The Lame Angel
It was Christmas ’37 when the ship docked at Piraeus and disgorged me and my trunk onto the quay of the commercial harbor, for I’d travelled on a freighter under the Argentinian flag. I was now just like the immigrants you’d sometimes see on Ellis Island, back in my own country.
 
After the U.S. Consulate in Athens—my first port of call—I made my way to a hotel on Ermou Street for a few days. The guys at the Embassy’s Information Bureau, alerted by Freddy Lamera and their pals in the FBI, had come up with three different apartments in the center of town for me to choose from. But right from the word go they made it perfectly plain that my profession didn’t have any future in this country. Unless I was incredibly lucky, that is. I didn’t believe them.
 
The office was cheap to rent (but then everything was cheap here for someone who earned a half-way decent wage): I took it at once. As for a place to live, I chose the first apartment on the list they’d drawn up for me. It was five easy minutes away from the office. You turned left on the corner of Harilaou Trikoupi and Fidiou then twenty yards further on you came to Georgiou Gennadiou, a narrow little street on your right. Ten more yards and you were there. The apartment had three main rooms, two looking onto the street in front and the bedroom looking onto the yard at the back. The owner, an engineer by the name of Balomenos, was a thug from the Peloponnese who maintained good relations with the cream of society and, if what people said was true, was a personal friend of Lulu, the daughter of the dictator Metaxas. He let me have the apartment without too much haggling because the previous tenants, a couple called Kanellis, had been months behind with the rent, hadn’t wanted to hear a word about increasing it, and, as he himself said, had wrecked the place. What he wanted was a professional gentleman and bachelor, like me. What’s more, he liked the idea of my job: I’d most probably be a right-wing patriot, not a communist as they were. After relentless pressure on the part of Balomenos, culminating in threats, the Kanellis family (husband and wife both lawyers and a servant-girl from the island of Paros) had taken a smaller apartment on the second floor.
 
Our apartment block had been built less than ten years earlier; on the other side of the narrow street were some fine old buildings, on the corner an abandoned mansion standing in a garden (“Christomanos’ place” as people called it), a little further on the Varvitsiotis house, while on the corner at the top of the street was another little garden surrounding the church of Zoodochos Pigi. Being something of a beginner as regards both the language and the ways of this country, it took me quite a while to realize that this wasn’t the name of some saint but meant “the life-giving source”—or anyway something of the sort.
 
Jobs never did materialize, in spite of the fact that the guys at the Embassy helped as much as they could. I wasn’t making any money and my savings were running out fast. The rents for office and apartment and Vanda’s salary (not to mention the coffee, which we went through at the speed of light) were eating up my money. So I decided to let the office go. Either because he noticed it or because someone told him that I rarely left the house early in the morning, Balomenos got wind of the fact that I’d begun receiving clients at home. One fine morning he knocked at the door and after asking me for the rent—it was the time of month that it was due—he announced that the sum we’d agreed on was for a residence. If I wanted to use the place as my office too we’d have to discuss new terms. “It causes wear and tear,” he said. Or something of the kind.
 
I’d dismissed Vanda when I let the office go, but all the same at the beginning she’d often come over unofficially “to see how I was getting on” and to tidy up my mess. I resorted to Zisis’ café across the street and for a while received clients there; however, a café doesn’t really make a very good impression. And the clients who would visit a private detective agency in those days weren’t poor wretches but people with money and social standing. People who required both a proper office and a secretary.
 
The worst was yet to come. It wasn’t long in coming. The worst was the war. It may have made it easier for me to find a new office on Gamvetta Street for a very low rent, but it put an end to my last hopes of establishing a clientele and a name for myself. People now had more important things to worry about.
 
In Athens at that time you couldn’t practice my profession except in the most demeaning way. The business that most frequently came in my direction was nosing out illicit couples in some hotel room or bachelor pad and, with the help of a photographer—I used Pelopidas Lebesopoulos, who had a ground-floor studio on Gamvetta Street—bundling them up and taking them naked to the nearest police station for a criminal charge of adultery to follow. You needed a heart of stone for this kind of work. But my heart had already grown fairly hard and I did it without a second thought—dragging them off to the station, pale and distressed, stark naked beneath a rough and ready sheet or blanket, trembling and weeping or cursing us and promising the sun and moon if we’d only let them go.
 
