ΜΙΑ ΑΥΡΑ ΠΕΡΙΠΛΑΝΗΣΗΣ

 

Μακάρι το κάθε

ευαίσθητο-ως-σεληνόφως

άτομο σε εξέλιξη

να συνεχίσει να σκορπά

μια αύρα περιπλάνησης

στο ταξίδι του

σε έναν ευγενικό

Παράδεισο.

 

Βασιλική Δραγούνη

ΠΟΡΤΟΚΑΛΙ ΚΑΙ ΜΠΛΕ

 

Η αγάπη έχει το βάρος του Θεού

το βάρος του ανθρώπου

και νερό ανακατεμένο με αλάτι,

μια διάστικτη μετάλλαξη του δέρματος

που έχει λερωθεί από δάκρυα,

ο αναστεναγμός του ήλιου που διαλύει

το πορτοκαλί και μπλε της μέρας.

 

Βασιλική Δραγούνη

H ΜΟΝΙΜΟΤΗΤΑ ΤΟΥ ΟΡΑΤΟΥ

 

Απαλές, κακοφορμισμένες γραμμές

τα ίχνη που αφήνουμε

περνώντας μέσα από αυτή τη ζωή:

Κορυφές αμμόλοφων 

στην ερημιά της σάρκας,

χάρτες από νεκρό κρέας

από ανόητες πράξεις και παραπτώματα,

σύμβολα των αμαρτιών του παρελθόντος -

της παιδικής απροσεξίας

της εφηβικής απερισκεψίας

της απάθειας των ενηλίκων,

σημάδια των καλύτερων προθέσεων

ξεθωριασμένα απ’ το χρόνο,

απολιθωμένα απομεινάρια

με τη μονιμότητα

του ορατού.

 

Βασιλική Δραγούνη

ΤΑ ΚΟΡΑΚΙΑ ΞΕΣΠΟΥΝ ΣΑΝ ΠΟΛΕΜΟΣ

 

Υπάρχουν κοράκια στην πόλη

πάντα θυμωμένα και ασυγχώρητα

που κράζουν πάνω στα τηλεφωνικά καλώδια

και στα πρωινά παράθυρα

με εξαγριωμένη, μπερδεμένη,

σφυροκοπημένη οργή.

 

Τα κοράκια ξεσπούν σαν πόλεμος

τρομάζουν το σκοτάδι

κάνουν κουρελιασμένες γρατζουνιές στο ρολόι

μετατρέπουν ένα ξέφρενο ξύπνημα σε τρόμο.

Τα κοράκια σπάνε τα σαθρά κλουβιά της νύχτας

κι ανασηκώνουν τις μαύρες φτερούγες τους

ρίχνοντας από μακριά

τους ρούνους της σκιάς.

 

Βασιλική Δραγούνη

Artwork: “The Dance Eternal” by J-Edward-Neill

ΠΑΡΑΔΟΞΗ ΦΑΡΣΑ

 

Είναι ακόμα γκρίζα έξω

η μέρα, γεμάτη με κακοδιάθετα κοράκια.

Αδρά και δυσδιάκριτα

σαν ασπρόμαυρα ενσταντανέ βουβής ταινίας

τσιμπολογάνε τα παράθυρα

με καλοταϊσμένη πείνα.

Όχι, δεν θα τα ταΐσω

άλλες μαύρες λέξεις.

Στις απαλές δίνες του χειμώνα

γλιστρούν κάτω από τις πόρτες

και πάνω στα πατώματα

φουτουριστικά και μεταφυσικά 

σαν παράδοξη φάρσα.

 Βασιλική Δραγούνη

About Theocharis Stilos poetry, as presented in the book “Perle di poesia - Perles de poesie” Ediz. bilingue

Review by Vasiliki Dragouni

 

Weaving Threads of Beauty and Resilience:

The profound poetry of Theocharis Stilos

 

Theocharis Stilos’ poetry captures the ephemeral truths of life, offering a lens through which we perceive the sublime and the sorrowful. The thematic convergence of his poetics - rooted in notably lyrical imagery, love, mythology, life's struggles and hope - forms a timeless tapestry, each thread amplifying the emotional resonance of the human experience.

 

In his nature poem “VEDUTA DI SCOTINA”, we are transported to realms where nature and sensation intertwine, offering a sensory feast. In his verses:

“Vieni alle mie orecchie,

come un mormorio dell’Egeo.

Giungi sul mio viso, 

come un alito di meatemi.

