The Literary Arts Magazine - 2014

The Literary Arts Magazine

A publication of:

The ACS Athens Literary Society 2014

“Fairytale Circus” Alexia Celia Peza

“Dada Mona Lisa” Alexia Celia Peza “Tower of Babel” Eirini Ignatiadi Dione Cavadias, John Demetriades, Demi Ellina, Natalia Galanou, Virgilios Galatis, Maria Nefeli Gkari, Angelos Glynos, Elena Kefalogianni, Salma Koudsi Isabel Bloomfield, Maria Nefeli Gkari, Eirini Ignatiadi, Markos Kyriakopoulos, Alexia Celia Peza, Niki Stypidou Leigh Anderson and Dennisse Legorreta

The Literary Arts Society would like to give special thanks to Kathy Jasonides, Caitlyn Phillips, Cim Thomakos and Amalia Zavacopoulou

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‘The Other Golden Arches” Isabelle Bloomfield

Maria Nefeli Gkari John Demetriades Salma Koudsi

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Malcolm X’s Farewell Letter Natalia Galanou

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Should surveillance end?

Natalia Galanou

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September 11th Natalia Galanou

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The Escape Dione Cavadias

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The Search for Truth Elena Kefalogianni

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The Unfortunate Creature Virgilios Galatis

Why? Demi Ellina

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Two Interpretations of a Cavafy Poem Angelos Glynos 18 La Culture Francaise Natalia Galanou

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Otro Camino Jimena Nivarrete 22

Un Regalo Inestimable Barbarita Radmann 22

Y se ahogó en sus propias mentiras Isabella Adiego 23

“Forward to the Past” Markos Kyriakopoulos

My Seven Wonders

Maria Nefeli Gkaris

As a second year Humanities student I have been

taught to appreciate and analyze art and architecture from many different cultures. This year our focus is on the gradual change of the human figure in art; thankfully I live in Greece, a country filled with many architectural wonders and sculptures.

The Parthenon à

This marvelous structure is found on the Acropolis. Here we see the West Façade, one of the best preserved of the four facades. The first impression one gets when looking at this imposing structure is usually an impression of strength and power. This is typical of the Doric style, which is the style of this temple. One of the things I find most interesting about this temple is that the metopes on each side of the temple have a different theme. The high relief sculptures on the West Façade depict the Amazon warriors in war against the Greeks. I recently visited the Acropolis and was not disappointed with the amazing craftsmanship of the architects Phidias, Ictinus, and Callicrates. I was especially surprised to hear this structure has no straight lines.

Acropolis Relief Sculpture Nike à 408 B.C. This high relief marble panel was once on the parapet of the Nike temple. It is part of a big series of high relief panels such as the Nikai leading a bull to sacrifice and the Nike mounting a stairwell. The high relief makes it seem as if this is a free standing statue. The most astounding characteristic of this panel is that it has so much movement. I felt as if I could see Nike right there in front of me reaching to her right leg. Another exceptional characteristic is the modeling of the thin fabric that drapes off of Nike, and reveals her body shape. When I saw this artifact in the Acropolis museum, I felt as if Nike’s body was moving in front of me. As if in that moment, she was leaning down to adjust her sandal. I think it is amazing that so much movement can be incorporated into a sculpture in such a simple position.

Acropolis Theatre of Dionysus à 5th century B.C. – 1st c B.C.

As remarkable as it is to think that drama was invented at such an early time, it is even more remarkable to look at the theatres they built to present these plays. One of the things that made the biggest impression on me were the front row seats, which not only had backs but also had names engraved on them. The most surprising fact about Ancient Greek theatre was that three actors was the maximum number of actors in a play. The main character would only play his part while the other two actors would play all the other characters. All actors were men, and they would play women characters as well.

I can only imagine what a great experience it would be to watch a play in the Greek classical period, or participate in one.

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Acropolis 447 – 438 B.C

Delphi Temple of Apollo à 330 B.C. (East Façade) Even though this temple of Apollo is smaller than the famous Parthenon, it does not lack in beauty. The Adyton was the seat of the Pythian oracle and was probably located on the western end of the temple. The temple includes thirty-eight Doric columns surrounding the stylobate on the exterior. The temple had a very famous quote carvedon the inner wall of the entrance, “Know Thyself.” Throughout my life I have heard this many times. It is important to know yourself, because the more you understand yourself, the more you understand humanity.

National Archeological Museum Tombstone(Stele) of Hegeso à 420 B.C. This grave stele depicts Hegeso getting ready for her journey to the afterlife. She is depicted next to her servant who is holding Hegeso’s jewelry box, while Hegeso is looking at a jewelry piece that was originally painted. The proportions of Hegeso are very unrealistic, you can imagine if Hegeso stood up, she would be twice the size of her servant. However, the way that both their heads are bowing and how both of them are holding the jewelry box creates a sense of unity, and harmony. When I saw this artifact at the National Archeological Museum I found it very peaceful, and personal. Hegeso is preparing for her journey to the afterlife, yet, she seems so calm. To see her in such a personal scene seems to make this artifact more humanistic.

Delphi th Theatre of Delphi à 4 c B.C.

This theatre is truly magnificent in its location, but also because of its structure, and how big of an audience it can hold. The 35 seats of this theatre can seat around five thousand people. The view behind makes this ancient theatre even more unique and mesmerizing. I can only imagine what it would feel like to watch a play or a music contest in such a peaceful atmosphere, the wind adding to the mood. The view includes the entire sanctuary and the valley below.

Delphi The Tholos à 390 – 380 B.C. The Tholos was constructed by Theodorus, from Phokaia in Asia Minor. This circular building consists of 20 Doric columns, and 10 Corinthian half-columns in the interior, which is very rare in Greek temples. This creates a stronger exterior with the tall wide Doric columns, and a more delicate and soft interior with the Corinthian columns. The design of the structure of this building is so harmonious; I could imagine the columns moving like a music box. The purpose of the Tholos is not certain, but there are some theories. One theory is that the Tholos was dedicated to an Earth godess, another theory is that the Tholos was a treasury in which statues were kept.

