Editor, Author at Writers International Edition

Book Review: Geometrie di Versi by Marco Bruni – A Poetic Exploration of Time, Spirituality, and Human Experience

Geometrie di Versi by Marco Bruni, published in 2015 by Pier Luigi D’Orazio Editore, is a profound and introspective collection of Italian poetry that navigates the complexities of human existence, time, and spirituality. Curated by Pasqualina Genovese D’Orazio with a preface by Franco Donati, this work stands as a testament to Bruni’s lyrical craftsmanship and his ability to weave personal and universal themes into a cohesive poetic tapestry. Dedicated to his wife Laura and daughter Arianna, the collection is imbued with a deep sense of love and purpose, serving as both a personal reflection and a philosophical inquiry.

Thematic Depth and Structure

The collection is structured as a labyrinthine journey, as Donati aptly describes in his preface, guiding readers through a challenging yet rewarding exploration of life’s existential questions. Bruni’s poetry is anchored in the concept of time as a relentless force—a “martello” (hammer) that shapes human experience with its unyielding rhythm. Poems such as “Naufraghi di cartapesta” and “Rive d’amore” vividly capture this theme, portraying time as both a destructive and transformative entity that leaves behind “orme sulla sabbia” (footprints on the sand) erased by the wind.

Bruni’s work is deeply spiritual, with recurring references to divine purpose and human redemption. In “Battiti,” he writes, “ogni uomo è un pezzo del disegno / che Dio ha voluto Suo” (every man is a piece of the design / that God willed His own), suggesting that individual lives gain meaning within a divine mosaic. This spiritual dimension is balanced by a grounded awareness of human frailty, as seen in poems like “Rimorsi,” where the poet grapples with regret and the weight of past mistakes.

The collection also explores love, memory, and nature. Poems such as “Al mio angelo” and “Lacrime d’amore” evoke tender devotion, while “Dolci ricordi” and “Immagini e ricordi” paint nostalgic vignettes of Bruni’s childhood and personal history. Nature serves as a vivid backdrop, with imagery of the sea, stars, and autumn leaves enriching the emotional resonance of the work, as seen in “Dove vive il mare” and “Autunno.”

Stylistic Brilliance

Bruni’s poetic style is marked by its lyrical intensity and rich intertextuality. Donati notes influences from Italian literary giants such as Montale, Leopardi, and Pascoli, as well as modern voices like De Gregori. These influences manifest in Bruni’s meticulous attention to rhythm, metaphor, and imagery. For instance, in “Alba,” the delicate description of dawn—“tremulo e incerto bagliore di vita spunta” (a trembling and uncertain glimmer of life emerges)—captures a fleeting moment with precision and grace.

The title Geometrie di Versi reflects the structural elegance of the collection, where each poem is a carefully crafted piece of a larger whole. Bruni employs a variety of forms, from free verse to more structured compositions, creating a dynamic interplay between form and content. His language is both accessible and evocative, inviting readers to engage with the text on multiple levels.

Strengths and Reflections

One of the collection’s greatest strengths is its ability to balance personal intimacy with universal appeal. Bruni’s reflections on love, loss, and faith resonate broadly, while his specific references to places like Massa Marittima (“Le mura di Massa,” “Novembre massetano”) ground the work in a tangible sense of place. The preface by Donati enhances the reader’s experience by providing a thoughtful framework for interpreting the collection’s themes, encouraging readers to seek out its literary allusions and philosophical depth.

However, the density of certain poems may pose a challenge for readers unaccustomed to Bruni’s intricate style or the philosophical weight of his themes. The recurring motif of time’s inexorability, while powerful, can at times feel heavy, though this is mitigated by moments of hope and redemption that punctuate the collection.

Conclusion

Geometrie di Versi is a remarkable achievement in contemporary Italian poetry, offering a rich exploration of the human condition through a lens of lyrical beauty and spiritual insight. Marco Bruni’s ability to interweave personal memory, literary tradition, and existential inquiry makes this collection a compelling read for those who appreciate poetry that challenges and uplifts. As Donati suggests, Bruni’s work is a gift—a call to reflect on life’s mysteries and find meaning in its fleeting moments. This book is highly recommended for readers seeking a poetic journey that is both intellectually stimulating and emotionally resonant.

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Book Review: ‘The Pearls of Dew’ by Ambika Ananth Translated from Telugu by P. Sri Rama Murthy

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The Pearls of Dew, a collection of sixteen evocative short stories penned by the celebrated Indian author Ambika Ananth and translated with delicate fidelity by P. Sri Rama Murthy, is a profound journey into the subtle, oft-ignored nuances of human existence. Rooted in everyday life, yet transcending it with a rare philosophical poise, this anthology brings forth a spectrum of characters who stand at the threshold of struggle and grace, caught between the mundane cruelties of life and the saving graces of human compassion.