Con il lamento

della tua veduta inesplorata, Scotina..”,

Scotina, for instance, becomes a metaphor for escapism, a vivid portrait that remind us of the sacredness in the mundane. It’s lyrical imagery transforms simple observations into universes of meaning.

 

No theme in poetry has endured as steadfastly as love. From the longing verses of the poems “AMORE A PRIMA VISTA” and “TI VOGLIO” to the blissful and devastating verses of the poems “HO PAURA” and “QUANDO ANDRÒ VIA”, love’s dual nature remains ever-compelling. His poem “CHE COS’È L’AMORE” exemplifies this beautifully, weaving desire and heartache into verses like:

“Amore è quando ti sforzi di sentire le donne,

facendo le ore piccole, giorni e notti infiniti,

anche quando, tu puoi,

con la forza del potere, uccidere gli amori.”

Theocharis Stilos’ verses highlight love’s multifaceted realities, blending passion, identity, and self-healing:

“No, non sei la Redenzione,

sei l’Inferno di Dante.

Desidero attraversarlo con te,

non ho più sonno...

Ma quando finirà tutto,

voglio nascondermi 

nel tuo abbraccio,

rifugio sicuro dell’Amore...” (“SOGNI INCORPOREI”)

 

The mythological undercurrent in Theocharis Stilos’ poetry lends a timeless gravitas to his themes. The poem “ASPIRAZIONE” embodies the writer’s journey to knowledge:

“Mi ha chiesto, “Lei scrive spesso?”,

ma questo è stupendo!

“Sono davvero lusingato”, ho osato dire.

“La ispiro io?”, ha continuato lei.

“Non è così semplice”, ho detto timidamente.

È necessario...

È necessario che io cavalchi l’Assillo

o che cavalchi Pegaso.”

In “STESICORO SALUTE A TE MUSA”, the poet channels mythological imagery to explore identity and transformation. Verses like:

“Avanti, comincia a cantare, tu, Musa,

con la tua voce melodiosa, 

invia inni ai nostri cari figli

di Macedonia,

visto che la lira ti è compagna”,

connect the ancient and the present in a seamless dialogue.

 

The struggles of existence have driven the poet to craft some of the most evocative and heartfelt verses:

“Insignificante la forza umana,

vani i nostri sforzi.

Nella nostra vita sfuggente,

tanti dolori, l’uno dopo l’altro.

La morte sicura,

sta sopra la testa di tutti

e si comporta allo stesso modo

sia verso i buoni che verso i cattivi.” (“LA FORZA UMANA”)

Additionally, poems like “HANNO SEPPELLITO IL MIO CUORE” and “FORZA” tackle personal anguish and resilience in the face of despair:

“Se tanti contro di te hanno lottato

e pochi ti hanno schiavizzato,

allora vale la pena di dirgli 

che hai la forza di molte tigri.” (“FORZA”) 

These works serve as mirrors, reflecting humanity’s relentless struggle and providing solace in shared suffering.

 

Amid pain and darkness, hope often emerges as poetry’s beacon. Theocharis Stilos’ poem “IL SALUTO DELL’AURORA” remains a testament to hope’s unwavering persistence, even in life’s harshest storms:

“Hai visto questa giornata?

È proprio la vita, la vita stessa della vita.

Nel suo breve cammino, ci sono tutte le varietà

e le realizzazioni della tua esistenza.

La felicità dello sviluppo.

La gloria dell’azione.

Lo splendore della bellezza.

Perché l’ieri è quasi un sogno

e il domani è solamente una visione.

Tuttavia, l’oggi, se lo vivi bene, rende ogni ieri

un sogno di felicità e di ogni domani,

una visione di speranza.

Perciò, guarda bene questa giornata.”

Similarly, his poem “VITA…” becomes an anthem of resilience, affirming:

“È nella serenità della notte,

che illumini, come se fosse il sole;

è dalla seminagione del piacere,

che sboccia nuovamente la vita.”

In hope we find both weep and refuge - reminders of the human capacity for renewal and perseverance.

 

The intersection of lyrical imagery, love, mythology, struggles of life and hope in Theocharis Stilos’ verses creates a multidimensional reflection of the human condition. These themes transcend cultures and epochs and offer solace and inspiration, allowing us to see ourselves more clearly.

Whether through the delicate beauty of imagery, the fervor of love, the power of myth, the acknowledgment of hardship, or the promise of hope, Theocharis Stilos’ poetry remains a sacred art form that speaks to the core of the human experience, capturing both its beauty and its pain.