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My Seven Wonders John Demetriades As a Humanities student for the past year I have concluded that part of gaining spherical knowledge of art involves relating the art to oneself on a more personal level. It is part of the process of experiencing it rather than looking at it from afar. Last year art caught my attention and still has not let go. I felt a strong connection to it, one that I had not felt in any other subject. My grandmother is an artist and rather takes art to an extreme due to her unusual habits, so perhaps this may explain my particular interest in it. However, growing up I never thought that it would have such a great part in my life. I was astounded when I saw how art had contributed in shaping civilizations all around the world and I have decided to focus on the subject on a professional and personal level.

Sketch of Man Thrown off of his Horse, high relief sculpture on Metopes of the Tholos 4th century B.C.

A startled and terrified horse thrusts its body, sending its rider flying into mid air. We have no clear knowledge of who the figure mounting the horse is, even though we do know that one of the themes of the Tholos were the labors of Pericles and Hercules.

Seeing this twisted, lively and muscular body I could not help but connect it to our study of one of the Renaissance artists Michelangelo who represented many of his figures in a twisted stance as such, exaggerating muscles and anatomical traits. I deduced that this may be an example of the pieces that influenced later artists.

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The Column of the Dancers Delphi museum 330 B.C.

Human nature is comprised of both sensual and intellectual aspects. Both are needed in order for one to lead a fulfilling life. This column was dedicated to Apollo, god of music, poetry and wisdom, which is evident due to the tripod at the top end.

Beneath the column we see these female figures, ecstatic and wild surrendering themselves to a more physical existence. These are the followers of Dionysus, the god of lust, dancing and anything pertaining to stimulating the senses. This column combines these two aspects of life which I too have learned to embrace.

View of the theatron Delphi, Theater of Apollo 4th century B.C. Nature in this particular theater has a complimentary and beautifying effect. Two giant mountains soar high into the sky enclosing the theatron.

The slope of the mountain provides the audience with an astonishing view of the landscape that Delphi overlooks. I wonder if this landscape was used as a continuation of the background of plays or if it simply had a decorative role. Either way, it is evident that natural aspects were intertwined with the lifestyle of the people at Delphi. I found that the natural splendor reflected the sacred vibe of the site.

Rear view of Caryatid from the south porch of the Erecthion 421-406 B.C.

Step from west faรงade of Parthenon Acropolis On the right corner of the west faรงade of the Parthenon I recognized a step that was different from all the others. It was made of brick instead of marble which indicates that it was made by the Romans. It was probably some attempt of the Romans to restore the structure, but what I cannot get my head around is why they would use a different material than that initially used for the structure, disrupting the unity. Then it occurred to me that the Romans were trying to integrate the temple into their own culture leaving their mark on a structure of permanence and antiquity that would be remembered. This seems to have been the general tendency of all civilizations.

Column drum from Parthenon, Acropolis 438 B.C.

In the picture we see one of the many drums which each column of the Parthenon consisted of. What I found remarkable about these pieces is that each one is unique in size in order to fit into the ideal order and organization of the Acropolis. What amazed me the most though was a wooden device that was found within the small square gap in the middle of the piece. This served as a lock that held the pieces of the entire column together.

It is impressive how an object of such delicacy and elegance can support a roof that seems rather heavy.

At the time it must have been considered a great achievement of the Ionic order that focused more on the grace of structures in contrast to the strength and dominance of the Doric order. I observed how these statues appealed to people while holding an architectural purpose. Finally, from the rear view I was given a close up of the intricate details of the carefully braided hair that gave each Caryatid a certain uniqueness.

Idols from Cycladic culture National Archeological Museum 2800-2300BC. As I glanced at the very simplistic and abstract Cycladic statuettes I could not help but note the different forms of heads that were repeated in various figures, like a formula; a formula that was used in order to represent the human figure as they thought of it intensifying the most notable characteristics.

This gave me the notion that the people of the time had a clear perception of the different body types.

Maybe they thought that every person was unique in a way which is why they depicted them with different body structures 7

My Seven Wonders Salma Koudsi As a student at ACS Athens, Greece; I have a great interest in art and design. I take the Honors Humanities course offered in the school curriculum and I study art.

I am also taking the IB Visual Arts class, and I will begin an art portfolio course outside of school, the AKTO course. I wish to study something related to theater arts and history, and this is why I enjoy the the field studies we do in this class. They allow me to question, appreciate the history of art, and discover my abilities and limits in these areas of study.

NORTH SIDE OF THE ERECHTHEION ACROPOLIS 421-406 BC On the north side of the cella, there is a beautiful porch consisting of six columns, which lead to the interior of the Erechtheion. This structure fascinated me particularly because of its elegance and delicacy. The coffered ceilings reminded me of Masaccio’s “Holy Trinity with the Virgin, St. John, and the Donors”, the way he made the coffered ceiling come to life through a fresco painting. The slim, slender Ionic columns and the rosettes around the door add a sort of delicacy that makes it simply beautiful.

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MONUMENTAL GRAVE AMPHORA NATIONAL ARCHAOLOGICAL MUSEUM 760-750 BC This vase “amphora” from the Late Geometric period caught my eye while studying it in class, and then seeing it in the museum; I was surprised by the size of this amphora because in pictures it doesn't look so big. It was found in the Kerameikos cemetery, and the scene on it depicts the prosthesis and mourning of the dead. It depicts this scene through strips of geometric design, animal patterns, the Greek key, and the bodies of the figures in the scene consist of geometric shapes put together; such as inverted triangles (which was a sign of fertility).

KORE, ACROPOLIS ACROPOLIS MUSEUM AROUND 520 BC Out of all the Korai we studied and the ones we saw in the museum, this one really captured my attention. This Kore had a reconstruction displayed next to it of what the painted geometric design on her dress would have looked like. What is most interesting is that I could actually see that design in the dress, and I could see how the color was faded, but the design was still intact. I really liked this Kore I have an interest in fashion and what people wore in the past fascinates me.

