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The V. & M. Theocharakis Foundation for the Fine Arts and Music continues its series of exhibitions dedicated to leading Greek poets. Thus, following ‘The World of Odysseas Elytis: Poetry and Painting’, which was first presented in Athens in 2011 and, four years later, at the Teloglion Foundation of Arts – Aristotle University of Thessaloniki with the exhibition ‘C. P. Cavafy – Paintings: 40 Contemporary Greek Artists’, which was exhibited in Athens in 2013, the exhibition ‘When the light dances, I speak rightly. George Seferis and his poetry through painting and photography’ will now be presented. The Black Shining Sun of Summer, 2017Kostas TsoclisSand, 130 x 100 cmArtist’s collectionThe exhibition will be opened on Wednesday, 8 November 2017, at 8.00 pm by the President of the Republic, Mr Prokopios Pavlopoulos. The exhibition is curated by Takis Mavrotas, Director of the Visual Arts Programme at the V. & M. Theocharakis Foundation, with the support of Panagiotis Roilos, Professor of Modern Greek Studies and Comparative Literature, holder of the ‘George Seferis’ Chair at Harvard University (which is celebrating its fortieth anniversary). On display will be manuscripts, personal items, works and objects he painted himself, the Nobel Prize awarded to him by the Swedish Academy in 1963, and original works by leading Greek artists who were or are inspired by Seferis’s poetry, such as Adamantios Diamantis, Spyros Vassiliou, Nikos Hadjikyriakos-Gikas, Yannis Tsarouchis, Tassos, Yannis Moralis, Giorgos Sikelotis, Panagiotis Tetsis, Vasilis Theocharakis, Christos Karas, Kostas Tsoklis, Alekos Fassianos, Sotiris Sorogas, Michalis Makroulakis, Theodoros Papagiannis, Alekos Levidis, Platon Rivellis, Apostolos Fanakidis, Giannis Psychopedis, Vicky Tsalamata, Vana Xenos, Giannis Adamakos, Stefanos Daskalakis, Aphrodite Liti, Michalis Arfaras, Thanasis Makris, Christos Bokoros, Edouard Sakagian, Kostas Papanikolaou, Manolis Haros, Alexandra Athanasiadi, Giorgos Rorris, Vasilis Selimas, Alexis Veroukas, Venya Behraki, Leda Kontogiannopoulou, Aspasios Charonitakis and Nikos Tranos. At the same time, works by Panagiotis Zografos (1790–1840 or 1843) and Theophilos Hatzimichael (1873–1934) will be exhibited alongside the poet’s comments on their paintings.  In the Blonde Sand, 1971Spyros VassiliouAcrylic, sand and collage on canvas, 81 x 116 cmGeorge Niarchos CollectionThe exhibition will be accompanied by a bilingual catalogue featuring texts by Eleni Arveler, Panagiotis Roilos, Takis Mavrotas and Dimitris Daskalopoulos. All the exhibits are on loan from Mrs Anna Lontou, the Gennadius Library, the National Gallery – Alexandros Soutsos Museum, MIET, the Benaki Museum, Ikaros Publications, the participating visual artists, and others. Exhibition Curator: Takis Mavrotas Dates: 3 November 2017–21 January 2018 Admission: €6, €3 (for students, for pupils aged 12 to 18, for people over 65), free (for the unemployed, for pupils aged 12 and under)Opening hours: Monday, Tuesday, Wednesday, Friday, Saturday, Sunday: 10:00–18:00 Thursday: 10:00–20:00 (October–May)B. & M. Theocharakis Foundation for the Fine Arts and Music | 9 Vas. Sofias & 1 Merlin, 10671, Athens Find out more about George Seferis and his books here.