 

Vasiliki Dragouni

About “Gedichte zieht es in die Welt – Deutsche Gedichte in verschiedenen Sprachen” by Kurt F. Svatek

Book Review by Vasiliki Dragouni

 

The Interwoven Realms of Kurt F. Svatek’s Poetry: Imagery, Myth and Metaphysics

 

Kurt F. Svatek’s Poetry thrives in its ability to compress vast, often ineffable, experiences into precise, evocative language. At its best, it constructs bridges between the sensory and the abstract, the mortal and the divine, often drawing deeply from metaphysics, mythology and archetypes to give depth and resonance to its images.

The essence of his poetry often lies in its vivid imagery - a tapestry woven from words that evoke sights, sounds, tastes and sensations:

“Και το να διευθύνεις,

δεν σημαίνει άλλο από το

να δίνεις το κίνητρο στην ορχήστρα

να αναπνέει σωστά.

Υπάρχουν εικόνες,

για τις οποίες σκέφτεσαι ότι

τα χρώματα προέρχονται από έναν άλλο κόσμο,

διότι ο χρυσός πηγάζει από τα δάκρυα των Θεών.”

 

“And directing,

means nothing less than

to motivate the orchestra

to breathe properly.

There are images,

that you think about

the colors come from another world,

because gold comes from the tears of the gods.”

 

In his poem “Ένα πλοίο σαν ένα άλογο” – “A ship like a horse” the wild gallop of a horse becomes a fevered metaphor for liberation and transformation. Verses like:

“Πόσες χιλιετίες πέρασαν,

για να δει ο άνθρωπος ότι το άλογο δεν ήταν ένα άλογο,

αλλά ένα πλοίο.

Και πόσο γρήγορα γυρίζει η ζωή

ενός ρομαντικού, ενός ονειροπόλου, ενός οραματιστή,

ενός ρεαλιστή;

Όλα συμβαδίζουν.”

 

“How many millennia have passed,

for man to see that the horse was not a horse,

but a ship.

And how quickly life turns

of a romantic, a dreamer, a visionary,

a realist?

Everything goes together.”

 

transport readers into a visceral world where the physical and spiritual collide. Such imagery is not mere ornamentation, it serves as a portal to deeper realms of thought. Here, vivid images do not just describe, they immerse readers in the metaphysical terrain of existential awareness.

The poem “Ηώς” – “Eos” probes the enigmas of existence, blending scientific and existential musings.  The metaphysical elements transform the poem into a meditation on unity, distance and the nature of the soul. Verses like:

“Μπορεί η αυγή

να σε κάνει να ξεχάσεις

τη θύμηση των εφιαλτικών ονείρων,

την εμπειρία την ανημποριάς, την αίσθηση ότι χάνεσαι μέσα

στον ίδιο σου τον εαυτό,

την αναταραχή του μυαλού;”

…

“Ο πρωινός ήλιος

υπόσχεται συχνά πολλά

και άλλες φορές προσφέρει τόσα λίγα.

Όμως στην ταξινόμηση των αστεριών,

o ήλιος μας είναι ακριβώς

ένας κίτρινος νάνος.”

 

“May dawn

make you forget

the memory of nightmarish dreams,

the experience of helplessness, the feeling of being lost

within yourself,

the turmoil of the mind?"

...

"The morning sun

often promises much

and sometimes offers so little.

But in the classification of stars,

our sun is just

a yellow dwarf.”

 

echo the metaphysical, contemplating the universe with a sense of awe and human fragility. Exploration of cosmic vastness intertwines with questions of mortality and purpose, grounding the abstract in deeply personal reflection.

The poem “Υπάρχει κάτι” – “There is something” revisits the mythology of the Muses with an intimate, modern lens and reimagines the ancient tale as a meditation on loss, identity and the cycles of life and death, proving that mythology remains an inexhaustible source for poets seeking to explore the eternal through the personal:

“Μελπομένη, Τερψιχόρη,

Ευτέρπη, Ερατώ, Καλλιόπη,

ή όπως αλλιώς ήταν το όνομα τους,

θα μπορούσε να είναι πιο αληθινό από όσο θα

πίστευε κανείς;”

 

“Melpomene, Terpsichore,

Euterpe, Erato, Calliope,

or whatever their name was,

could be it more real

than one would think?”