CARYATIDS ACROPOLIS MUSEUM 6th CENTURY BC When I saw the copies of these Caryatids in the South side of the Erechtheion I loved them, and I was even more excited to get a closer look at the originals in the museum. They were originally six sculpted Korai called Caryatids, and they supported the roof of the south porch of the Erechtheion. What I loved most about them was the lovely, filmy drapery. I noticed that they did not all have the same hairstyles from the back- some had more intricate braids ad curls than others.

THE COLUMN OF ‘DANCERS’ DELPHI MUSEUM 330 BC When I saw this column, I immediately identified the figures on it as “maenads”, the female followers of the God Dionysos; they would follow him around and drink wine and dance naked on Mount Parnassus. This column is an offering to Apollo, and features his favorite symbol, the tripod. It was meant to have the Omphalos placed on top of it. I really liked this column because I was not able to imagine what they looked like after reading about Apollo and Dionysos in class; but this gives me an idea because of how beautifully their bodies are curved and the filmy, almost transparent dresses they wear. I think it’s a lovely composition overall.

THE CHARIOTEER DELPHI MUSEUM 373 BC The reason the Charioteer was one of my favorite statues was because I saw such life in it. The Charioteer formed part of a larger bronze composition, with four horses and a youth. It is a masterpiece of the Severe style that marked the transition from the Archaic to the Classical period (480-460 BC). What I love most about the Charioteer is its simplicity and austerity, which reflected the athlete’s values. Something I found unbelievably impressive was the artist’s precise rendering of details; the drapery in the sleeves must have been so hard to achieve with a cast. The fact that this statue has stones as eyes makes him look more lively and realistic, and gives the feeling that his eyes follow you around the room.

SOUTHWEST VIEW OF TEMPLE OF APOLLO 4th CENTURY BC This view of the Temple of Apollo, from the Southwest angle, shows the Temple of Apollo, in all its glory, behind the polygonal wall. The reason I thought this picture was significant was because it shows all three, the Temple of Apollo, the polygonal wall, and the rock of sibyl. What I found very interesting on the polygonal wall, besides my fascination with the way the polygonal rocks fit perfectly together, was the inscriptions on the wall of slaves who had been freed. I thought that was really special and different- because it shows the humanism and the realism in such structures, and how amazing

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A Farewell Letter written by Malcolm X the night before his assassination

February 20, 1965

To my dearest wife, Betty Shabazz, and our four lovely children, to the few individuals that showed me the light of Allah, the people that followed my story on the news and all Muslim brothers and sisters from all around the world,

If you are reading this today, it means that I have gone!

It means that of the many that have been trying to kill me for so long, one has succeeded!

If the case is so, I, in the name of my sacred God, Allah, ask you to wipe your tears and be not worried of the fact, because although I, El-Hajj Malik El-Shabazz, may be gone, although they may have taken me away from you, you are not left without a leader. All along, I was not the sacred beam of light that gave hope to all American Negroes.

It was not I that showed you the strength and courage to stand up on your own two feet and to fight back for your rights- the rights, which America’s whites have so cruelly diminished. It was our one and only father, Allah, that supported you, and will continue to support you, through this fight for freedom and equality. All that you, brothers and sisters, have to do is to hear his call, follow his bright path and love him wholly.

Remember, my Muslim brothers, it does not matter who you are; it does not matter where you are from; it does not matter what you have done. Allah will always love you and Allah will always protect you! My God- our Goddoes not look at skin color, He does not look at your past, He only guides you through a lighted path and leads you on to a brighter future, a Muslim future.

Who was I, my brothers, before I opened my heart to the Islamic world? Who was I before I entered the Nation of Islam or before I established The Muslim Mosque, Inc.? Who was I before I completed the Hajj to Mecca, the holy land of all Muslims? I was a weak Negro; I was another black man walking the segregated streets of America. And what was I doing, my brothers? I was a small-time criminal; a teenager stealing his way through life. I was a hustler; a young man who chased after white girls in the clubs of Boston. I was another one of those drug-dealers in Harlem; a gangster that lived in a house full of whores. I, as many of you, did my time behind bars. But then, my brothers…then Allah’s bright path came to save me. He, in his shining light, took me away from the desolation of my sinful past, and He showed me his unconditional love. He lighted a fire inside me and He provided me with a new spirit. He gave me strength and He gave me fortitude! And so, I used that strength and that fortitude to help provoke an uprising, a revolt against the oppression of American Negroes.

You, my religious brothers and sisters, can do the same! In your own faith and through your own love for Allah, you can obtain, through our God, the same grit as I. With it, you can then hold on to your doctrine, retain your optimism for a better tomorrow and, above all, maintain the spark of rebellion; a spark that our God so lavishly provided for us. Our God, Allah, is always with you, and so, I once more remind you: Do not be scared, my brothers!

Do not be scared and do not give up!

As for myself, my brothers, I have known a while that my mission would soon come to an end. I recognized from the beginning that to undertake such a treacherous task entailed the condition of risk and jeopardy. I acknowledged the likelihood of death. Societies often have killed the people who have helped to change those societies. I was aware of that when I made my choice. I was aware that this time it was I that had to face the consequences. Now I am dead, but I do not regret my choice. Now I am dead, but I, still, do not wish to go back in time. Every moment of my mission, I cherished my distinct position and gave my gratitude, first to Allah for having provided me with the strength to engage in such life altering events, and then to all of you, brothers and sisters, for allowing me to lead you on to a new commencement of Black Power. Every step of the way, I treasured my so-called demagogue role, and so I was determined to make a change; a change for me, a change for you and a change for our African American descendants. For this, I had made a decision. I was prepared to die!

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Now that I am gone, however, know that “the white man in his press” will try to, more than ever before, denounce my teachings and censure my preaching of God. He will now try to manipulatively portray my character as an irresponsible leader, an absolute figure of hate, and a cause of disturbance. And so, I from the depths of my heart request that you, brothers and sisters, be not disparaged by his loathsome words. Instead be grateful, for his abhorrence is nothing but a symbol of distress. The white man took me down because he felt threatened; he still is threatened. I am, now that you are reading, dead, but our fight is not over. We have grown too strong and we have come too far to terminate our battle and cease fire, now. Keep fighting and keep believing, brothers and sisters, and my death will have been worthwhile.

