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The popular French author, Jean Echenoz, gave an exclusive interview to Bookpress and Dionysis Marinos, on the occasion of the publication of his latest book Special Envoy (translated by Achilleas Kyriakidis). You can read it below:Mr Echenoz, it has already been 38 years since you first came to the fore. Have you changed since then? Are you now a different writer? Although nothing is constant, not much has changed in terms of my writing. However, a great deal has changed in my life. Writing is now not just a part of it, but an essential part, as it has become my profession.How do you write? In what way, or, if you like, with what approach? I seek to explore uncharted areas of writing. I’ve noticed that when I start writing a book, I always want to work against what I’ve written in the past.Could you do something else? Not write again, let’s say? I’m afraid not. I can’t do that. What appeals to you most, the subject matter or the style? You are one of the finest stylists, but plot is not absent from your books.I’m equally interested in both, and that’s because both the subject I want to write about and the way I’m going to write it are interdependent. You know, cinema taught me a lot about how to tell my stories. In the 70s and 80s I watched a great many films. How did the idea for your latest book come to you? North Korea, Kim Jong-un: it’s not easy for anyone to see such subjects as material for fiction.To tell you the truth, I don’t remember very well how the idea came to me. I think that initially I wanted to write a short crime story involving a kidnapping, with the perpetrators demanding a ransom to release the victim. It would have been a story set in Paris, but also in the French countryside. On the other hand, however, I also wanted to write a story in which various spies would play a leading role. So, in the end, I chose to set the story in a ‘dramatic’ region such as North Korea. The novel constantly plays with the reader. You give them the floor. Am I wrong? I wouldn’t say I give them the floor. No, that is not my intention. And I say this because I regard the reader as a receiver. They are an imaginary witness to what they are reading. On the other hand, they are also an inventor of every book. What is certain is that you do not want a passive reader. Your books, by their very nature, demand active reading. I firmly believe that the reader is never passive. On the contrary, they are an actor, a hero of the novel. Just like the heroes found within the text. And if they grow tired of the book they are reading, they are free to put it down, and then they become a catalytic actor. In *The Special Envoy*, you use all genres in a highly successful blend. Politics is intertwined with satire and espionage. I use whatever I need to develop my story. I usually say that a novel doesn’t start with one idea, but with two. That is, with two facts that may be unrelated to each other, but which can somehow come together. This is something that captivates me and compels me to discover it. Are you interested in what’s happening in the world? Do you read newspapers? I read newspapers every day and I’d say there are times when I find good ideas in them. There are, of course, other times when I can’t see anything that grabs me and sparks an idea. Would you write a book featuring Emmanuel Macron or Donald Trump as the main character? I don’t think I would do that at the moment. No, I wouldn’t want to write a book with those two as the protagonists. Do you consider yourself a ‘political’ writer? Honestly, I’m not sure. There are times when I say, yes, I am a political writer, and at others I clearly do not operate on a political level. Therefore, I cannot answer that question with certainty. Are you writing anything at the moment? I’m afraid I cannot answer that with certainty either.Do your awards mean anything to you? You’ve won quite a few. Receiving an award always stirs up strong emotions in me. It means that your work has had an impact on readers. Every time I receive an award, I’m as surprised as the first time, and that’s because every book is a new endeavour. Nothing can be taken for granted.

Thanos Stathopoulos will participate as a guest artist in Georgia Sagri’s mini-retrospective exhibition at the Kunstverein Braunschweig, one of Germany’s most renowned art institutions. In the exhibition entitled “Georgia Sagri”, the author of La Folie will present a video featuring excerpts from his new poetry collection entitled “The Hour” | “Die Stunde” | “Die Stunde”, which is due to be published by Ikaros next March.  The exhibition will open on Friday 1 December and run until Sunday 11 February 2018.