Ambika Ananth, known for her deep literary sensibilities and forays across genres and languages, brings to this collection a keen psychological insight and a lyrical fluidity that elevate her stories to timeless parables of the human condition. Originally titled Manchu Mutyalu in Telugu—a title which itself evokes the delicate impermanence of dew—The Pearls of Dew succeeds in carrying across linguistic boundaries the distilled tenderness, vulnerability, and resilience of her characters. The stories, in their English avatar, neither lose their rootedness in regional ethos nor their universal emotional appeal.

The foreword by GSP Rao, co-founder at Muse India, sets the tone for the anthology, describing Ambika not merely as a writer but as a compassionate chronicler of human frailty and nobility. He astutely observes how Ambika’s characters, though set against the harsh and often unjust realities of modern Indian society, emerge as emblems of selflessness and sacrifice. In the story Empathy, a father quietly gives away his newborn child to a grieving couple to save a mother from fatal heartbreak, a gesture so tender and self-effacing that it transcends the realm of fiction. In The One and the Only, a young man donates his eye to the daughter of a prospective employer, not merely as a transactional act but from a depth of compassion born of dire need and innate nobility. These acts, while rare even in life, become believable in Ambika’s narrative world where morality and humanity are not relics, but deeply embedded instincts.

Among the anthology’s most compelling stories is The Shattered Pearl, which lays bare the brutalization of innocence by a corrupt system. Here, a young boy, forced by poverty to become a street vendor, is mercilessly beaten and humiliated by a police officer. The culminating moment—his desperate retaliation—is not simply an act of violence, but the tragic transformation of a pure soul into what society hastily labels “criminal.” The narrative becomes a lament not just for the child, but for the soul of a society that fails its most vulnerable. The refrain of the old schoolmaster—“You are a pearl, my child…”—rings as both elegy and indictment.

Equally disturbing is Entertainment or Spoliation?, a chilling exploration of the psychological effects of violent digital media on children. Through the character of Vijay, a ten-year-old boy whose obsession with gory video games spirals into a subconscious act of murder, Ambika critiques the parental negligence masked as indulgence and the unseen consequences of digital overexposure. The story is a psychological masterstroke—slow-burning, methodical, and terrifying in its realism. Dr. Verma and Dr. Ramesh, who attempt to unravel the child’s trauma, provide a sobering voice of reason, highlighting how modern parenting, when divorced from emotional engagement, becomes a gateway to silent tragedies.

Each story in the collection is anchored in a core human emotion—longing, guilt, grief, resolve—and yet manages to touch upon complex social realities. Sensitivity and Sensibility unravels the subtle psychological torment of a pregnant woman poisoned by gossip that blames her unborn child for her father’s death. Beehive examines the torment of a woman who, after escaping domestic violence and rebuilding her life through an orphanage, is forced to confront the return of her abusive husband in a state of helplessness. Passion and Dispassion, Rootworm, and Romanticism delicately examine mid-life crises, loneliness, and the fragile constructs of marital and emotional identity.

The brilliance of this collection lies not in ornate storytelling, but in its restraint, authenticity, and quiet power. Ambika writes not to dazzle but to reveal—to lay bare the truth of human experience in its raw, unembellished form. Her protagonists are not heroes; they are everyday individuals—mothers, children, teachers, lovers—navigating a world that often offers little room for dignity. And yet, in their quiet acts of courage, we find what is most noble about humanity.

The translation by P. Sri Rama Murthy deserves commendation for its sensitivity and precision. In his Translator’s Note, he expresses the challenge and responsibility of preserving not only the meaning but the emotion of the original Telugu text. His work rises to that challenge with grace, ensuring that the stories resonate in English with the same poignancy as in their original language. His use of language is both accessible and expressive, retaining the cultural textures without alienating the non-Telugu reader.

The Pearls of Dew is a collection that demands a slow, meditative reading. Each story opens up a universe of emotion and reflection, challenging the reader to pause, consider, and feel. It is not a book that entertains in haste; it enriches in contemplation. In a world increasingly hungry for distraction, Ambika Ananth offers depth. In a world obsessed with noise, she offers silences that speak.

For lovers of literature that probes the human soul, that questions the morality of our systems, that elevates the everyday into the eternal, The Pearls of Dew is a rare and rewarding read. It is not just a collection of stories—it is an act of empathy, a quiet revolution, and above all, a celebration of life’s most enduring truths.

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“Mannequin of Our Times”: The Poetic Anatomy of a Disquieted Age

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In Mannequin of Our Times, Vandana Kumar delivers a poignant tapestry of contemporary existence, where love, memory, alienation, and yearning are sewn together with the precision of a seasoned poet and the vulnerability of a solitary soul. This collection does not merely whisper to the reader—it lingers, bruises, and ultimately elevates.

Vandana’s poems, though deceptively gentle in tone, slice through the veils of modernity to reveal the exposed nerves of everyday life. Her verses bear the air of lived experience, of a woman intimately acquainted with tenderness and its opposing forces—loss, entropy, and indifference. This duality forms the spine of the collection: the human desire for connection against the sterile facade of a world in performance, a world of mannequins.

The poems stretch across themes with organic grace. In “Colored Insane,” she portrays the quiet rebellion of being different in a society that thrives on small talk and standard greetings. The imagery is not just visual—it is emotional, tangible, and unnervingly accurate. One feels the constriction of societal molds and the delicate joy of refusing to fit in.

Elsewhere, in “The Final Rains,” there is a languorous sorrow that sits like water that will not dry, seeping into the fabric of her metaphors. The monsoon here is more than weather; it is memory, inertia, and a wistful resignation to that which overstays. She evokes domesticity not as comfort, but as a space haunted by delay and longing, where each raindrop writes itself into a film that may never be made.

Vandana’s language is modern and intimate, yet always poetic—eschewing ornate flourishes for a clarity that wounds and heals in equal measure. Poems like “To Meet Again” and “Under the Moonlight” inhabit the private geographies of love and loss with a meditative stillness. In her hands, a towel becomes an artifact of affection, a bent clothesline a metaphor for the weight of thought. She does not force emotion—it rises naturally from the terrain she cultivates.

“Pushing Doors” stands out as a philosophical rumination on life’s thresholds—both literal and metaphorical. Vandana masterfully conjures the doors we push, avoid, or never quite reach. The poem reflects her recurring preoccupation: not with dramatic climaxes, but with subtle, quiet moments where meaning is found or lost.

The Greek edition, ΜΑΝΕΚΕΝ ΤΗΣ ΕΠΟΧΗΣ ΜΑΣ, translated with deep sensitivity by Irene Doura Kavadia, does not merely carry the spirit of the original—it sings it in another tongue. The musicality, melancholy, and textured intimacy of Vandana’s voice are preserved with grace and emotional fidelity, bridging linguistic and cultural distances with rare poise.

This is not a book to be consumed in haste. It is a quiet companion, a mirror, and at times, a confessional. It belongs on the shelves of those who search for beauty not in ornament, but in the authentic pulse of human experience. Mannequin of Our Times is a poetic testimony to the silent stories we live, the wounds we carry like emblems, and the quiet defiance of staying soft in a world that often asks us to harden.

In a time where poetry often leans toward spectacle or abstraction, Vandana Kumar reminds us that the most profound revolutions begin in small, honest moments. Hers is the language of endurance and elegance—the kind that leaves an imprint long after the final verse has been read.

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Through the Gaze of Medusa: A Review of Panagiotis Kourvas’s Poetic Odyssey

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In Medusa, Panagiotis Kourvas offers not merely a collection of verses, but a chamber of echoes—where history, mythology, and the anguish of human existence are entwined with lyrical precision. Drawing upon the symbolic potency of the mythic Medusa, the poet invokes a figure not simply as myth but as mirror, a gaze that reflects the intricate and often painful layers of contemporary and historical consciousness.

Kourvas’s poetry does not meander through the ornamental or romantic; instead, it moves with clarity and intent toward the marrow of social, philosophical, and existential truths. Each poem bears the imprint of a mind attuned to the deeper resonances of being—where suffering, remembrance, and moral endurance are neither romanticised nor diminished, but rather held in solemn regard.

What elevates this collection is the reverence with which Kourvas treats both the art of poetry and the legacy of those who have shaped the Greek moral and historical landscape. Through elegiac tributes to national heroes and cultural icons, the poet casts light on lives marked by resistance, sacrifice, and the unyielding pursuit of truth. Yet it is not only the celebrated who find voice here—there is room, too, for the anonymous heroes of daily life, those whose struggles remain largely unseen but are no less profound.

The poet’s historical consciousness transcends the bounds of national narrative, reaching into the shared tragedies of humanity with an unwavering ethical stance. His is a voice that speaks against fanaticism and forgetfulness, advocating instead for reason, empathy, and justice. In doing so, Medusa becomes more than poetry—it is a meditation on how we might live with integrity amid the ruins of past and present.

Motifs of nature, memory, and maternal presence weave quietly through the work, softening its philosophical rigour with moments of intimacy and warmth. The collection does not offer comfort, but clarity. It challenges the reader not only to remember but to reckon, to recognise the masks we wear and the truths we bury.

The literary merit of Medusa lies in its sobriety, its refusal to surrender to facile sentiment, and its commitment to ethical introspection. Kourvas writes not for effect, but for endurance. His words do not vanish with the turning of the page; they remain, like the gaze of the titular figure, imprinted on the inner eye.

This is a collection for the thoughtful reader—for those who believe poetry must not only sing, but also think, remember, and awaken. Medusa stands as a testament to poetry’s power to confront, to illuminate, and to preserve the delicate threads of human dignity.

A significant and haunting work—Medusa is an enduring contribution to the conscience of contemporary Greek literature.

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Safeefah: The Outmoded Fine Art in UAE

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The United Arab Emirates is a land which is rich in tradition, where craftsmanship and culture are deeply intertwined with nature. Among its many traditional crafts, the art of making Safeefah—woven mats crafted from palm fronds—holds a special place in Emirati heritage. Rooted in the lifeblood of the desert, the date palm tree (Phoenix dactylifera) has provided nourishment, shelter, and craftsmanship to the people of the UAE for centuries. Today, the tradition of weaving Safeefah continues to be a symbol of sustainability, resilience, and artistry.

The date palm tree is more than just a source of fruit in the UAE- it is a cultural icon. Historically, it was a lifeline for Bedouin communities, offering shade, nutrition, and raw materials for daily life. From its trunk to its leaves and fibres, every part of the tree had a purpose. The UAE’s deep respect for this tree is reflected in its inclusion in UNESCO’s list of Intangible Cultural Heritage, recognizing the significance of palm- based crafts like Safeefah.

Safeefah is a time-honoured craft passed down through generations of Emirati artisans, particularly women who have mastered the skill over centuries. The process involves intricate techniques that require patience, accuracy, and an understanding of natural materials.

The first step in making Safeefah begins with harvesting the fronds from date palm trees. Only mature leaves are selected, ensuring sustainability while maintaining the health of the tree. The fronds are then cleaned and left to dry under the sun. Once dried, the fronds are softened to make them pliable. They are stripped into thin, flexible strands and sorted according to their thickness and length.

Weaving is done entirely by hand, using techniques passed down through generations. The strips are tightly interwoven, forming intricate geometric patterns. The traditional Safeefah is often left in its natural beige or brown color, but some artisans dye the fronds using natural pigments to create vibrant designs. Once the mat is woven, the edges are trimmed and secured to prevent fraying.

In Emirati culture, the art of weaving Safeefah is often associated with gatherings where women would sit together, share stories, and pass down their skills to younger generations, fostering a strong sense of community. In an era where sustainability is a global priority, Safeefah serves as an eco-friendly alternative to synthetic materials. Unlike plastic mats, Safeefah is biodegradable and non-toxic, making it an environmentally conscious choice. The UAE government and cultural organizations have taken initiatives to revive traditional crafts, encouraging local artisans and promoting handcrafted products as part of the nation’s heritage conservation efforts.

Today, the art of making Safeefah is experiencing a resurgence. Emirati artisans and designers are blending tradition with contemporary aesthetics, creating modern home décor pieces, fashion accessories, and even architectural elements using palm fronds. Museums, heritage festivals, and cultural centres across the UAE continue to showcase this craft, ensuring its preservation for future generations. The art of making Safeefah is a profound representation of the UAE’s rich heritage, deeply rooted in its most cherished natural resource—the date palm tree. More than just a woven mat, Safeefah embodies sustainability, craftsmanship, and cultural continuity. As the UAE embraces modernity while honouring its past, preserving this traditional craft ensures that the legacy of Safeefah lives on for generations to come.

Organised by
Preetha Vikram

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What if Valmiki did not Write Ramayanaya

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For most of the last century, Sri Lankans did not question Ramayana. A major part of the Baby Boomers, Xennials, and Millennials have read what was written by the great poet Valmiki. Sri Lankans even wished for the eventual defeat of Ravana in the middle of the story while keeping their fingers crossed to see Rama defeat the evil king. All the while they wholeheartedly forgot one very important thing. The evil king Valmiki pianted, was the ruler of their land, an ancestor from another time.

It is fair to say that the internet generation was the one who was responsible for shaking-up this narrative upside down. They alone reminded the Sri Lankans that as a nation, we were cheering the wrong camp wearing the wrong hat. An infinite number of YouTubers, bloggers, and social media personalities brought the lost fame, valor, adoration, and praise for the very soul they once chastised. Ever since, Ravana is a badge an absolute majority is wearing with great pride. “ Until the lions have their historians, tales of the hunt shall always glorify the hunter “ was proven right in the Sri Lankan context. Today the lions have their historians telling their version of the tale. Hunters keep a close watch in disbelief. There are tens of songs, films, and dramas praising King Ravana. Those creations are watched by an entire generation of Sri Lankans with so much passion and appreciation. Mandodari is no evil queen any longer. The songs about her devotion and love for her King are sung in many mouths. Ravana’s family remains mainstream heroes among Sri Lankans instead of the evil clan that was portrayed by the devotees of his nemesis.

If someone rewrote Ramayanaya today there are newer and interesting facts you could add to twist the old tale. Let’s start from Nashik, the holy city in Maharashtra. If Lakshmana was to cut the nose of Ravana’s sister Shurpanakha in Nashik, it could only mean one thing. The region was by proxy or directly ruled by Ravana’s dynasty. How is this possible if Shurpanakha had to cross an ocean and travel 1900 + kilometers? According to the Geological history, both India and Sri Lanka were part of the Gondwana supercontinent. Surely it began breaking apart due to many reasons at some point but may have been well connected by this time. Now the very idea of Nahsik or the entirety of Maharashtra was either a tribute state or directly ruled by the Ravana dynasty could be a fact many Raman devotees and the Indian patriots may not be able to stomach. Nonetheless, the logical possibility could not be ruled out concerning this.

The Brhamaveda mentions celestial weapons such as Brahmastra which reminds us of modern-day nukes. Prasvapna reminds us of the modern-day laser-guided weapons. Gandharvastra is similar to psychotronic weapons that caused the infamous Havana Syndrome. Although there is a high degree of divinity assigned to those ancient ones, it is fair to say that a civilization such as the one we are in today where technology is harnessed for both creation and destruction could have what existed back in the time of Ravana. The Rama-Ravana war was indeed a war where humanity used weapons of mass destruction. It not only wiped out an entire era where archeological evidence had been destroyed but could have been the reason for Sri Lanka to exist in the form of an Island with served land connection to the Indian subcontinent. Remember the earlier argument of Ravana ruling until Nashik !

This Nuclear encounter could be one reason why we have a Ramayanaya in the form of a legend dipped in mythology. The destruction probably wiped out the otherwise rich, diverse civilization that existed in the Gondwana supercontinent or however they called it. The remaining humans kept the legend alive according to their understanding giving a sense of mysticism and divinity to facts they could not quite comprehend.

If one follows the Ramayana trails established in Sri Lanka there is a very famous mountain that goes by “Lake Gala”. The literary meaning is the Rock where the aim was taken from. It is said that long-distanced weapons, probably intercontinental missile type was launched from this. Then there is the Yahangala mountain rock where King Ravana was laid to rest after he was allegedly killed. The surprising fact is that no big tree grows here reminding an ancient site where a nuke was detonated.

To agree with everything Valmiki wrote would be an insult to our intelligence and if one tries to explain Ramayana solely through a religious lens, one would miss out on some of the most intriguing details. Modern theories could find different meanings in this particular legend. But who is ready to start a healthy dialogue without giving rouse to political and religious tensions? Only the writers could engage in such a healthy argument.

DHANUKA DICKWELLA

About the Writer

With a master’s in International relations, Dhanuka’s expertise is in Geopolitics and Geoeconomics, among other things. In addition to being the Executive Editor of The Asian Reviews magazine, he works as a guest writer in the Chicago-based Armenian Mirror-Spectator on Caucuses-related geopolitical issues and contributes as a columnist and a guest speaker to the Indian-based Force Security magazine.

He was a grassroots Politician, a political campaign Director, and a council member of a local government body in a small town in rural Sri Lanka. Before entering active politics, he led his foundation in supporting youth and the underprivileged. Currently, he consults youth groups on political activism and general political trends.

He is a poet, blogger, and an enthusiastic climate and social activist who strongly believes in making a better world for future generations. A patriotic Sri Lankan who is a father of a loving daughter.

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CHRISTOS DIKBASANIS: A LITERARY JOURNEY INTO INFINITY

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Christos Dikbasanis, born in Thessaloniki in 1961, is a poet, scholar, and writer whose work seamlessly bridges the realms of literature, theology, and cultural inquiry. A graduate of the Theological School of Aristotle University of Thessaloniki (AUTH), he pursued advanced studies in religious scholarship, earning a Master’s degree (MTH) in Religious Studies. His academic background deeply informs his literary pursuits, infusing his work with philosophical introspection, existential depth, and a profound reverence for the mysteries of the universe.

A MULTIFACETED LITERARY CAREER

Dikbasanis’ literary footprint is vast and varied, encompassing poetry, essays, short stories, and scholarly studies. His evocative compositions have found a place in both national and international literary landscapes, with his poetry and essays appearing in renowned anthologies and literary journals. His words transcend the printed page, finding new life on the stage through theatrical adaptations of his poetry. His ability to capture human emotion and universal truths through verse has made his work resonate beyond linguistic and cultural barriers.