Alhamdulillah All praise is due to Allah, the Lord of all Worlds!

Sincerely, El-Hajj Malik El-Shabazz, “Malcolm X” Natalia Galanou Works Cited Haley, Alex. The Autobiography of Malcom X. New Yourk: The Ballantine Publishing Group, 1999. Print

“Ancient Protestor” Eirini Ignatiadi

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Domestic Surveillance is Warranted

The recent disclosures concerning the NSA’s Domestic Surveillance Act have caused pandemonium. The ACLU has filed a suit against Obama’s Administration arguing that the act is “an astounding assault on the Constitution,” and demanding its discontinuation. Even so, I affirm that this surveillance is requisite and is by no means intended to disregard the fourth amendment to the constitution, which defends people “against unreasonable searches and seizures.” The reasons are as follows.

The public demands for its liberty, yet liberty cannot exist without security. According to the Heritage Foundation, at least 60 terrorist plots have been aimed at the United States since September 11th. People are urging the government to ensure public security, and truthfully domestic surveillance is the only method to do so. Terrorism is unforeseeable, and so a mechanism for predicting and, essentially, preventing future attacks is more than required. In bringing this surveillance project into action, the government has successfully managed to disrupt more the 50 potential terrorist events. And so, even if the public claims that its liberty is confiscated through these measures, the Obama administration has, in fact, worked to achieve the opposite. The government is protecting our liberties and safeguarding our security. As a result, congress should not and cannot go back to pre 9/11 measures because of the public’s misguided perspective.

Why misguided? The reason is that the Domestic Surveillance Project is in fact not unconstitutional. In order for this act to proceed, the judicial branch – responsible according to the White House for the interpretation of newly passed laws in agreement to the US Constitution – was required to review its contents. In fact, as mentioned by U.S. Deputy Attorney-General James Cole, since its acceptance, all three branches of the government have been responsible for the supervision of the project, ensuring that issues of public privacy are not overlooked. According to Foreign Policy Magazine, even if the government gets possession of data without a required warrant, it is, in fact, “prohibited by the court from searching it until it has enough evidence to identify terror suspects based on their patterns of behavior.” This, in other words, means that NSA Surveillance is not wiretapping. The government has access to mathematical figures, such as the date and length of phone calls or the phone numbers involved, but verbal content, which would violate the fourth amendment, is not accessible. If and only if the government infers that a certain phone number may correspond to a potential terrorist does it have the right to monitor conversations.

Still, this requires further court orders, meaning that a warrant is released, and violation to the amendment is once more nonexistent.

Now, one question remains. Why, since it was rendered to be democratic, did the project have to remain a secret? The response is simple. In making the order a public issue, the government would have to release information regarding the targets, the basis of evidence, the possibility of mistakes or abuses and the involvement of private sector companies. Of course, this information would not only be shared with the “innocent public,” but would instead be handed directly to the terrorist groups, which would, in turn, realize how to evade themselves from the policy. Hence, the effectiveness of the project would, altogether, diminish.

For these reasons, I proclaim that domestic surveillance, as handled by the United States government, is justifiable. Evidently, the Obama Administration was, by no means, aiming to encroach on the average American’s “associations and public movements.” The President wanted, instead, to ensure America’s liberty and America’s security. For this, he should be respected.

Natalia Galanou 12

September 11th

New York Sirens, scream, people cry Fire, Fire is everywhere The message’s spreading ATTACK! ATTACK! Fear, fear is all!

No laughing, no joking But crying, crying and screaming in dismay MY MOM! MY MOM IS IN THAT BUILDING Families lost, families parted Friends disappearing in chaos The men, the men will save the world Them! They will make things better To that I am convinced And then, then DESPERATION! A firefighter walks out the tower A body! Whose body is unknown Bu, I cry, I cry because I know I run, I scream They try to stop me, but they can’t MOM! MOM! A hug, a kiss a blink And just before “I love you” IT’S OVER! She’s gone, gone forever!

Natalia Galanou

“Warped Home” Maria Nefeli Gkari

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The Escape

I can’t. I can’t handle it anymore: the screams, the shouts, and the shattering sound of lamps against the wooden floor. The tears. My stomach lurches every time those words of poison leave her mouth and stain her lips and scar our hearts. The echoes of her voice clawed and destroyed the kitchen walls again. I couldn’t bare it, so I ran. With each step up the stairs my feet felt heavier, my knees got weaker and my chest felt emptier. The yelling got louder so I clamped my hands over my ears, but let go to touch the cold doorknob to my room. With the slam of a door I’m safe, in the isolation of my room, and on the floor. My knees gave up on me and so did my eyes. My cheeks are soaked in my tears and masked with a tint of red. Stop. Stop crying. I can’t. I can’t shout or scream. I suddenly find books in my hands and I’m throwing them across the room. My nails grip onto the leather binding of a book, prepared to rip it into shreds. I struggle holding onto the hard cover and with all my force I try to tear through it; but don’t succeed. In complete and utter frustration I throw the book across the floor. I’ve had enough.