The American author George Saunders is this year’s winner of The Man Booker Prize, the most prestigious literary award in English-language literature, for his novel *Lincoln in the Bardo*.The book was published in Greek by Ikaros Publications on 2 October, translated by Giorgos-Ikaros Babasakis.Lincoln in the Bardo is the first novel by the internationally acclaimed short-story writer, and recounts US President Abraham Lincoln’s visit to the cemetery where his eleven-year-old son, Willie, was buried. That evening, Abraham Lincoln arrives alone at the cemetery, wishing to spend time with his son’s lifeless body. During the night, the ghosts of those who have recently passed away and those who have been dead for some time coexist; a monumental battle takes place for the soul of little Willie.Using this historical event as a catalyst, George Saunders tells an unforgettable, kaleidoscopic story of family love, loss, and the forces of good and evil.The award ceremony took place at Guildhall in London yesterday, Tuesday 17 October 2017. Lola Young, chair of the judging panel, said, among other things: ‘The form and style of this utterly original novel reveal a witty and deeply moving narrative. The story of the haunted souls in the afterlife of Abraham Lincoln’s young son creates, in a paradoxical way, a vivid memory of the characters inhabiting the other world. ‘Lethith and Lincoln’ has its roots in history, plays with it, and explores the meaning and experience of empathy.” George Saunders has written seven books, including the short story collections *Tenth of December* and *Pastoralia*. He has been a fellow of the Lannan Foundation, the American Academy of Arts and Letters, and the Guggenheim Foundation. In 2006, he was awarded a MacArthur Fellowship. In 2013, he was awarded the PEN/Malamud Short Story Award and was included in The Times’ list of the 100 most influential people in the world. He teaches on the Creative Writing Programme at Syracuse University.Ikaros Publications has also released his books *The Tenth of December* (2015) and *With My Best Wishes: Reflections on Goodness* (2015), translated by G. I. Babasakis.

The popular American author, George Saunders, spoke to the newspaper To Vima about his new novel, Oblivion and Lincoln (translation: Giorgos-Ikaros Babasakis), which is in the running for the 2017 Man Booker Prize. Interview by Grigoris Bekos. The interview was published on Sunday 1 October and you can read it below:On 22 February 1862, two days after his death from typhoid fever, 11-year-old Willie – son of the iconic US President Abraham Lincoln – was buried in a marble crypt. That very same night, the distraught father – wishing to mourn a little longer beside his lifeless child – visited Georgetown Cemetery alone. George Saunders structures his new book around this historical event; the Greek title is *Lethé and Lincoln* (the original English title is *Lincoln in the Bardo*). The ‘bardo’ refers to Buddhist tradition; it constitutes a transitional stage, an intermediate state between death and rebirth. Well, the American author transforms this into an unpredictable fictional setting, creating a sparkling, polyphonic story featuring the most human ghosts we have ever encountered in the pages of literature. And that is why he is a nominee for the 2017 Booker Prize... You are in fine company on this year’s shortlist, Mr Saunders, alongside Paul Auster, Ali Smith...’It is, of course, a special honour, and I must admit that it had the strange – though somewhat reprehensible – effect of making me like myself a little more, of fuelling my ambition for much grander projects.”You were devoted to the short story. How did your first novel come about? Was it an experiment that simply went well this time? Did the material you had to work with play a part? ‘I have the feeling that, in this case, the material itself demanded that I handle it in this particular way. I must tell you that, for the most part, I had been cleansed of my desire to write a novel; but I loved the core of this story so much that, once I had properly embarked on the process of actually writing it, the story itself demanded to become something more extensive than a short story. An extremely important advantage for me was, as you say, the experimental nature of the project – I tried to get inside the mind of a ‘newcomer’, so to speak, to adopt his perspective, so that I could discover from the outset how a novel is written. I believe, more broadly, that when an artist begins to mature, they must look steadfastly ahead, indeed provoke in themselves a sense of wonder or bewilderment regarding what they do, and reject complacency, the ‘autopilot’.How did you find out about that particular visit by Abraham Lincoln? ‘At some point, back in the 1990s, my wife’s cousin began telling me about this incident – a tiny seed of history – as we were driving past Oak Hill Cemetery in Washington; namely that President Lincoln, broken with grief, kept the body of his dead son in the crypt. The image lodged itself in my mind and stubbornly refused to leave for nearly two decades. I wrote a play that didn’t turn out well; I tried to forget it, but I simply couldn’t. Gradually, I began to realise that the reason I was trying to escape from all this was my fear that I lacked the skills and qualifications to complete such a book, something terribly distressing for me. Giving up on the project seemed to me like a kind of artistic death. And so, in 2012, I started writing it, absolutely convinced of the outcome: I would give up. But that was when – in a strange way – the book really took off!’ The Buddhist concept of ‘bardo’ is essentially what makes the ‘action’ in your novel possible. In what way exactly did it serve you? ‘I used this transitional condition because it helped me – it reminded me, to be precise – that I must constantly imbue the afterlife with a mysterious aura. In that state – or at least based on the limited understanding I actually have of it – what keeps the soul trapped is precisely its inability to comprehend the state it is in. This means that the soul continues to misinterpret what it is (as is always the case) as something else: a permanent, stable, unchanging entity. This differs slightly from the Roman Catholic Purgatory, in the following sense: the bardo (again, I’m talking about my own version in the novel) is a more flexible and changeable state – in contrast to Purgatory, where, once you’re there, you remain until the end of the world, sitting on some uncomfortable bench or something similar, I don’t know...’. What is striking, if nothing else, is the ‘form’ you chose. Beyond the technique, did you perhaps want to link the president’s personal drama with the stories of ordinary Americans at all costs? ‘Look, all the questions you’re asking are truly very important. For me, however, the whole game of writing and fiction lies in finding, as a writer, a voice that is entertaining. Which means a voice that is literarily accomplished, rich, and at the same time accessible and approachable – that is what I devote myself to faithfully every day, and it gives me great pleasure. Otherwise, everything becomes so rigid, so harsh and, moreover, so restrictive.”Why not, for example, a monologue by Lincoln? ‘When I thought of writing the novel from Lincoln’s own perspective, I simply became depressed, and that is a thoroughly bad place from which to start. It seemed to me that it would be incredibly painful to extract anything authentic or entertaining from his own voice – it would be far too contrived, somewhat deterministic, if you like. An old student of mine predicted, quite out of the blue, that if I ever wrote a novel, it would be a series of monologues – and at that moment something clicked in my head! —the prospect of a tangible possibility, a playful mood, opened up within me.” You write about death in a way that doesn’t depress the reader. Do you approach death differently as a writer and as a person? “What I feel about death has been described beautifully by Woody Allen: ‘I’m not afraid of death – I simply don’t want to be there when it happens’. Otherwise, I believe this: art is something that helps us move towards this inevitable destination for us all; it helps us – if you like – to become familiar with the prospect of death, to redefine it in such a way that, perhaps, it does not seem so alien and terrifying to us – I must admit, of course, that for me this has not worked at all so far; indeed, it may even be making things worse, yet I remain optimistic...’.So? “I think we fear death because we have an innate tendency to invest in ourselves to an excessive degree, as if we were going to remain in this world forever, as if we were the centre of the universe. When we write, and imagine the lives of others, this may result – I say may – in our individualism being somewhat diminished. The same may be true of prayer or meditation. All of this can teach us (and constantly remind us) how things really are: we humans are lovable beings, but finite ones. And all this energy we expend to discover who we truly are is nothing more than a Darwinian trick – it makes us want to stay here longer and longer, by any means and at any cost, which is generally good for all species of fauna and flora, but then again, in the end someone has to foot the bill.You mentioned a bill... Does literature serve a purpose, more specifically, Mr Saunders? ‘I think literature performs a very important but rather humble task: it soothes the reader as an individual. It probably has a more effective impact on the sort of person who doesn’t really need this ‘softening’ all that much; even so, however, who among us doesn’t need to refresh our humanity and compassion towards others every now and then? Speaking as a writer now, for me it is preferable – and better – to focus on and address an imaginary reader, an intelligent, thoughtful person with good intentions: if you manage to inspire such a person, then you have achieved something as a writer. How meaningful can this inspiration be? Can it change them? “Even if your influence, as a writer, is only going to last a few hours for the reader, the fact that someone feels more present and more human in their daily life is, for me, a priceless gift. Something that has certainly happened to me, too, with many of my favourite books. Beyond all that, however: who knows? If we look back at history, we will see that great literature has always existed, but it has always been alongside violence and destruction. What can I say? Good literature is perhaps simply like good sex, or a delicious meal, or effective exercise. Literature is the pressure valve on the lid of the pot in which the evil nature of human beings boils...’ I heard you talking somewhere about ‘radical tenderness’. It sounds wonderful. What exactly is it about? “Ah! I haven’t really thought about the full scope of that concept (laughs). Basically, though, this is what I mean: on only a few occasions in my life — and for a brief period — I have happened to feel overwhelmed with love for certain things or people (following the death of a loved one, for example) and I have experienced just how boundlessly all-powerful this state is: that is, to sense the true place of a thing or a person in the world (a temporary place, not necessarily central, a place of service to others). After that, every decision seemed clear and there was little fear or uncertainty. We usually equate ‘love’ or ‘compassion’ as a way of life with weakness, but we need to consider the examples of Jesus or Buddha, or, for instance, the example of Gandhi, to see how invincible this is: to live in a state of unadulterated love and reduced individualism. Does literature, beyond beauty, also have a duty to cultivate a certain morality? ‘Perhaps. I wouldn’t pin all my hopes on literature in this regard. Literature is undoubtedly a space where you can certainly be free. Sometimes, however, I have found that precisely when I am working within a specific logic imposed by a text, I also clarify my own beliefs more clearly. And as I focus, with each new draft, on a specific character (through the prismatic lens of language), I have the sense that what is happening, reality, let’s say, is somehow slowing down, and at the same time it’s as if I’m watching myself create a kind of second-degree empathy. We practise and do it on paper, for years on end, and perhaps things would go better if we applied it to the world around us, if we pushed ourselves. Perhaps...’.You followed Donald Trump’s election campaign closely and wrote about it in *The New Yorker*. How did that come about? I mean the president himself...’That is precisely what a large proportion of Americans are now asking themselves on a daily basis. I don’t think, however, that any of us has the answer. One factor is certainly the incredible concentration of wealth at the top in the US over the last thirty years: the rich have become vastly richer, whilst the poor have become even poorer. I liken this pivotal development to a community living on a mountain where the oxygen has gradually moved upwards and now exists only at the summit: it is natural for the people living lower down, at the foot of the mountain, to feel anxiety and unease.”How do you relate this image to Donald Trump? ‘I am referring, of course, to one aspect of the whole situation, and that is the appeal Donald Trump holds for the working classes. But even that does not cover the whole picture, given that the new president proved attractive only to white working people. People of colour did not support him. Donald Trump played on certain primal insecurities and exploited them, particularly the misguided tendency we have as a nation to think of our country as a white place. We must also take into account another key factor: the poor quality of the education provided, our national inability to grasp, from his dubious rhetoric, that this man in fact neither understands nor cares – nor has he ever been willing — to learn anything about our political system, world history, etc. So, in other words: I have no idea! Like many others here, I feel disheartened and disappointed, and I’m waiting to see where all this will end up.’ You can find out more about George Saunders and his books published by Ikaros here.

We are welcoming autumn with a host of important books for readers of all ages. Read on for more information about the titles we plan to publish by the end of 2017. GREEK FICTION Ismini Kapantai: A Townhouse in HalandriThe prolific and award-winning author, Ismini Kapantai, marks the start of her collaboration with Ikaros by publishing a subversive crime novel entitled A City House in Halandri. Kyriakos Margaritis: KronakaWith the eponymous work, Kyriakos Margaritis attempts a fictional reconstruction of the chronicle as a narrative form in the 21st century.All the stories I loved were rivers, but I would like you to see the one I have decided to tell as a sea: who will ever exhaust it? Certainly not me. Yet I have a longing to reach it and enter the inexhaustible. I am referring to the mystery of the Word, and I go to celebrate it in the courtyard of childhood. There