After an extended period of quiet reflection, Greek poetry has finally acquired new practitioners and devotees. Dimitris Eleftherakis, Dimitra Kotoula, Giorgos Lillis, Haris Psarras and Yiannis Antiochou belong to the new generation of poets. They represent a distinctly new and exploratory spirit that is in dialogue with both the Greek and European traditions and with contemporary literary currents now spreading through many parts of the world.
Dimitris Eleftherakis writes in such a way as to help his poetic subject derive solace from his art so that he can endure his narrow, uncomfortable position in relation to internal and external reality.
Dimitra Kotoula sometimes uses first-person and sometimes third-person narrative to forge an idiom that combines a visual perception of the immediate, tangible environment with a kind of lyrical transcendence of the world of objects as well as a purely acoustic record of the senses.
Giorgos Lillis usually sets his poetic camera up in outdoor spaces, but it is the shapes and figures of a completely internal gaze that he projects onto their images.
Haris Psarras primarily exploits the dimension of surprise mechanism in his images. His poetic impulse is located somewhere between euphoria and despair.
In his poems, Yiannis Antiochou relies heavily on verbal games, which gives his language the distinctly baroque element that is typical of his work: a torrent of words and images.