My eyes hungrily search the room for something to destroy but stop at the sight of the book flopped open to an empty page. Curiosity drives me to crawl to the book, where a black fountain pen lays perfectly placed in the middle of the right blank page. Something inclines me to grab the pen. My fingertips hover, idle, over the pen and book. Everything is quiet except for the buzzing confusion in my head. I feel as if there is something important, as if the pages are shining or glowing a golden glow. The pen finds itself entwined in my fingers. An unknown force draws me closer to the page and I squint, scanning its pores. A heavy drop of black ink shapes the tip of the pen. Ready to fall. To collide and crash. To lose its shape and control on the naked page. What am I doing? I’m staring at ink. What’s wrong with me? Without warning, the ink slips off the edge and is swallowed by the page. Like a raindrop in a pond, the ink disappears and becomes one with the page. Bewildered, I look closer; the drop is gone. Anger overrides me; I grip onto the book and bring my face so close to where I hope to at least see a stain, that even my peripheral view is enclosed with the edges of the leather binding. My nose feels moist and my skin feels sticky when a drop of water hits the page. Then another. And another. Rain. I stare at the ceiling and drops of rain appear from nowhere. In panic I run towards the door, but it won’t open. Roots and vines have grown and sprouted between the hinges and lock of the door. Large leaves, the size of my face, suddenly emerge from the walls in front of me. I blink rapidly. It has to be an illusion. I slowly turn my body, balancing on the balls of my feet and holding my breath. There’s nothing. I look left and right: it’s gone. There’s silence. I release all the air in my lungs and my shoulders drop, but as I steady my step, the ground viciously shakes.

Large and small bumps protrude on the walls and floor as if animals are trying to claw out. With another breath, vines and flowers, rocks and mud, birds and insects, shouts and screams, roars and croaks burst from the seams. Light, sticky rain continues and thick, humid air consumes me. I take a step to where the books I threw were, but instead I find a puddle of mud. I’m completely still; unaware of what to do.

Sweat trickles down the sides of my forehead and behind my neck. A whiff of warm air tickles the strands of hair on my spine as a horrendous stench dances about my nose. A puff. A grunt. That stench. I turn. A beast. Before my eyes stands a lion and ever so cautiously I pace backwards, groping the air to find something, anything to help me. Seven steps later my hand is pressed against a cold hard material - my bedroom wall - and the worry wrinkle between my eyebrows momentarily vanishes until a ladybug crawls on my hand and vines and flowers engulf me again. A screech betrays me as I fall backwards through a curtain of vines and land on my back in mud. The lion’s roar echoes, but he can’t be seen and the stench is gone. I am surrounded by a jungle. Around me are trees, above me are prancing winged creatures, and below me are crawling insects. What happened? Where are her poisonous screams? Is my room nearby?

No, at least not anymore. And for some reason, a smile escapes me.

Dione Cavadias

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The search for the truth Shadows black and white, they run all over you with joy and delight.

Darkness comes and they all disappear they are hiding out of fearthen you are alone, wondering at the beauty of the moon.

Maybe it is was too soon, maybe nothing was real; keep walking till you fall, search for another place The route will keep increasing...

Far away you still hope to see those old shadows but now you only see the darkness.

Elena Kefalogianni

“Red� Markos Kyriakopoulos 15

The Unfortunate Creature Yelling, is the most unpleasant sound on Earth, Yelling, in my house was like a siren, I stepped out of my house to get a breath of calm air, Suddenly, I heard a clatter coming from the terrifying bushes, And saw a white figure moving among the leaves, Moving like a current between the jungle of bushes.

It seemed as if it was searching for life, Where this mysterious creature could not find, Then when I started getting closer to the bushes, It started moving away like a sports car moving at 200 km/h (per hour), Unfortunately, I heard my mom calling me in for dinner, That call put a big scowl on my face.

After dinner I then came back to the bushes, But the creature did not show any sign of life, Unexpectedly, I heard a loud bark that had struck the back of my neck like a deadly knife, And as I turned I saw a beaten white dog, With a sharp-like face that made it look like a weasel, Which by its sightless eyes it showed me that it did not look for harm, But for some love and comfort before it flees to another world and never be seen again.

“Tale of the Balloon� Markos Kyriakopoulos 16

Virgilios Galatis

Why? Segregation, no liberation Treated differently With no equalization Being underestimated, separated This isn’t fair But the court doesn’t care

Someone help me with this tragedy Try to shout it out loud But they won’t even turn around

Why was I born this way?

Different skin, different color, different rights Am I that ugly to look at?

Still questioning myself. Why?

All the signs, all the whispers I wish I could ignore But there’s no way of escaping The segregation outside my door

You can treat me as a slave You can lock me in a cage But you can’t take my pride away This is my confession to obey All the Disguises of the Spirit Niki Stypidou