I lay out my castles, with ashes from Auschwitz, the immaculate tears of Turin, soil from the Green Line, verses from Siberia, Athonite relics and a few strolls through the arcades of Athens. If I am not mistaken, the foam will be called Kronaka, that is to say, Chronicle. The rest, perhaps eternity, I hope will be my depths. The publication is made possible by the kind sponsorship of the Kimonos Arts Centre. GREEK POETRY Yannis Metaxas: But afterwards, afterwards… Yannis Metaxas’s new collection of poetry, featuring three paintings by Yannis Psychopedis. Yannis Metaxas, Emeritus Professor of Political Science, founder of the Political Communication Laboratory at the University of Athens and full member of the European Interdisciplinary Academy of Sciences (Académie Européenne Interdisciplinaire des Sciences), has published numerous academic books and the poetry collection From Time to Time (Gavriilidis, 2011). George K. Psaltis: You George K. Psaltis returns with his new poetry collection entitled You. He has published three poetry collections with Ikaros: Return to the United Country (2008), Please Do Not Dig, a Dog Is Buried Here (2011), and Panagies Elenes (2014). His play Poppy Seeds (Koukoutsi Publications, 2015) was staged at Analogio 2015 (Theatre of Art). He collaborates with artists on creative projects. His writings have been published in literary journals and on websites. GRAPHIC NOVELTassos Zafeiradis – Yannis Palavos – Thanasis Petrou: Gra-GrouA unique and atmospheric graphic novel, told like an allegorical fairy tale about our deepest dilemmas.In Vermio, outside the village of Kastania, the ‘Gra-Grou’ restaurant marks the transition from Central to Western Macedonia. Many pass by, but few notice, lost in the mist, an arched bridge at the side of the road. No one knows where it leads. Those who do see it have their own reasons. One morning, a young woman arrives at ‘Gra-Grou’ with the intention of crossing the bridge. As she hesitates to cross it, whilst waiting in the restaurant, she gets to know the regulars and listens to their stories. The months pass. Meanwhile, the new road bypassing Kastania is about to open. The heroine must make her decision.The graphic novel by Tassos Zafeiradis, Yannis Palavos and Thanasis Petrou unfolds an atmospheric story, where tradition intersects with the present and realistic narration is undermined by beliefs and legends. Set against the backdrop of the eponymous restaurant, a landmark in Northern Greece for an entire era, Gra-Grou crafts a charming gallery of characters just before each of them chooses the ‘big Yes or the big No’.The publication is accompanied by original music composed by Michalis Siganidis. ESSAY/TESTIMONY Panourgias Panourgias: Free GreeksGeneral Panourgias (1917–2008) served in the 2nd Staff Office of the General Staff from 1966 and was present at the coup d’état of 21 April 1967. He opposed the regime from the outset, was arrested in June 1969, remained in solitary confinement and was subsequently exiled. He was a member of the steering committee of the organisation known as the ‘Free Greeks’, responsible for political contacts. In this book, he describes in detail the events as he experienced them from his position both before and after the junta. The narrative begins in 1964, with emphasis on the early months of 1967 and, of course, the coup, whilst also providing an extensive account of the royal counter-coup. The book concludes with a detailed chapter on the Free Greeks. The author has drawn on an extensive bibliography, as well as material from his personal archive. The publication includes a list of the members of the Free Greeks, an appendix with interesting illustrative material and rare documents, and an introduction by the historian Tassos Sakellaropoulos. Efi Sapouna-Sakellaraki: When Time Spoke: The story of two people who dedicated their lives to their science and left their mark on archaeology. A description of the academic careers of Yannis and Efi Sakellaraki, covering excavations, writing and publications, trips to international conferences, successes and disappointments, brings to life an entire era, the events in the cultural and social life of Greece in the second half of the 20th century.Through a fictional narrative, the author describes their shared journey and how they felt, acted and reacted, guided by a specific logic, aesthetic and ethos, both within and outside the archaeological world.The publication was made possible through the generous sponsorship of Alpha Bank. FOREIGN PROSE Vicente Alfonso (Mexico): The Remains of Saint Lawrence (Huesos de San Lorenzo) Translation: Maria Palaiologou The truth is one; its interpretations, infinite. Astonished by the gravity of the charges against his patient, Romo Ayala, the psychologist Alberto Alborés agrees to join a team that will defend the young man’s innocence. As time goes by, reality reveals more and more disturbing facts about Romo’s past, and Dr Albores is called upon to decide whether his monologues are mere fantasies or confessions of heinous