 

The interplay of vivid imagery, metaphysical inquiry and mythology in Kurt F. Svatek’s Poetry, speaks to the cyclicality of history and the foreboding of transformation. These elements allow his poems to transcend the limitations of language, creating works that resonate across cultures, exploring what it means to be human.

 

Vasiliki Dragouni

About A Summer Transcendence by Greek Author and Poet Vasiliki Dragouni

Book Review by Author and Scholar Isabel Guerra García in English & Spanish

 

Vasiliki Dragouni is a Greek author from Athens with a degree in English literature. She studied comparative literature at the University of Ghent, Belgium, and works in aviation.

She has published fourteen collections of poems and eight prose works, including collections of short stories and micro-novels. She is an editor of the international online magazine Writers Edition - The Complete Magazine.

The author's poetry has been translated into seven languages and has received several literary awards.

Giovanni Campisi writes the Incipit, Spes última dea which opens this collection of poems. It refers to a Latin phrase meaning that hope is the last thing to be lost, a clear allusion to the Myth of Pandora.

Maria Kalatzi (Skiathos - Greece) is the creator of the paintings, drawings and scenes that accompany the text, in its translation into English.

This combination: poem + painting brings dynamism to the literary work and leads us to broaden our vision and make it more suggestive, more Cosmopolitan.

Thus, in Una transcendencia veraniega, the first poem presented to us, Kalatzi has chosen the image of the poet Sappho, capturing that instantaneous memory, / at the edge of time, or in El despertar de una sonrisa soleada en el Alter Ego, savouring the essence of the day.

We can see that in the scenes of the paintings there is an obvious feminist theme, and that the woman is the centre, the main figure, the iconography of the landscape, the landscape itself.

See, for example, Three Sacred Breaths, Expectation, or in the poem Disclaimer the painting Bohemian Of Belle Epoque, or in the poem Direction, the scenery Complacency.

On the other hand, with regard to the themes that are made explicit in the collection of poems, the passage of time stands out. The author tells us that Our time is fleeting, the title of a poem; she also mentions that in Small empty things; in the Now that is reiterated, in some lines of the poem Disclaimer or in ‘...reopening the doors to another tomorrow’ in the poem Every voice. We can also observe it in these two lines:

 

The clock will tick for hours

and the sun will set and rise again

 

from the poem The Mirage of Extinction.

The Fugacity of Time is present in the poem En las horas del crepúsculo (In the twilight hours) where it is made explicit textually:

 

...It cries for the time that flees,

shrinks and wears away

in the twilight hours.

 

In La esperanza es destino (Hope is destiny), another recurrent theme will tell us that:

The future is past.

Hope is destiny.

 

And in Nirvana she speaks of the duality of Birth/Death.

 

In the poems The Clock of Time and The Twilight of Time, Time continues to be the main character

 

History in continuous change,

...every day, at all hours,

 

represented in The Four Seasons by Maria Kalatzi.

 

The writer, astronomer, philosopher and mathematician Hypatia of Alexandria of 370 AD or the world of dance of Anna Pavlova, the first Russian ballerina of the late 19th and early 20th centuries, a member of the Imperial Russian Ballet, are settings for Maria Kalatzi's world of scenic art.

This Cosmology of Art, through time, is shown to us by Kalatzi, in her works, from 370 A.D. with Hypatia of Alexandria, to 1881 with Anna Pavlova, passing through the beauty of Venetian masks, the Belle Epoque, Lonely, or the passes of the tango, in that

 

‘...minuscule tick-tack

that measures the pulse, defines the space...’

 

as the author, our dear writer Vasiliki Dragouni, would say, whom we would like to congratulate on this new work, timeless and essential in these times.

We must bear in mind that in addition to María Kalatzi, with her pictorial interpretation of the poems in Spanish, there are five painters in this book, who, from a personal and interactive point of view, contribute different visions of the same poem.

 

Georgina Tsismalidou with works such as:

Armageddon, Aurora Borealis, Blue Perspective, Blue Vibrations, Brake Freed, Earth From Above, Coral Rhapsody, Entropy and Osmosis, Cosmic Abyss, Cry me a River, Elemental, Enlightenment, Mars the Red Planet, Genesis, Fly me through the Blues, Milky Way, Oceanic Dreamscape, Out of the Comfort Zone 1, Pillars of Creation, Radius X, Summer Wave, The Arboreal Enigma, To catch a Wave, What Lies Beyond, Waves of Consciousness,

brings that bluesy musicality to the poems.