Demi Ellina

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Δοαφοριτικές ερμηνείες του ποιήματος «Περιμένοντας τους Βαρβάρους» του Κωνσταντίνος Καβάφης Different Interpretations of the poem, “Waiting for the Barbarians by Constantine Cavafy Το ποίημα «Περιμένοντας τους Βαρβάρους» του Αλεξανδρινού ποιητή Κωνσταντίνου Καβάφη αποτελεί χαρακτηριστικό παράδειγμα των ιστοριογενών ή ψευδοϊστορικών ποιημάτων του: Με πρώτη ύλη την πτώση της Ρωμαϊκής Αυτοκρατορίας κατόπιν αλλεπάλληλων επιδρομών από βαρβαρικές φυλές, κυρίως όμως λόγω της ενδογενούς σήψης και της διαφθοράς της, ο ποιητής συνθέτει ένα αριστούργημα για την ηθική καταρράκωση ανθρώπων και κοινωνιών. Δύο παράλληλες ερμηνείες θα επιχειρηθούν σε μία προσπάθεια να διαφανεί η διαφορετική προσλαμβάνουσα του Ρωμαίου πολίτη του 5ου αι. μ.Χ. αλλά και του σύγχρονου Έλληνα που υφίσταται τις συνέπειες της τρέχουσας οικονομικής και ηθικής κρίσης. Η αναλογία των θεσμών που τίθενται στο στόχαστρο του ποιητή είναι προφανής: Ο Αυτοκράτορας, η Σύγκλητος και οι Πραίτορες αντιστοιχούν στη σημερινή Κυβέρνηση, το Κοινοβούλιο και το Δικαστικό Σώμα. Το ποίημα αναπτύσσεται με τη μορφή συνεχών ερωταποκρίσεων μεταξύ δύο Ρωμαίων πολιτών ή ενός Ρωμαίου πολίτη με το υποσυνείδητό του, η χροιά των οποίων είναι ιδιαιτέρως ειρωνική και συμβολική. Ο σημερινός Έλληνας θα μπορούσε να ταυτιστεί με αυτόν στο βαθμό που βιώνει ανάλογη αγωνία δίχως περιθώριο σθεναρής αντίδρασης λόγω της εμφάνισης μίας αλλόκοτης απειλής που τον ξεπερνά, της επιβολής του Μνημονίου: «Τι περιμένουμε στην αγορά συναθροισμένοι;» . Στη συνέχεια, η απραξία και η αδράνεια της Συγκλήτου που υποδηλώνει θεσμική νέκρωση και εκχώρηση, θεμελιακών για ένα δημοκρατικό κράτος, αρμοδιοτήτων στους εισβολείς θα αναγνωσθεί από τον σύγχρονο Έλληνα ως κατάλυση της εθνικής κυριαρχίας λόγω της συνεχούς παραγωγής νόμων, πράξεων νομοθετικού περιεχομένου, προεδρικών διαταγμάτων, εγκυκλίων υπουργείων, ευθυγραμμισμένων στις επιταγές της Τρόικας (του Διεθνούς Νομισματικού Ταμείου, της Ευρωπαϊκής Επιτροπής και της Ευρωπαϊκής Κεντρικής Τράπεζας) που δανειοδοτεί τη χώρα μας για να αντεπεξέλθει στις δυσβάστακτες ταμειακές της υποχρεώσεις. Το καθεστώς, δηλαδή, οικονομικής κατοχής που έχει επιβληθεί στον ελληνικό λαό παραπέμπει στην επικείμενη για τον Ρωμαίο πολίτη κατάκτησή του από τον εχθρό. Ο ποιητής στη συνέχεια εστιάζει στην ηγεσία της Ρώμης και στον τρόπο με τον οποίο επιλέγει να αντιμετωπίσει την επερχόμενη εισβολή. Ο «Αυτοκράτωρ», σύμβολο εξουσίας και δύναμης που απολάμβανε την πίστη και την υποταγή των υπηκόων του ετοιμάζεται πυρετωδώς όχι για να αντιμετωπίσει τον εισβολέα αλλά απεναντίας, να τον υποδεχτεί με τιμές εντός των τειχών της πόλεως προκαλώντας την απορία του Ρωμαίου πολίτη: «Γιατί ο αυτοκράτωρ μας τόσο πρωί εσηκώθει και κάθεται στης πόλεως την πιο μεγάλη πύλη στον θρόνο επάνω, φορώντας την κορόνα;» . Οι περγαμηνές και οι τίτλοι που ασμένως ο Αυτοκράτορας σκοπεύει να παραχωρήσει στους βαρβάρους υπογραμμίζουν την εκ μέρους του διάθεση κολακείας τους προκειμένου να διατηρήσει τα δικά του προνόμια και μετά τη «νέα τάξη πραγμάτων». Στο σημείο αυτό ο Έλληνας του 2014 «φωτογραφίζει» την πολιτική εξουσία της χώρας του που όχι μόνο αποδέχεται αμαχητί τα όσα της επιβάλουν οι δανειστές αλλά και χαρακτηρίζει τα απάνθρωπα οικονομικά μέτρα ως τη μόνη πιθανή έξοδο σωτηρίας από την παρούσα κρίση. Οι δε αξιωματούχοι της πόλης επιδίδονται σε ανάλογες πυρετώδεις προετοιμασίες ενδεδυμένοι με ακριβά ρούχα και κοσμήματα (τόγες, “Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα.” Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα. N.p., n.d. Web. 06 Mar. 2014. “Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα.” “Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα.”