Twice, when the money was good and the social position of the man offering it seemed to promise future favors or protection if the need arose, I did just this. I let the little birds fly and told my clients that the information they’d given me had been wrong. But this happened only twice. A third time, much later, I almost paid very dearly. However, the war got me off the hook then.
 
I’d been obliged to take the plunge and leave New York, where I’d inherited Freddy Lamera’s agency—an old agency with traditions and an established clientele. Freddy was a Greek, born in Astoria, from one of the oldest immigrant families: his parents had been among the first to arrive, at a time when you rarely came across any Greeks in America. My father sent me to work as Freddy’s assistant and when he died Freddy had more or less adopted me; being unmarried and without any financial obligations, he left the agency in my hands when he decided to retire.
 
Not far from Astoria, in Corona, Don Guzman and his lieutenants held power in those days. The “Sicilian”, whom the Americans also knew as “Don Gasman”, never got on too well with Freddy. However, he’d taken a shine to me—perhaps because I’d helped his consigliere come out clean from a nasty adventure, and I’d done it so swiftly and effectively that everyone was left open-mouthed. Freddy grumbled. “Don’t get mixed up with that shit,” he kept on saying. But it’s a wonderful feeling being high in the esteem of Don Guzman and I wouldn’t listen. “He’ll become legal,” I said. “It won’t be long, Jos’ll manage it, he’s half-way there already. And then just think of the favors we’ll get.”
 
Don Guzman never did become legal, nor did I ever see any favors from him. And—fool that I was—in spite of old Freddy’s imprecations I got involved with the mafia boss’s youngest daughter, Laura. I was rash enough to do what I did without any attempt at concealment. I was secure in the knowledge that the Sicilian had a soft spot for me. The result was that Laurina disappeared overnight—I couldn’t even get her on the phone—I destroyed Freddy’s old age (the Italian’s thugs used to call him La Merda in mockery) and the agency closed down.
 
One night I heard the sirens of the fire engines. I didn’t pay any attention until someone telephoned me. “Your office is on fire,” he said. I pulled on a pair of pants and a raincoat over my pajamas and went out into the street. Three blocks further down I could see the glow. I pushed through the police cordon and ran up the stairs. The outer office with the files was burnt to ashes. You couldn’t advance a step further—the place had gone up like a torch. The smoke was suffocating and I collapsed unconscious. When I came to, I was on a stretcher with a male nurse bending over me. “You were lucky,” he said.
 
Lucky indeed! A couple of days later, as I was coming back from visiting Lamera, two of the Sicilian’s men cornered me in a narrow alley. Beppo, his chief henchman, had always liked me. But what has liking got to do with it? No one quibbles when Don Guzman has given his command. “My orders are to do you some grievous damage, Angey boy,” he told me. “Sorry, but you were asking for it.”
 
I don’t want to remember that night. Beppo himself severed the tendon of my left leg (this was the Sicilian’s favorite punishment—since the early 1930s, when the bastard was at the height of his power, Astoria had become full of men who limped.) However, the worst damage he left to a mute they’d recently brought over from their own country, a numbskull who didn’t understand a thing. He did it just as if he were slicing vegetables for dinner…
 
I was in the University Hospital on Staten Island for two months, in strict isolation. Police Officer Hendry came over twice a week from Astoria to see how I was doing. Instead of pressing me to make a statement about who’d done these things to me (something that in any case everyone knew), the first time he came he told me, “In your place I’d count myself darn lucky to be alive. In your place I’d be thinking very seriously of taking a trip to see my relatives in Greece.” When I told him I didn’t have any relatives in Greece, he smiled: “In your place I’d find some.” Don Guzman or Jos Gasman was sending me a message via Hendry to get out of there fast.
 
At the beginning I was obstinate. At night I dreamed of finding him and doing to him what he’d done to me. Of cleansing the town of that bastard and his gang. Of being decorated for it at the Town Hall and of being taken on by the Force—with the prospect of becoming its Chief. Old Freddy, who in the meantime had had a heart attack, brought me back to earth. “Hendry was right, you’ve been lucky. Get out, don’t stay here. There’s no future for you as long as Guzman’s alive. You’re finished.”
 