As a testament to his influence, Dikbasanis has been featured in esteemed publications such as the Great Encyclopedia of New Greek Literature by Hari Patsi and the journalistic registry Who’s Who. His poetry has been translated into English, Spanish, and Italian, expanding his literary reach across borders.

His latest poetry collection, Journey to Infinity, published by Writers International Edition, is a testament to his fascination with the cosmos, existential philosophy, and the boundless nature of human introspection. His writing often explores themes of time, loss, longing, and the metaphysical connections between human consciousness and the universe.

A LIFETIME DEDICATED TO LITERATURE AND CULTURE

Dikbasanis is a committed member of several literary organizations, including the Thessaloniki Writers’ Association (ELTH), the International Society of Greek Writers (DEEL), and the Greek-Cyprus Cultural Association (SPEK). These affiliations highlight his dedication to fostering intellectual exchange and strengthening literary ties within Greece and beyond.

His love for humanity, space exploration, nature, anthropology, mythology, and the history of religions informs his work, creating a rich tapestry that reflects both scientific curiosity and spiritual depth. His poetry does not merely contemplate the vastness of space; it examines the intimate emotions that define human existence.

A UNIVERSAL SEA: A REFLECTION OF EXISTENTIAL LONGING

Dikbasanis’ poem, A Universal Sea, captures the essence of his poetic vision. The imagery of “black waves,” “dying stars,” and “space-time like a hungry vortex” speaks to the eternal struggle between presence and absence, longing and loss. The poet becomes a solitary voice in the cosmos, simultaneously calling out and fading away into the silence of the universe.

He writes:

“Now the vast sea of infinity
misspells my name
on the sand of its bottom”

These lines encapsulate the inevitable passage of time, the erasure of identity in the grand scheme of the cosmos, and the poet’s deep existential musings. It is a meditation on the ephemeral nature of dreams, love, and human existence itself.

A LEGACY OF RECOGNITION AND INSPIRATION

Over the years, Dikbasanis has received numerous national and international literary awards, cementing his place as a formidable voice in contemporary poetry and scholarship. His legacy is not just in the accolades but in the lasting impact of his work—a poetic journey that invites readers to gaze into the infinity of the universe and reflect on their place within it.

Through his contributions to literature and culture, Christos Dikbasanis continues to inspire, bridging the celestial and the human, the scholarly and the poetic, the past and the boundless future.

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JENNY SAKORAFA: A MULTIFACETED ARTIST BRIDGING THE WORLDS OF THEATER, LITERATURE, AND POETRY

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Jenny Sakorafa is a distinguished Greek artist whose diverse talents span the realms of theater, poetry, literature, and music. A graduate in Theater Studies from the Faculty of Philosophy at the National and Kapodistrian University of Athens, she has cultivated a deep understanding of dramaturgy and performance. Her formal training in acting at the Veaiki Drama School and the Central Stage Drama School further solidified her artistic foundation, earning her a recognized acting diploma from the Greek Ministry of Culture.

Her passion for artistic expression extends beyond theater into the world of music. Having studied dance and attended the Musical High School of Pallini and the National Conservatory, Jenny has performed in numerous concerts, demonstrating her multifaceted artistic abilities.

A THEATRICAL JOURNEY ACROSS STAGES AND SCREENS

Jenny Sakorafa’s career in theater has been marked by performances in a wide range of productions, from historical dramas to contemporary plays. Her dedication to the craft was recognized early when she received a Performance Prize for her role in “Domna Visvizi – The Lady of Ainu” (2002), a play that brought to life one of Greece’s unsung heroines.

Beyond acting, she has played an integral role in children’s theater, taking responsibility for theater studies and direction. Through her work, she has helped shape young minds, introducing them to the beauty and discipline of theatrical expression.

Jenny’s artistic reach extends into film, television, and radio, where she has worked on numerous projects, further establishing herself as a versatile performer.

A CELEBRATED POET: AWARDS AND INTERNATIONAL RECOGNITION

Parallel to her theatrical career, Jenny has distinguished herself as an acclaimed poet. Her work has been recognized in multiple international competitions, affirming her talent in capturing the human experience through verse.

Her accolades include:

“Sappho” Poetry Award at the 9th World Poetry Competition of the Hellenic Amphictyony (2020)
“Originality Award” at the 1st World Poetry Competition (2021) for her poem on Greece’s Call to 1821-2021… Cradle of Spirit, Culture, and Peace
2nd Poetry Award at the 20th World Poetry Competition of the Hellenic Amphictyony (2022)
Gold Book Award at the Panorama International Book Awards 2023 in India for her poetry collection Stigmes…
1st Poetry Award at the 12th World Poetry Competition (2024)

Her poetry, rich in emotional depth and cultural reflection, captures fleeting moments of beauty and struggle, resonating with readers worldwide.

AUTHORSHIP: PLAYWRITING, FAIRY TALES, AND NOVELS

Jenny Sakorafa is also a gifted writer whose works span various literary genres, including theater, children’s literature, poetry, and novels. She has penned several plays that explore diverse themes:

One Hour
The Man from the Marsh
Jean’s B.D.

Her contributions to children’s literature reflect her deep understanding of storytelling and imagination, with titles like:

The Enchanted Water Lily
Rainbow
The Four Seasons

Not only has she written these fairy tales, but she has also illustrated them herself, demonstrating her creative vision beyond the written word.

Her poetry collection, Stigmes…, received international recognition, winning a Gold Book Award in 2023.

In the realm of fiction, her novel A Well Full of Birds has further solidified her place as a literary talent capable of weaving intricate narratives that captivate readers.

A LIFE DEDICATED TO THE ARTS

Jenny Sakorafa’s artistic journey is a testament to her unwavering passion for creativity. Whether on stage, behind the scenes, in the pages of a book, or through the rhythm of poetry, she continues to inspire audiences and readers with her profound storytelling and dedication to artistic excellence.

Her contributions to theater, poetry, and literature stand as a celebration of culture, philosophy, and the human experience. With numerous accolades to her name and an ever-expanding repertoire, Jenny remains a beacon of artistic brilliance in the Greek and international literary landscape.

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FER DE LA CRUZ: A VOICE OF POETIC RESISTANCE AND COSMOPOLITICAL VERSE

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Hailing from the culturally rich land of Yucatán, Mexico, Fer de la Cruz is a poet, literary scholar, and translator whose work bridges the ancient and the contemporary, the lyrical and the political. A prolific writer, he has authored more than twenty books, encompassing poetry in its diverse forms—lyrical, satirical, and children’s verse—alongside narrative works and literary translations. His poetry, infused with a deep ecological consciousness and a reverence for indigenous traditions, interrogates humanity’s relationship with language, nature, and identity.

His latest poetry collection, “Pero el mar no es de fiar” (2023), showcases a selection of new and previously published poems, reinforcing his place as one of the most thought-provoking poetic voices from Latin America. However, his literary pursuits are not confined to poetry alone. As a translator, he has embarked on an ambitious and groundbreaking project: a Spanish verse translation of the Popol Wuj, titled “El Popol Wuj desde el antropoceno”, offering a cosmopolitical perspective on the foundational text of the K’iche’ Maya civilization.

A PIONEER OF POETIC EXPRESSION IN YUCATÁN

Fer de la Cruz’s impact on the literary and cultural landscape of Yucatán extends beyond his written work. As a founding faculty member of the School of Creative Writing at the State Center of Fine Arts, he has nurtured and mentored a new generation of poets and writers. His commitment to democratizing poetry led him to introduce open-mic poetry readings to Yucatán, hosting a weekly event from 2008 to 2013, providing a platform for emerging voices in the region.

His poetry has transcended borders, with invitations to participate in numerous poetry festivals in France, Cuba, the United States, and various parts of Mexico, where his readings resonate with audiences drawn to his evocative and socially conscious verse.

ACADEMIC PURSUITS: POETRY, ORALITY, AND COSMOPOLITICS

Currently pursuing a PhD in Spanish at the University of California, Irvine, Fer de la Cruz is deeply engaged in exploring the intersections of indigenous poetics, orality, and cosmopolitics. His dissertation, “Múul kuxtal: Cosmopolítica y oralidad en la poesía maya contemporánea,” examines the evolving role of contemporary Maya poetry as a site of resistance, cultural reclamation, and ecological philosophy. With a master’s degree from Ohio University, he brings a unique transdisciplinary approach to his academic and creative work, positioning him at the vanguard of scholarship on indigenous literatures.

CH’AJ: THE DROPLET AS A METAPHOR FOR LIFE

Among Fer de la Cruz’s many poetic contributions, “Ch’aj: Drop of Life” stands out as a powerful meditation on water—its sanctity, its exploitation, and its enduring essence. Through these verses, he delves into the forgotten language of nature, questioning the human tendency to devalue what sustains us.

“Nothing”

In this poem, Fer de la Cruz explores the linguistic erasure of water, contemplating how different beings might name a single body of water—from the fish and the jaguar to the rain and the sun—only for humanity to reduce it to “nothing.” The poem exposes the violence of naming and misnaming, as natural spaces are dismissed as mere waste or puddles, revealing how language itself can contribute to environmental degradation.

“Drop of Life”

Here, the poet traces the journey of a droplet—ch’aj in Yucatec Maya—through time and space, highlighting how it remains indifferent to human destruction yet continues its inevitable cycle of renewal. The refrain of “ch’aj”, repeated rhythmically, evokes the continuity of water despite contamination and displacement, a poetic invocation of resilience and sacred interconnectedness.