 

Ling Ming Li, a painter from Taiwan, with her architectural drawings, scenes of animals, or with her rural landscapes, mountains, rivers, dreams and serene nights, makes us travel to other cities and envelops us in that peaceful and nostalgic atmosphere of the countryside, of the seashore or river banks and of starry nights, under the dusk, far from the mundane noise.

Likewise, she adds two portraits of writers, of Renza Agnelli and Giovanni Campisi, to her register of works.

 

Michelle Frenna delves into the landscape of Sicily, with paintings such as The Folklore of Agrigento, Sicilian Cart, The Temple of Concord or The Temple of Juno, also called The Temple of Hera Lacinia, both located in the Valley of the Temples in Agrigento; the Temple of Castor and Polux, in the Roman Forum; or The Symbol of Sicily or Trinacria, a Celtic emblem, with the well-known head of Medusa.

In his work Opuntia he presents us with a typology of cactus which in the Canary Islands corresponds to the tunera and if its fruits are red, they are called Indian tunos in the Islands, being highly appreciated by the Guanches, ancient settlers who delimited and hid their caves with these plants, and whose fruits nowadays form part of the local gastronomy.

Michelle Frenna also offers a section dedicated to astral signs.

 

William Marr is another painter who contributes his images and designs to this book. He is a painter of Taiwanese origin, although he has lived in the United States for over sixty years.

 

And finally, this work by Vasiliki Dragouni is open to multiple interpretations, as we can see.

The result is a surprising work for its artistic and expository quality. In it, we can appreciate how a poem, brings different landscapes, how it can be interpreted from different perspectives, enriching its literary contribution from diverse and different pictorial perspectives.

 

Isabel Guerra García

Las Palmas de Gran Canaria, 18/02/25

 

*****

 

Sobre Un verano que trasciende de la escritora griega Vasiliki Dragouni

 

Vasiliki Dragouni es una escritora griega, concretamente de Atenas, licenciada en literatura inglesa. Estudió literatura comparada en la Universidad de Gante - Bélgica, y trabaja en aviación.

Ha publicado catorce poemarios y ocho obras en prosa, entre ellas, colecciones de cuentos y micronovelas. Es editora de la revista internacional online Writers Edition – The Complete Magazine.

Cuando el escritor y editor italiano Giovanni Campisi, me solicita el presente artículo, no conocía a la escritora, así que constituyó un reto para mí.

La poesía de esta autora ha sido traducida a siete idiomas y ha recibido varios premios literarios.

Giovanni Campisi realiza el Incipit, Spes última dea que abre este poemario. Se refiere a una frase latina que significa que la esperanza es lo último que se pierde, en clara alusión al Mito de Pandora.

María Kalatzi (Skiathos – Grecia) es la autora de las pinturas, dibujos y escenas que acompañan al texto, en su traducción al español.

Esta combinación: poema + pintura aporta dinamismo a la obra literaria y nos lleva a ampliar nuestra visión, y hacerla más sugerente, más Cosmopolitan.

Así, en Una trascendencia veraniega, primer poema que se nos presenta, Kalatzi ha elegido la imagen de la poeta Safo, captando ese recuerdo instantáneo, / en la orilla del tiempo, o bien en El despertar de una sonrisa soleada en el Alter Ego, saboreando la esencia del día.

Observamos que en las escenas de los cuadros hay una temática feminista manifiesta y es que la mujer constituye el centro, la figura principal, la iconografía del paisaje, el paisaje en sí.

Ver, por ejemplo, Tres respiraciones sagradas, Expectación, o en el poema Descargo de responsabilidad el cuadro Bohemian Of Belle Epoque, o bien en el poema Dirección, la escenografía Complacency.

Por otra parte, en lo referente a los temas que se explicitan en el poemario, destacamos el paso del tiempo. La autora nos dice que Nuestro tiempo es fugaz, título de un poema; lo menciona también en Pequeñas cosas vacías; en el Ahora que se reitera en algunos versos del poema Descargo de responsabilidad o en “…reabriendo las puertas a otro mañana” en el poema Cada voz. También lo podemos observar en estos dos versos:

 

El reloj marcará el tiempo durante horas

y el sol se pondrá y saldrá nuevamente

 

del poema El espejismo de la extinción.

La Fugacidad del Tiempo está presente en el poema En las horas del crepúsculo donde se explicita textualmente:

 

…Llora por el tiempo que huye,

se encoge y se desgasta

en las horas del crepúsculo.