When, about a week before I left, I ran into Beppo in the street, he stopped to have a word with me. He was all smiles, glad to see me alive. “Sicilians,” he said with a grimace (he was from Venice, a northerner), “like to hurt you where you hurt them.” It was as if he were apologizing. “Why did you sever the tendon in my leg?” I asked. “Jos loves you, buddy,” he answered, “so he did it to save your face…” “By making me lame?” I asked. “Exactly,” he replied. “The whole world needs to know that the man who dared raise his eyes to the Don’s daughter has been punished. That’s why he lamed you. The other thing… only you and he know about the other thing. And Lauretta.”
 
This, put briefly, was my story. I could write a whole separate book about it but it no longer interests me. Other things interest me and it’s of these I want to speak. I left my life behind me, the place where I’d grown up, the woman I loved, old Freddy, my mother’s and father’s graves. I was now making the reverse journey of all the shiploads of immigrants who come to America to seek their fortune. I was returning to Piraeus by steamship, to the land of my origins whose language I thought I knew fairly well (I still used to speak Greek with Freddy in the evenings—he spoke it perfectly as if he’d only just arrived from Greece the other day), a land, however, which I’d only set eyes on once when I was four years old and never since. I was more familiar with Mexico than with Greece. I went to the U.S. consulate, they received me pleasantly, forewarned by Lamera and their contacts at Head Office; they gave my papers to be translated and then were kind enough to talk to the Security Police. The Greek police weren’t quite sure what a “private detective” was. One or two high-ranking officers had opened agencies after retiring but—what with the lack of work and what with their advancing age—these had soon closed down. My profession hadn’t managed to make a name for itself in the market.
 
And I was living in limbo. I did a few jobs for some Americans at the embassy, for some elderly English women who lived here. Of my Greek clients during that first period, someone wanted me to follow his daughter and her boyfriend. He put the photographs I gave him into his pocket with an enthusiastic smile, as if I’d just handed him the most valuable gift. He paid me and disappeared. For weeks I used to scan the newspapers in case something about them caught my eye, some drama, some row, but it was a waste of time. Total silence. I ran into them, father and daughter, sitting at Zacharatos’ café in Syntagma Square, and they both looked perfectly happy. Just how exactly they’d sorted matters out between them I never did understand.
 
 
© Alexis Panselinos 2020
 
This is an excerpt from The Lame Angel, a novel by Alexis Panselinos, translated by Caroline Harbouri, Recital Publishing 2020
It was Christmas ’37 when the ship docked at Piraeus and disgorged me and my trunk onto the quay of the commercial harbor, for I’d travelled on a freighter under the Argentinian flag. I was now just like the immigrants you’d sometimes see on Ellis Island, back in my own country.
 
After the U.S. Consulate in Athens—my first port of call—I made my way to a hotel on Ermou Street for a few days. The guys at the Embassy’s Information Bureau, alerted by Freddy Lamera and their pals in the FBI, had come up with three different apartments in the center of town for me to choose from. But right from the word go they made it perfectly plain that my profession didn’t have any future in this country. Unless I was incredibly lucky, that is. I didn’t believe them.
 
The office was cheap to rent (but then everything was cheap here for someone who earned a half-way decent wage): I took it at once. As for a place to live, I chose the first apartment on the list they’d drawn up for me. It was five easy minutes away from the office. You turned left on the corner of Harilaou Trikoupi and Fidiou then twenty yards further on you came to Georgiou Gennadiou, a narrow little street on your right. Ten more yards and you were there. The apartment had three main rooms, two looking onto the street in front and the bedroom looking onto the yard at the back. The owner, an engineer by the name of Balomenos, was a thug from the Peloponnese who maintained good relations with the cream of society and, if what people said was true, was a personal friend of Lulu, the daughter of the dictator Metaxas. He let me have the apartment without too much haggling because the previous tenants, a couple called Kanellis, had been months behind with the rent, hadn’t wanted to hear a word about increasing it, and, as he himself said, had wrecked the place. What he wanted was a professional gentleman and bachelor, like me. What’s more, he liked the idea of my job: I’d most probably be a right-wing patriot, not a communist as they were. After relentless pressure on the part of Balomenos, culminating in threats, the Kanellis family (husband and wife both lawyers and a servant-girl from the island of Paros) had taken a smaller apartment on the second floor.
 