crimes...How many lies and truths are there in the stories that Romo tells his psychologist? Under what circumstances did Romo’s mother die, and why are some people trying to cover her tracks? Is it possible for a man to be murdered in a bar without anyone being able to confirm the identity of the perpetrator? Was it Romo, or perhaps his twin brother, Romylos? Why is the twins’ mother’s grave empty? The investigations to solve these mysteries will piece together the history of the Agiala family and show that every reality can have infinite interpretations. Jean Echenoz (France): Special Envoy (Envoyée spéciale)Translation: Achilleas KyriakidisIt all begins at the French intelligence office, where the elderly General Bourgeot asks his trusted colleague, Paul Obza, to help him choose the person who will lead the secret mission they are preparing: a beautiful woman, easily manipulated.Constance, an attractive, restless woman stuck in a failed marriage to a washed-up pop musician, seems the ideal choice.Obza’s men kidnap her, entangle her in the web of French bureaucracy and train her for the special mission. Their aim is to destabilise Kim Jong-un’s regime in North Korea.From the banks of the Seine to the shores of the Yellow Sea, along the River Creuse, nothing can stop Constance from fulfilling her mission.Delightfully strange and unpredictable, full of unexpected twists and coincidences, Jean Echenoz’s novel Special Envoy is, according to L’Express ‘a precious gem, a delight at every turn, a celebration of the French language’. Hannah Kent (Australia): The Good PeopleTranslation: Maria AngelidouFollowing the huge success of her literary debut, Burial Rites, Hannah Kent returns with the novel The Good People.County Kerry. Ireland, 1825. Devastated by the death of her husband, Martin, Nora finds herself all alone, caring for her grandson Michael, a child unable to walk or speak. Where is the healthy, happy grandson she knew when her daughter was still alive?Mary comes to help Nora at home, whilst dark tales of inexplicable misfortunes, illnesses, and rumours that Michael is bringing bad luck to the valley begin to spread.Determined to rid themselves of the evil and help Michael, Nora and Mary enlist the help of Nance, an elderly wandering woman who possesses the knowledge and mysteries of ancient magic.As the three women hope to bring Michael back, their unique world of customs, beliefs and rituals closes in on them ever more tightly; they will be led down a dangerous path and forced to question everything they know.Set in a lost world that obeys its own rules, Hannah Kent’s The Good People is a striking novel about absolute faith and devoted love. George Saunders (USA): Lincoln in the BardoTranslation: Giorgos – Ikaros BabasakisHow do we live and how do we love, when we know that everything we care about will one day cease to exist?February 1862. The American Civil War is raging, whilst President Lincoln’s beloved eleven-year-old son is gravely ill and, despite predictions of recovery, eventually dies. On 22 February 1862, two days after his death, Willie Lincoln was buried in a marble crypt in Georgetown Cemetery.That evening, Abraham Lincoln arrived alone at the cemetery, wishing to spend time with his son’s lifeless body. During the night, the ghosts of those who have recently passed away and those who have been dead for some time coexist; a monumental battle takes place for the soul of little Willie.Taking this historical event as his starting point, George Saunders tells an unforgettable, kaleidoscopic story of family love, loss, and the forces of good and evil. Marina Tsvetaeva (Russia): My Pushkin (Мой Пушкин)Translation: Fotis LambrinosIn her book, the popular Russian poet Marina Tsvetaeva (1892–1941), My Pushkin, the author blends narrative, autobiography and poetic prose with great interest, in a unique quest to discover literature and its ability to transform reality.Marina Tsvetaeva sketches the Pushkin of her childhood, her secret readings, her journey and her encounter with the great poet. Juan Gabriel Vásquez (Colombia): The Shape of Ruins (La forma de las ruinas)Translation: Achilleas Kyriakidis “Conspiracy theories are like climbing plants, Vasquez: they cling to anything to get higher, and keep climbing until you take away what’s supporting them.”In 2014, Carlos Carvajo is arrested in a museum in Bogotá for the theft of the cloth suit belonging to Jorge Eliezer Gaitán, the liberal political leader who was assassinated in 1948.Carvaggio, troubled by the mysteries of the past that haunt him, is constantly searching for clues that will give meaning to his quest. Yet no one, not even his closest friends, suspects the deeper reasons behind his obsession.What links the assassinations of John F. Kennedy and Jorge Eliezer Gaitán, whose death shaped the history of Colombia? How can a crime that took place in 1914—that of the leader of the Liberal Party, Rafael Uribe Uribe—mark the life of a man in the 21st century? For Carvagio, everything is connected, and there are no coincidences. Juan Gabriel Vázquez, the novel’s author-narrator, possesses a peculiar privilege: he has in his possession the remains of the two Colombian politicians, and decides to delve into the secrets of the darkest moments of Colombia’s past.A gripping novel and a unique historical exploration of the relationships we forge in a world rife with wounds and the machinations of power. Alejandro Zambra (Chile): Skills Test (Facsimile)Translation: Achilleas KyriakidisTo say that Skills Test is a novel would be just as risky as saying it isn’t. Perhaps it is better simply to say that it is a book by Alejandro Zambra, because the style and themes that have made him a significant voice in Latin American literature unfold here in a substantial and intense manner.Taking as his starting point the structure of the oral examination administered in Chile from 1967 to 2002 to university applicants, the author creates an unexpected work in which stories coexist with literary excerpts and linguistic exercises that are, in essence, moral dilemmas: the need to lie in order to be validated by others; the desire to form bonds, despite mistrust of love and family; the difficulty of navigating a minefield full of secrets; the desperate conviction that, rather than learning to think, we have been trained to obey and repeat. NON-FICTIONErik Larson (USA) Dead Wake (Dead Wake)Translation: Katerina SchinaThe gripping story of the sinking of the Lusitania.On 1 May 1915, with the First World War already in its tenth month, the Lusitania, a luxury ocean liner, set sail from New York bound for Liverpool, carrying a large number of passengers, including many children and infants. Despite the fact that Germany had declared the seas around Britain a war zone, the liner’s passengers did not believe they were in any danger, as for a century civilian ships had been kept safe from any attack. For months, German submarines had been sowing terror in the North Atlantic, but the Lusitania was one of the finest and fastest transatlantic liners of the era, known as the ‘Hound of the Seas’. Germany was determined to change the rules of the game, and Walther Schwieger, captain of the submarine U-20, was ready to rise to the challenge.In *The Silent Wave*, Erik Larson, in a manner that captivates the reader, examines the sinking of the Lusitania by U-20 and the events surrounding the shipwreck, bringing to the fore the lives of a host of compelling characters, he paints a sweeping portrait of America during the Progressive Era. CHILDREN’S BOOKSDrew Daywalt & Oliver Jeffers: The Day the Crayons QuitTranslation: Filippos MandilarasAll poor Duncan wanted was to draw. But when he opened his box, he found a pile of letters, all saying the same thing: we’re quitting! Beige was tired of being Brown’s shadow. Blue needed a break after all that work, whilst Pink simply wanted to be used. Green had no complaints but wanted Yellow and Orange to make up.What could Duncan do? Debut author Drew Daywalt and beloved illustrator Oliver Jeffers create a lively and imaginative story that will have children in stitches and make them see their crayons in a whole new light… Alexia Vernikou: To the Sky and BackIllustrations: Sofia Touliatou‘To the Sky and Back’. That’s how much Elli loved her grandmother, ‘and three somersaults’ because she had a soft spot for her. Together, they always had a brilliant time! Everlasting love is never lost, no matter what happens. It is sustained and strengthened by the most beautiful memories. A tender, moving story about how our loved ones remain in our hearts as our most precious treasure. Alexia Vernikou, M.A. Psychologist-Family Psychotherapist, and the award-winning illustrator Sofia Touliatou, have created an exceptionally tender fairy tale about love and loss that will leave no one unmoved. Series: KaraviaMaria Angelidou – Antonis PapatheodoulouIllustrations: Christos Kourtoglou The creators of the ‘Ships’ book series are back with two new titles: Ships that played with fire Ships that sailed on curiosity Ships real and imaginary, from mythology and literature, from ancient and recent history, invite us to set sail with them on a journey through space and time, a journey where everything can be told as a maritime tale.The first two books in the series have been recognised by the Greek Children’s Book Circle and have been included in the international White Ravens list. Ioulita Iliopoulou-Giorgos KourouposIllustrations: Yannis KottisBut when will this Wizard arrive? or Every Obstacle for the Best (A Musical Christmas Fairy Tale)Poet Ioulita Iliopoulou has written and narrates a unique Christmas fairy tale, a new, subversive take on the story of the Magi.The original music and songs by Giorgos Kouroupos accompany the funny, yet strange, adventures of the fourth Magus, Magus Avasal, who kept getting into all sorts of situations, always meeting someone and always delaying his arrival at the manger near the newborn Christ. The book was illustrated by the artist Yannis Kottis. The edition also includes a CD featuring a recording of the musical fairy tale.