskouridis editor extraordinaire had pronounced it a book about a fall i had found this opinion as all his opinions fascinating but had not dared ask what he meant perhaps though this also fits the title and my thoughts when choosing it since in greek it is at once an adjective as translated above but also a noun denoting the back yard of a tall building of flats tiny usually on its own but when combined with that of other buildings on the same block forming quite a large neutral space allowing surprising views of dull as well as unexpected moments and forming a rather unusually spectacular interface between the private and the public equally allowing various falls from the surrounding balconies of clothes children s toys humans on occasion poland kastaniotis editions 2016 arose to a large extent from and is coloured overall by my love and study of polish history and culture which inevitably also means that of europe beyond countries such as lithuania sweden germany and russia to name but four that appear in the book with close historical ties to poland the book contains personal responses to historical and artistic moments as well as enquiries into my own position with regard to the past and the present europe s included while i was finishing this book it dawned on me that my interest in poland a country and a people with surprising similarities to my own may have been a response to the greek crisis fuelling in me a hunger for history formally i feel it is closer to the tightly knit lifesaver whereas the upcoming fourth book rhinoceros duehrer s not ionesco s is in this respect a second uncovered even if rhinoceros too did not start being written with a clear or at least a conscious intent i soon realised that it was crystallising much like with poland around two obvious nuclei the importance of art in and for life and death which has nevertheless been stubbornly in the background when not plainly in the foreground of all my books it seems to me art not in its aesthetic role but art as made of the selfsame flesh as life itself and i do mean made rather than being as if william blake s phrase the whole business of man is the arts were literally true and the sheer fact of death one of the reasons for its being true nevertheless it is becoming quite clear to me that irrespective of the quite different terms of birth of each book there are indeed recurrent themes in all four animals for example many insects but also birds and mammals music not least the over arching almost obsessive quest to highlight to immortalise the humble or revelatory though frequently the two coincide moment through words more often than not this seems to me a vain attempt which clearly makes me a recidivist as vain perhaps as this attempt at describing my own work which hopefully will not have drained it of all interest it would have been far easier and briefer for me to speak of my other writing the essays the first published one being an improvisation on a theme from an essay by g k chesterton or the pieces of criticism which are always labours of love from overviews of zissimos lorentzatos essays and helias c papadimitrakopoulos short stories to in recent years more or less extensive reviews of books by contemporary greek poets panayotis ioannidis in 2011 you founded words can do it which comprise not only readings by greek poets of different generations but also readings of foreign poetry both in the original and its greek translation what s the idea behind this venture words can do it me ta logia ginetai mtlg for short sprang in december 2011 from a twin root from the firm belief in and deep enjoyment of poetry as an art of sounds therefore not only suited to but also requiring auditory presentation and the conviction that poetry is best enjoyed straight no music or other accompaniments and from the source the people who write it there were of course predecessors and inspirations the plain authors readings that are the rule in the english speaking world where i have lived as opposed to the greek norm of critic and journalist heavy book presentations and the small group workshop like contemporary poetry readings that katerina iliopoulou and yorgos hantzis curated in athens from 2006 to 2009 upstairs at the dasein cafe i felt that there was both reason and space to combine the two approaches to allow poets and poetry translators to read from and talk about their own work in the presence of the widest possible general audience and i like to think that mtlg s itinerary so far as well as its attendance scores vindicate the conviction that poetry like any art may be deeply enjoyed by anyone who is willing to dedicate a little of their time to concentrate on what they hear in a space and conditions ideally offered since 2012 by the hellenic american union that allow and encourage it it is each time a great pleasure and a considerable honour to dream up as a match maker of sorts appropriate pairs of poets and invite them to present their poetic self portraits and it would seem that some of the matches have been a pleasant unexpected and fruitful surprise to poets and audience alike in addition mtlg has provided the ground and occasion again both for poets and audiences to study anew revisit and re appraise greek poets of the past along two directions on the one hand poets who may not have in the current discourse and readership the prominence they deserve such as takis papatsonis eleni vakalo zoe karelli and on the other well known poets but from a slanted viewpoint cavafy beyond the canon of 154 poems karyotakis with rather than above his contemporaries or events where contemporary poets render an homage to older poets through especially written poems inspired by them for example by andreas kalvos or nikos engonopoulos the insistence that for our march poetry month events focused on american poets poet translators rather than however excellent translators who are not poets themselves produce and read alongside the originals read by native speakers fresh translations so far of e dickinson w c williams r frost e pound m moore e bishop r duncan is founded on the knowledge that poets are best placed to understand the mechanism within each poem and therefore more able to render it into their own language in addition our other foreign poetry events that are dedicated to translators self portraits and where poems are also read in the original again to honour the importance of poetry s sound structure have showcased important work written in french german italian polish russian spanish swedish as well as ancient greek and english alecos papadatos i trust that all of the above has rendered abundantly clear how much mtlg is a communal project whose success relies on the contributions of a scrupulously selected but continuously enriched circle of talented and hard working poets as for its audience this is further expanded through the publication of the translations of american poetry and of other homages in the monthly the books journal you are also an editorial board member of frmk a literary magazine aiming to explore the poetic phenomenon in its entirety what differentiates frmk from similar magazines when frmk s editor in chief katerina iliopoulou invited me to join its founding editorial board i was only too happy to become a member of a fellowship of poets and translators whose work i esteem as k i has herself said on various occasions frmk s individuality arises firstly from its scope greek poets born from 1960 onwards foreign poets from the latter half of the 20th c to this day also theory and essays on art in general and a thorough embracing of the visual arts and secondly from its editorial approach based on committed group work the most spectacular even for us who carried it out evidence for and result of this approach was issue 11 to all intents and purposes an anthology of 41 greek poets through poems that engage with the political and not simply with politics current or otherwise a slippery road to take that seldom doesn t result in fatal accidents preceded by a substantial introduction presenting our principles aims methods and overall view of the subject and followed by several artists and theorists views both the anthology and its introduction were based on unanimous decisions this obviously meant occasionally yielding to each other s particular predilections always within the limits already set by our mutual respect for each other s very different work and outlook coupled with our common commitment to i would almost be tempted to say militancy for the cause of poetry it is therefore a great pleasure to see frmk s audience grow steadily in both numbers buying our print issues and assisting at our various events and loyalty as well as to see our journal recognised by the state literary awards for 2016 in recent years there has been an extraordinary burgeoning of poetry in every form graffiti blogs literary magazines readings in public squares to mention just a few how is this strong civic awareness to be explained i agree that contemporary greek poetry is currently flourishing the increasing number of good poems published in journals is proof enough however i cannot entirely share this question s view please allow me to note a little aphoristically by necessity within the present compass that not every text presented as poetry is necessarily worthy of this name similarly not every mode of presentation however modern innovative or audience friendly it may appear is suited to the enjoyment and appreciation of poetry equally i would greatly hesitate to equate a burgeoning of any art with an increased civic awareness though making art and civic behaviour obviously share vehicles humans occasionally stances ideas and sometimes instruments language the relative weighting of these stances and the specific use of these instruments are clearly distinct and should be distinguished between the two...