The popular American author, George Saunders, immediately after his book ‘Forgetfulness and Lincoln’ was awarded the 2017 Booker Prize, gave an exclusive interview to LIFO and Dionysis Marinos. You can read it below:  Mr Saunders, are you the same person you were before the Booker? Has the prize changed you in any way?I hope I am the same. My self-admiration is already beginning to wane in a quiet way. What is the real prize for a writer? To develop confidence in his vision. In this way, as you move forward, you can strive with greater intensity to create beautiful things. Is it acceptance, admiration or the struggle with words that drives you to embark on the process of writing a book? Honestly, all of the above. But the moment I’m writing, the moment I’m in the midst of developing a book, those things come last. The most important thing is the feeling that you’re creating a coherent world that emerges from chaos. And it is that feeling that something like this came ‘from’ you and ‘because of’ you. In reality, my self disappears momentarily or is neutralised by the artistic work: that is Paradise.    We know you as a short-story writer. You have been accepted as one of the ‘artists’ of the genre in contemporary American literature. What made you write a novel? Every story dictates for itself how it should be written. For a long time I had decided to abandon any attempt to write a novel – I might even say I felt proud of that. I had accepted that I was a fan of the short form. However, I discovered that this particular story was so moving that as soon as I started writing, it was as if a mind (and a DNA) distinct from my own emerged from within it.  And now that you’ve completed your first novel, and a successful one at that, will you return to short stories? Yes, I will. That’s where I belong. I love the short form. If another novel comes along in the future, I think it will arrive in the same way this one did – insisting, despite my own objections, that it must expand and become longer.      Do you find it easier to write short stories, or is it actually harder given that you have to be precise in such a limited space? Sorry, but do you feel you have to be precise? No, I don’t need to be precise, I don’t think so. On the other hand, perhaps, yes, you do have to be concise. The difficulty with short stories is that they behave like a joke: in the end, they’ve either worked or they haven’t, and only the reader knows. And part of the pleasure lies in the effectiveness of the delivery to the reader. Therefore, I consider the short story to be a very demanding form. I have to ‘burn’ the less interesting scenes and then discard them in favour of the more intense ones – and that takes time and many discarded pages.  Speaking of your book Oblivion and Lincoln, the American title includes the word ‘Bardo’. A state between death and rebirth into another form of life. Is that what we are, Mr Saunders? Are we constantly in such a state? Yes, I believe so. The word ‘bardo’ can be used in all transitional states – like the one we are in right now, between birth and death. I suppose we can view every single moment of our lives as a ‘bardo’, with our selves dying and being reborn at every moment. The fact that we carry on basically has to do with a mental construct we create – perhaps for Darwinian reasons, or because we might go mad if we truly realised we are only temporary. Yes, mad, or perhaps with a certain insight.  What was the first thought that came to mind when you decided to write the novel? How did it all begin? Many years ago – in the 1990s – I had heard that Lincoln’s beloved son had died whilst he was President of the United States. He was so overcome with grief that he had visited the grave several times to hold his son’s lifeless body in his arms. That idea has stayed with me all these years – it was all so strange, sad, yet beautiful. Mr Saunders, are you a religious writer? What do you think of yourself? I’d like to think I’m a religious person, or at least someone who’s certainly interested in spiritual matters. I mean, if a person is alive, interested and curious, then a certain set of questions arises in their mind. Why are we here? How are we to live, given this mad contradiction: 1) we were made to love one another AND 2) everything we love (especially our precious selves) is entirely temporary. So, if a writer takes these questions on board and incorporates them into their work (or thinks about them every day), are they a religious writer? I would say yes, even if the result—their work—is not ‘religious’ in the traditional and literal sense. Is your book accessible? I mean, what do you think—can it be read by everyone? It certainly won’t appeal to everyone. You can see that if you look at the reviews on Amazon (laughs). My hope is that it isn’t a difficult book for no reason, if you see what I mean. As the difficulty unfolds, it should lead to increasing beauty. So, what I’m trying to say is that the difficulty rewards the reader in the end. I hope the book teaches the reader how to read it, so that by the end, they’re reading in a new and completely mad way. That offers even greater beauty. How strange is it to give a voice to spirits? In your book, the dead speak. It is just as strange as giving a voice to the living. It is difficult. But it brings great joy. I sensed a strong spirit of understanding from you in the book, and I think that is one of the novel’s key ‘strengths’. I hope so. I think that is precisely what literature does so well in a unique way: it allows us to step into another person’s mind and, in doing so, reassures us that we are not so different from one another – we exist within a continuous and, as a result, greater understanding, empathy and comforting action. In theory, we do this by making an effort within the framework of our perception. Let me take you somewhere else. What is your view on Trump and the fear arising from the rise of populism in the US and Europe?  I think it is yet another manifestation of a human tendency that has always existed: in difficult times, it is easy and somewhat enjoyable to demonise the Other. It is harder to do what I described earlier (i.e. to live with empathy and understanding) or what I mentioned in my speech when I received the Booker Prize. The great story of human activity (I like to think and believe) is the gradual spread of love. Even with a few steps backwards, we are gradually getting better at realising that understanding and empathy are extremely Darwinian tools that the human species needs in order to survive. In the meantime, did you live in fear? Do you think the world is heading towards madness? No, not at all. It has always been this way. Our world is no crazier than it has always been. I think it is crazier for some people at certain moments. I believe in the theory of the Conservation of Madness. The root of madness is spiritual – it is our deluded belief in our separate existence in this world or in our permanence, which leads us to behave badly, and, suddenly, when we die or make a big mistake or suffer, then we realise that things are impermanent. I think this madness has followed us ever since we lived in caves. And I think it’s important, even when we find ourselves in the midst of crazy times, to remember and celebrate those aspects of life that are neither crazy, nor frightening, nor bad. The simple pleasures, the small actions that truly make up the fabric of life. It is the sun shining. It is that face passing by, smiling, beautiful and in love. To ignore these things is to give despair and evil an unfair advantage. What is the role of literature, of art in general, in all this? I see you’ve saved the most important question for last. I think the best way to answer this is to immerse oneself in a beautiful work of art and see what effect it has within you – to observe the positive changes in your mind and spirit, and how these changes make the hours that follow better and richer. That is the role of art: this pleasure and this transformation.

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.