Our apartment block had been built less than ten years earlier; on the other side of the narrow street were some fine old buildings, on the corner an abandoned mansion standing in a garden (“Christomanos’ place” as people called it), a little further on the Varvitsiotis house, while on the corner at the top of the street was another little garden surrounding the church of Zoodochos Pigi. Being something of a beginner as regards both the language and the ways of this country, it took me quite a while to realize that this wasn’t the name of some saint but meant “the life-giving source”—or anyway something of the sort.
 
Jobs never did materialize, in spite of the fact that the guys at the Embassy helped as much as they could. I wasn’t making any money and my savings were running out fast. The rents for office and apartment and Vanda’s salary (not to mention the coffee, which we went through at the speed of light) were eating up my money. So I decided to let the office go. Either because he noticed it or because someone told him that I rarely left the house early in the morning, Balomenos got wind of the fact that I’d begun receiving clients at home. One fine morning he knocked at the door and after asking me for the rent—it was the time of month that it was due—he announced that the sum we’d agreed on was for a residence. If I wanted to use the place as my office too we’d have to discuss new terms. “It causes wear and tear,” he said. Or something of the kind.
 
I’d dismissed Vanda when I let the office go, but all the same at the beginning she’d often come over unofficially “to see how I was getting on” and to tidy up my mess. I resorted to Zisis’ café across the street and for a while received clients there; however, a café doesn’t really make a very good impression. And the clients who would visit a private detective agency in those days weren’t poor wretches but people with money and social standing. People who required both a proper office and a secretary.
 
The worst was yet to come. It wasn’t long in coming. The worst was the war. It may have made it easier for me to find a new office on Gamvetta Street for a very low rent, but it put an end to my last hopes of establishing a clientele and a name for myself. People now had more important things to worry about.
In Athens at that time you couldn’t practice my profession except in the most demeaning way. The business that most frequently came in my direction was nosing out illicit couples in some hotel room or bachelor pad and, with the help of a photographer—I used Pelopidas Lebesopoulos, who had a ground-floor studio on Gamvetta Street—bundling them up and taking them naked to the nearest police station for a criminal charge of adultery to follow. You needed a heart of stone for this kind of work. But my heart had already grown fairly hard and I did it without a second thought—dragging them off to the station, pale and distressed, stark naked beneath a rough and ready sheet or blanket, trembling and weeping or cursing us and promising the sun and moon if we’d only let them go.
 
Twice, when the money was good and the social position of the man offering it seemed to promise future favors or protection if the need arose, I did just this. I let the little birds fly and told my clients that the information they’d given me had been wrong. But this happened only twice. A third time, much later, I almost paid very dearly. However, the war got me off the hook then.
 
I’d been obliged to take the plunge and leave New York, where I’d inherited Freddy Lamera’s agency—an old agency with traditions and an established clientele. Freddy was a Greek, born in Astoria, from one of the oldest immigrant families: his parents had been among the first to arrive, at a time when you rarely came across any Greeks in America. My father sent me to work as Freddy’s assistant and when he died Freddy had more or less adopted me; being unmarried and without any financial obligations, he left the agency in my hands when he decided to retire.
 
Not far from Astoria, in Corona, Don Guzman and his lieutenants held power in those days. The “Sicilian”, whom the Americans also knew as “Don Gasman”, never got on too well with Freddy. However, he’d taken a shine to me—perhaps because I’d helped his consigliere come out clean from a nasty adventure, and I’d done it so swiftly and effectively that everyone was left open-mouthed. Freddy grumbled. “Don’t get mixed up with that shit,” he kept on saying. But it’s a wonderful feeling being high in the esteem of Don Guzman and I wouldn’t listen. “He’ll become legal,” I said. “It won’t be long, Jos’ll manage it, he’s half-way there already. And then just think of the favors we’ll get.”
 
Don Guzman never did become legal, nor did I ever see any favors from him. And—fool that I was—in spite of old Freddy’s imprecations I got involved with the mafia boss’s youngest daughter, Laura. I was rash enough to do what I did without any attempt at concealment. I was secure in the knowledge that the Sicilian had a soft spot for me. The result was that Laurina disappeared overnight—I couldn’t even get her on the phone—I destroyed Freddy’s old age (the Italian’s thugs used to call him La Merda in mockery) and the agency closed down.
 