 

En La esperanza es destino, otro tema recurrente nos dirá que:

 

El futuro es pasado.

La esperanza es el destino.

 

Y en Nirvana nos hablará de la dualidad Nacimiento / Muerte.

 

En los poemas El reloj del tiempo y El crepúsculo del tiempo sigue siendo el Tiempo el personaje principal de esta

 

Historia en continuo cambio,

…cada día, a todas horas,

 

representada en Las Cuatro Estaciones de María Kalatzi.

 

La escritora, astrónoma, filósofa y matemática, Hypatia de Alejandría del 370 d.C. o el mundo de la danza de Anna Pávlova, primera bailarina rusa de finales del siglo XIX y principios del XX, componente del Ballet Imperial Ruso, son escenarios del mundo del arte escénico de María Kalatzi.

Esa Cosmología del Arte, a través del tiempo, nos la muestra Kalatzi, en sus obras, desde el 370 d.C.  con Hypatia de Alejandría, hasta 1881 con Anna Pávlova, pasando por la belleza de las máscaras venecianas, la Belle Epóque, Lonely, o los pases del tango, en ese

 

“…minúsculo tic tac

que mide el pulso, define el espacio…”

 

que diría la autora, nuestra querida escritora Vasiliki Dragouni, a quien desde estas líneas queremos felicitar por esta nueva obra, atemporal e imprescindible en estos tiempos.

Hemos de tener en cuenta que además de María Kalatzi, con su interpretación pictórica de los poemas en español, son cinco los pintores que se dan cita en este libro, y que desde un punto de vista personal e interactivo aportan diferentes visiones de un mismo poema.

 

Georgina Tsismalidou con obras como:

Armageddon, Aurora Borealis, Blue Perspective, Blue Vibrations, Brake Freed, Earth From Above, Coral Rhapsody, Entropy and Osmosis, Cosmic Abyss, Cry me River, Elemental, Enlightenment, Mars the Red Planet, Genesis, Fly me through the Blues, Milky Way, Oceanic Dream Scape, Out of the Comfort Zone 1, Pillars of Creation, Radius X, Summer Wave, The Arboreal Enigma, To catch a Wave, What Lies Beyond, Waves of Consciousness.

Nos aporta esa musicalidad a ritmo de blues a los poemas.

 

Ling Ming Li, pintora de Taiwán, con sus dibujos arquitectónicos, escenas de animales, o bien con sus paisajes rurales, de montañas, ríos, sueños y noches serenas, nos hace viajar a otras ciudades, y nos envuelve en esa atmósfera sosegada y nostálgica del campo, de las orillas del mar o del río y de las noches estrelladas, bajo el anochecer, alejados del mundanal ruido.

Así mismo. Adjunta dos retratos de escritores, de Renza Agnelli y de Giovanni Campisi a su registro de obras.

 

Michelle Frenna, se adentra en el paisaje de Sicilia, con cuadros como El folklore de Agrigento, Sicilian Cart, El Templo de la Concordia o El Templo de Juno también llamado de Hera Lacinia, ubicados ambos en el Valle de Los Templos en Agrigento; el Templo de Castor y Polux, en el Foro Romano; o bien El símbolo de Sicilia o Trinacria, emblema celta, con la conocida cabeza de Medusa.

En su obra Opuntia nos presenta una tipología de cactus que en Canarias se corresponde con la tunera y si sus frutos son rojos, se llaman tunos indios en las Islas siendo muy apreciados por los guanches, antiguos pobladores que delimitaban y ocultaban sus cuevas con estas plantas, y cuyos frutos en la actualidad forman parte de la gastronomía local.

Michelle Frenna también nos ofrece en su temática un apartado dedicado a los signos astrales.

 

William Marr, es otro pintor que participa aportando sus imágenes y diseños en este libro. Es un pintor de origen taiwanés, aunque lleva en Estados Unidos más de sesenta años.

 

Y ya para terminar, decir que esta obra de Vasiliki Dragouni, es una obra abierta a múltiples interpretaciones como podemos observar.

El resultado es una obra sorprendente por su calidad artística y expositiva. En ella podemos apreciar como un poema, aporta diferentes paisajes, como puede interpretarse desde perspectivas diferentes enriqueciendo su aportación literaria desde diversos y diferentes pictóricos.

 

Isabel Guerra García

Las Palmas de Gran Canarias, 18/02/25