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Στο σημείο αυτό ο Έλληνας του 2014 «φωτογραφίζει» την πολιτική εξουσία της χώρας του που όχι μόνο αποδέχεται αμαχητί τα όσα της επιβάλουν οι δανειστές αλλά και χαρακτηρίζει τα απάνθρωπα οικονομικά μέτρα ως τη μόνη πιθανή έξοδο σωτηρίας από την παρούσα κρίση. Οι δε αξιωματούχοι της πόλης επιδίδονται σε ανάλογες πυρετώδεις προετοιμασίες ενδεδυμένοι με ακριβά ρούχα και κοσμήματα (τόγες, δαχτυλίδια με σμαράγδια και αμέθυστους) ενώ κρατούν σκαλιστά μπαστούνια που συμβολίζουν επίσης, όπως και το αυτοκρατορικό σκήπτρο, πλούτο, εξουσία και ισχύ. Ο σκεπτόμενος Ρωμαίος πολίτης αναρωτιόταν ίσως προς τι η εορταστική ατμόσφαιρα πριν την πτώση της κραταιάς Ρώμης ενώ συνειδητοποιούσε σταδιακά την πραγματική απειλή που δεν ήταν ο έξωθεν κίνδυνος αλλά η έσωθεν υποκρισία και διαφθορά της ρωμαϊκής κοινωνίας που πηγάζει κυρίως από την ιδιοτέλεια των ηγετών της. Ο σύγχρονος Έλληνας, από την άλλη πλευρά, συναισθάνεται τη δική του θέση στη νεοελληνική κοινωνία αλλά και τον ρόλο της πολιτικής του ηγεσίας στον ευτελισμό και την καταρράκωση του ελληνικού λαού. Η επίδειξη ανύπαρκτων ικανοτήτων των κυβερνώντων στη σημερινή Ελλάδα, απαραίτητων για τη διαχείριση της κρίσης, αντιστοιχεί στην επίδειξη φανταχτερών στολιδιών και συμβόλων κενής εξουσίας σε έναν λαό ηττημένο κατά κράτος και παραδομένο στο έλεος του εχθρού. Ο σύγχρονος Έλληνας πολίτης αντιμετωπίζει με την ίδια καχυποψία και απορία τη στάση και το ανάστημα των πολιτικών ηγετών της χώρας του αλλά ταυτόχρονα, στο υποσυνείδητό του, προβληματίζεται αφού γνωρίζει ότι και ο ίδιος συναίνεσε, συνέργησε ή συμμετείχε με τον δικό του ταπεινό τρόπο στο παιχνίδι της ακολασίας και της υπερβολής. Τέλος, όταν ο Ρωμαίος πολίτης αναρωτιέται: «Γιατί κ’οι άξιοι ρήτορες δεν έρχονται σαν πάντα ν βγάλουνε τους λόγους τους να πούνε τα δικά τους;» , ο ποιητής εστιάζει στην απέλπιδα κατάσταση μιας κοινωνίας στην οποία η μοναδική ελπίδα σωτηρίας, οι ρήτορες, οι πνευματικοί ταγοί του έθνους, καθιστώνται ανενεργοί και άχρηστοι. Η κατάλυση του θεσμού της ρητορείας και της δημηγορίας υπογραμμίζει το ηθικοπνευματικό βάραθρο στο οποίο έχει κατακρημνιστεί η ρωμαϊκή κοινωνία. Η παρεπόμενη ανησυχία είναι απλώς το αποτέλεσμα της απουσίας της θωρακισμένης εξουσίας των πνευματικών ανθρώπων. Για τούτο και η μη έλευση των βαρβάρων συνιστά την πραγματική «απειλή» για την κοινωνία αφού την εξωθεί σε μία επώδυνη αυτοσυνειδησία που θα την οδηγήσει όμως στη συνέχεια στην ολική αναμόρφωσή της: Η έπαρση, η αλαζονεία της αυτοκρατορικής Ρώμης ευθύνεται για τον εκμαυλισμό και τον εκχυδαϊσμό της κοινωνίας της που έχει ασκηθεί σε βίο άσωτο, έκλυτο και (αυτό)καταστροφικό με μοναδική σανίδα σωτηρίας τη ριζική αναθεώρηση του αξιακού της συστήματος. Ανάλογα αισθήματα προκαλούνται και στον Νεοέλληνα πολίτη ο οποίος καλείται να λάβει σημαντικές αποφάσεις για το μέλλον της πατρίδας του και των παιδιών του, αναβαπτισμένος στην οδύνη της αξιακής και θεσμικής, και δευτερευόντως οικονομικής, κρίσης. Θα αποτελέσει, άραγε, η επόμενη εκλογική αναμέτρηση μία μοναδική ευκαιρία αναμόρφωσης και επαναπροσδιορισμού του «ελληνίζειν» ή άλλη μία καιροσκοπική προσέγγιση της προοπτικής για ατομική και συλλογική μεταμόρφωση; Angelos Glynos Βιβλιογραφία • “Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα.” Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα. N.p., n.d. Web. 06 Mar. 2014.

“Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα.” Κ.Π. Καβάφης - Ποιήματα - Αναγνωρισμένα. N.p., n.d. Web. 06 Mar. 2014.

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“Back City Staircase” Eirini Ignatiadi

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La Culture Française

La culture française est, peut-être, une des plus riches du monde. C’est une culture vraiment diverse, alors elle se compose de milliers de langues et dialectes, traditions et coutumes. Le français, la langue officielle de la France, est basée sur des langues anciennes comme le latin, le grec et les langues vernaculaires. En fait, on peut la trouver dans des documents officiels datés dès 1400.

Bien sûr, en France – le pays de l’amour – la littérature et la poésie jouent un très grand rôle. Donc, la France a donné naissance a des personnalités comme : Albert Camus, Victor Hugo, Jules Verne, Molière, Voltaire, Jean de la Fontaine et François Villon.

Au cours des années, la France est, aussi, devenue la mère des beaux-arts. En fait, la peinture et l’architecture sont considérées comme les plus avancées du monde ! La musique, aussi, est cruciale à la culture du pays. La musique de la France reflète une large gamme de styles, comme le style classique et le style cabaret, mais aussi la musique moderne et électro.

Enfin, la gastronomie française est le coeur de la culture. La France exporte du vin et du fromage tous le deux exceptionnels. Vraiment, les français savent comment manger et cuisiner, tandis que, des spécialités comme l’escargot, la quiche lorraine, le bœuf bourguignon et le ratatouille complètent la cuisine française.

Natalia Galanou The French Culture ”The French culture is perhaps one of the richest in the world. It is truly a diverse culture, and so it comprises of thousands of languages and dialects as well as traditions and customs. In turn, the French language is based upon a variety of ancient languages, including Latin and Greek. As a language, it can be dated back many years. In fact, it can be found in various documents dated back to the 1400’s.

Of course, in France - the country of love both literature and poetry play an important role to the culture. This said, France has created a variety of honorable literary personas including Albert Camus, Victor Hugo, Jules Verne, Moliere, Voltaire, Jean de la Fontaine and Francois Villon.

Through the years, France has also become the “mother” of the fine arts. In fact, both French painting and architecture are considered as the most advanced and the most elegant in the world.

Music, also, is crucial to the culture of the country.

French music reflects a wide range of styles, such as classical, cabaret, modern and electro.

At last, gastronomy is surely the “heart” of the French culture. As a country, France exports wine and cheese of exceptional quality. Truly, the French know how to eat and cook, while specialties like escargot, quiche Lorraine, boeuf bourguignon and ratatouille complete the French cuisine.”

Wear the World Maria Nefeli Gkari 21

5th Spanish LEA Festival Schools and language institutes teaching Spanish in Greece were invited to participate in the “Short Story” contest for students during LEA festival. ACS participated and ended up with excellent results.

Congratulations to our winners!

Otro Camino

Un regalo inestimable

Jimena Navarrete, 1st place (15 to 18 years old ctegory)

Barbarita Radmann, 1st place (11 to 14 years old category)

Mi amo, si, no totalmente cuerdo, apreciado después de escogerme a mí como el caballo que le acompañaría en su viaje por España, me ha causado las peores golpizas de mi vida. Yo estaba acostumbrado al maltrato de mi antiguo amo, pero con Don Quijote sentí el dolor más fuerte de toda mi vida, un golpe en el corazón. Las heridas de batalla contra los gigantes, los ladrones, o el caballero negro, no se comparan a la herida que me causó el amorío de mi amo y Dulcinea.