One night I heard the sirens of the fire engines. I didn’t pay any attention until someone telephoned me. “Your office is on fire,” he said. I pulled on a pair of pants and a raincoat over my pajamas and went out into the street. Three blocks further down I could see the glow. I pushed through the police cordon and ran up the stairs. The outer office with the files was burnt to ashes. You couldn’t advance a step further—the place had gone up like a torch. The smoke was suffocating and I collapsed unconscious. When I came to, I was on a stretcher with a male nurse bending over me. “You were lucky,” he said.
 
Lucky indeed! A couple of days later, as I was coming back from visiting Lamera, two of the Sicilian’s men cornered me in a narrow alley. Beppo, his chief henchman, had always liked me. But what has liking got to do with it? No one quibbles when Don Guzman has given his command. “My orders are to do you some grievous damage, Angey boy,” he told me. “Sorry, but you were asking for it.”
 
I don’t want to remember that night. Beppo himself severed the tendon of my left leg (this was the Sicilian’s favorite punishment—since the early 1930s, when the bastard was at the height of his power, Astoria had become full of men who limped.) However, the worst damage he left to a mute they’d recently brought over from their own country, a numbskull who didn’t understand a thing. He did it just as if he were slicing vegetables for dinner…
 
I was in the University Hospital on Staten Island for two months, in strict isolation. Police Officer Hendry came over twice a week from Astoria to see how I was doing. Instead of pressing me to make a statement about who’d done these things to me (something that in any case everyone knew), the first time he came he told me, “In your place I’d count myself darn lucky to be alive. In your place I’d be thinking very seriously of taking a trip to see my relatives in Greece.” When I told him I didn’t have any relatives in Greece, he smiled: “In your place I’d find some.” Don Guzman or Jos Gasman was sending me a message via Hendry to get out of there fast.
 
At the beginning I was obstinate. At night I dreamed of finding him and doing to him what he’d done to me. Of cleansing the town of that bastard and his gang. Of being decorated for it at the Town Hall and of being taken on by the Force—with the prospect of becoming its Chief. Old Freddy, who in the meantime had had a heart attack, brought me back to earth. “Hendry was right, you’ve been lucky. Get out, don’t stay here. There’s no future for you as long as Guzman’s alive. You’re finished.”
 
When, about a week before I left, I ran into Beppo in the street, he stopped to have a word with me. He was all smiles, glad to see me alive. “Sicilians,” he said with a grimace (he was from Venice, a northerner), “like to hurt you where you hurt them.” It was as if he were apologizing. “Why did you sever the tendon in my leg?” I asked. “Jos loves you, buddy,” he answered, “so he did it to save your face…” “By making me lame?” I asked. “Exactly,” he replied. “The whole world needs to know that the man who dared raise his eyes to the Don’s daughter has been punished. That’s why he lamed you. The other thing… only you and he know about the other thing. And Lauretta.”
 
This, put briefly, was my story. I could write a whole separate book about it but it no longer interests me. Other things interest me and it’s of these I want to speak. I left my life behind me, the place where I’d grown up, the woman I loved, old Freddy, my mother’s and father’s graves. I was now making the reverse journey of all the shiploads of immigrants who come to America to seek their fortune. I was returning to Piraeus by steamship, to the land of my origins whose language I thought I knew fairly well (I still used to speak Greek with Freddy in the evenings—he spoke it perfectly as if he’d only just arrived from Greece the other day), a land, however, which I’d only set eyes on once when I was four years old and never since. I was more familiar with Mexico than with Greece. I went to the U.S. consulate, they received me pleasantly, forewarned by Lamera and their contacts at Head Office; they gave my papers to be translated and then were kind enough to talk to the Security Police. The Greek police weren’t quite sure what a “private detective” was. One or two high-ranking officers had opened agencies after retiring but—what with the lack of work and what with their advancing age—these had soon closed down. My profession hadn’t managed to make a name for itself in the market.
 
And I was living in limbo. I did a few jobs for some Americans at the embassy, for some elderly English women who lived here. