It was the morning of May 18, 1902, when Kythera MP Spyridon Stais visited the National Archaeological Museum in Athens, going straight to the hall containing the finds from an ancient wreck off Antikythera.
I imagine a Mycenaean craftsman in the ancient city of Ialysus on Rhodes in 1200 BC, bent over his anvil with tools of bronze and ivory trying to etch two sphinxes on the tiny surface of a gold seal ring.
“Omaha, Nebraska is a long way from Athens so we can sit at the same table,” Alexander Payne quips when he appears on my computer screen for an interview that had originally been planned when he was in Athens over the Easter holidays.
“He looks absolutely Cretan; like he’s come down from Mount Psiloritis, but without the hard edges. He’s really sweet,” fellow journalist Katerina Daskalaki, the faithful secretary of the board of the Lyceum Club of Greek Women, tells me as she describes Lefteris Drandakis.
The parade marking Greek Independence Day in the United States is a matter of great significance for Greek Americans, and not just because of its emotional resonance, but mainly because it symbolizes national unity.
It must have been riveting to witness prominent French actress Fanny Ardant, in the crowded Grand Amphitheater (Richelieu) at the Sorbonne University, reading excerpts from the epic poem “The Free Besieged” by Dionysios Solomos and reciting “The Greek Boy” by Victor Hugo – a poem dedicated by the great French writer to the Chios massacre in 1822.
I was relatively new at Kathimerini when I interviewed Alekos Fassianos for the first time, at his home, in the late 1990s. The entrance was like some magical gateway into a universe designed entirely by him.
Language is so often an expression of the collective memory, yet few Greeks know that the term “trelokambero,” used to describe someone behaving irrationally or acting crazy (“trelos”), was actually inspired by a real person, an intrepid Greek aviator.