Lisa era solamente una bolita en el estomago de su cariñosa mamá cuando pasó. Un accidente que trozó el corazón de su abuela. En el hospital la decisión hizo el aire pesado con gravedad ¿quien tendría otra oportunidad en vida y quién se va flotando con los angelitos? La abuelita, su cabeza hundida en un océano de oscuridad, sus ojos perdidos mirando el cuerpo desmayado y desorientado de su hijita. La hija abrió sus ojos y dijo cómo sí cada letra fuera un maratón “Mi vida está saliendo de este fatigado cuerpo, y la única cosa que puedo pensar es el futuro de la chiquita vida que está en peligro en mi estomago. Por favor madre, piensa lo que ya viví y lo que no vivió esta chiquita vida.

Mamá como tú me diste el regalo de vida, yo voy a pasar este regalo a mi hija aunque tengo que sacrificar la mía.

Mamá… te amo.” Con eso cerró sus ojos y se bloqueó en el mundo de sueños. Lisa era un bebe muy débil, la abuelita la abrazó suavemente y llorando le susurro “Amor es sacrificar, eres el resultado de amor, la verdad inmortal, Bienvenida Lisa.”

Las mujeres siempre estropean las mejores amistades entre hermanos. Mi amo me adoraba, pero con Dulcinea todo cambió. Su cuidado hacia mí terminó siendo de interés para poder llegar a Dulcinea ¡En un instante pase de ‘Rocinante, el valiente, fugaz,’ a un simple medio de transporte! En el momento que yo había cumplido con mi deber de llevar a mi amo con su doncella, me convertí una piedra en el camino. El pobre Sancho pasó por el mismo maltrato. Así que al final, Sancho y yo, unimos caminos sabiendo que la vida te da golpizas pero sólo con el fin de llevarte a un grandioso destino.

A priceless gift Lisa was only a little ball in the stomach of her tender The Other Way mother when it happened. An accident that tore her After choosing me as the horse that was to accompany grandma’s heart into pieces. In the hospital the decision him in his journey through Spain, my lordship, yes, not made the air heavy with severity. Who would have another completely sane, has caused me the worst beatings of breath of life and who would depart with the angels? The my life. I was accustomed to the beatings of my old lord, grandma, her brain drowning in the ocean of distress, her but I felt the strongest pain of my life with Don Quijote, eyes lost looking at the dismantled and disoriented body a pain of the heart. The battlefield wounds against giants, of her daughter. Her daughter opened her eyes and said thieves, or the dark night, do not compare to the wound with such difficulty, as if every word was a marathon “My that my lordship’s and Dulcinea’s love affair caused me. life is being pulled out of this fatigued body, and the only thing that I’m worried about is the future of this tiny flame Women always spoil the best friendships between of life inside me that is in danger of being blown out. I beg brothers. My lordship adored me, but with Dulcinea evof you mother, think about what I’ve lived in contrast to erything changed. His care towards me turned out to be what this little life has lived. Mommy just like you gave of pure interest so that I could deliver him to Dulcinea. me the gift of life, I’m going to pass the gift of life on to In an instant I went from being ‘Rocinante, the brave my only daughter even if that means giving up my gift so and fugacious’ to a simple form of transportation. The she can live… I love you.” And with that she closed her moment I had served my purpose of taking my lordship worn eyes and she locked herself into the world of dreams. to his maiden, I became a bump in the way. Poor Sancho Lisa was a very delicate and weak baby, the grandma took went through the same fate. At the end, Sancho and I Lisa’s small, bruised form in her arms sobbing and gently united our ways knowing that life gives you beating after whispered “Love is to sacrifice, you are the result of love, beating but only with the ultimate purpose of leading you the immortal truth, Welcome to the world Lisa.” to a greater destiny.

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“Short Story” contest winners Y se ahogó en sus propias mentiras Isabella Adiego, Mention of Honor

Había una vez una niña llamada Cali que vivía en una roca equilibrada sobre una rama en el mar. Tenía que cuidar de la paz del océano, que en ese momento no tenía olas. En la piedra estaban sólo ella y un montón de monedas de oro. Cali siempre estaba sola y quería compañía, así que cuando un día se apareció una gaviota, ella empezó a contar historias llenas de mentiras para entretenerla, pero no contaba con que la gaviota sabía que nada era real, y simplemente le seguía el juego. Por cada mentira que decía, Cali arrojaba una moneda. Después de varias historias falsas, soltó la última, pero no se había dado cuenta de que las monedas mantenían el equilibrio de la roca, que finalmente se derrumbó. La gaviota, molesta por las mentiras, se limitó a flotar y no la ayudó. Cali provocó las primeras olas al caer y se ahogó. Su alma se quedó en el fondo lleno de monedas. Ahora hay gaviotas en el mar porque cuidan que Cali no salga y cuando la gente arroja monedas en los pozos, ella lo siente y piensa en lo que hizo y cómo la llevó a ahogarse en sus propias mentiras.

And she drowned in her own lies There once was a girl named Cali who lived on a rock balanced on a branch in the sea. She was in charge of keeping the ocean, which had no waves then, in peace. On the rock you could only find her and many coins made out of gold. Cali was always lonely and wanted company, so when one day a seagull appeared, she began telling stories filled with lies to amuse it. What she didn’t know was that the seagull knew she was lying the whole time and was just playing along.

For every lie Cali told, she would throw a coin into the water. After several fake tales, she dropped the last coin without realising that that the coins kept the balance of the rock, which ended up falling into the ocean with her. The Seagull, bothered by the lies, simply decided to float away instead of helping her. With Cali’s fall into the water combined with the big rock caused the first waves to begin. Cali had been on the rock her whole live and did not know how to swim, so her soul sank with her to the bottom of the ocean full of coins. To this day we see seagulls floating on the water, keeping Cali from escaping. And when people throw coins into wells, Cali can feel it and she thinks about what she did and how it led her to drown in her own lies.

“The Desperation Established within an Injured Artist’s Psychology” Maria Nefeli Gkari 23