Through these verses, Fer de la Cruz revives the voices of the elements, urging readers to listen to what nature has always spoken, yet humans have failed to hear.

A LEGACY OF RESISTANCE AND RECLAMATION

Fer de la Cruz’s work embodies a profound commitment to poetic resistance. Whether through his translations of ancient texts, his original poetry, or his academic endeavors, he continues to challenge dominant narratives, reclaiming indigenous knowledge and cosmologies that have been systematically silenced.

In an era of climate crisis and cultural homogenization, his voice emerges as a bridge—between past and present, between word and world, between erasure and remembrance. Through his poetry, the water speaks again, and in listening, we are reminded of what it means to belong to the earth.

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ANNA D’AURIA: THE RESILIENT VOICE OF WOMEN, CHILDREN, AND PEACE

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Anna D’Auria, a distinguished Italian author and educator, stands as a literary luminary whose works echo with themes of resilience, equality, and hope. With a deep passion for classical literature and a profound sense of social responsibility, Anna has dedicated her career to championing the rights of women and children through her powerful narratives and poetry.

A SCHOLARLY BACKGROUND AND LITERARY EXCELLENCE

Anna’s academic foundation in classical studies informs her distinct approach to storytelling. As a Latin and Greek teacher in the province of Naples, she masterfully integrates the motifs of ancient civilizations with contemporary social issues. This unique synthesis has earned her widespread recognition, including participation in the prestigious Sanremo Writers 2023 and the Turin Book Fair.

Her literary achievements have garnered nominations for the Premio Strega Poesia in both 2023 and 2024 for her poetry collections I Colori di Kiev and Cristalli. L’anima delle Donne. These works are a testament to her ability to weave lyrical artistry with poignant social commentary.

A CATALYST FOR SOCIAL CHANGE

Anna’s commitment to social causes extends beyond her writing. Actively collaborating with organizations such as Lions, Fidapa, and Word Woman Talent System, she advocates for peace, freedom, and the eradication of violence. Her writing serves as both a mirror and a call to action, addressing pressing global issues such as sexism, child marriage, and the impacts of war.

In her award-winning novel Mala Jin. Tulipani nel Cemento, Anna captures the struggles and sacrifices of Kurdish women, shedding light on their courage amidst adversity. This groundbreaking work has been celebrated at conferences, schools, and even the Italian Chamber of Deputies, underlining its impact on both literature and activism.

A LEGACY OF ACCLAIMED WORKS

Anna’s literary repertoire is vast and impactful, with each work addressing a different facet of the human experience:

“La Rosa Bianca di Izmir” delves into the harrowing issue of child brides, winning accolades like the Litterae Fiorentine Critics’ Award.
“Trema la Vita” explores the resilience of women rebuilding their lives post-disaster and has been adapted into a theatrical production in Brindisi.
“I Colori di Kiev” advocates for peace amidst the turmoil in Ukraine, earning prestigious honors such as the Borghi della Lettura Prize and the Pino Daniele Award.

Her upcoming novel, Nayef e Norah. L’Amore non tace, set to debut at Sanremo Writers 2025, narrates the poignant story of twin siblings divided by the Palestinian-Israeli conflict. This deeply introspective work highlights themes of familial reconciliation, the human cost of division, and the enduring hope for peace.

HONORS AND INTERNATIONAL RECOGNITION

Anna’s contributions to literature have been widely recognized by esteemed institutions, including the Treccani Publishing House and the International Universum Academy in Lugano, which named her Honorary Academic. Her works have been translated into Romanian and featured in international journals, further expanding her influence.

She has received numerous awards, including the International Oscar Wilde Award, the Grand Award for Excellence, and multiple accolades for her novels and poetry collections. Her works often inspire educational initiatives, such as high school writing competitions, ensuring that her literary legacy continues to shape future generations.

THE WRITER AS AN ADVOCATE

Through her roles as testimonial, patron, and jury member at cultural events across Italy and beyond, Anna embodies the transformative power of literature. Whether through her poetic advocacy for peace in Ukraine or her stories of women’s resilience, her voice resonates with a universal call for justice, compassion, and unity.

Anna D’Auria’s literary journey is a testament to her unwavering dedication to both art and humanity. Her stories and poetry transcend borders, inspiring readers to confront societal injustices and dream of a better world. As she continues to write, teach, and advocate, Anna remains a beacon of hope and a champion of voices too often unheard.

Her works remind us that literature is not just a reflection of society—it is a powerful tool to shape it. Through her eloquence and empathy, Anna D’Auria leaves an indelible mark on the world of letters and beyond.

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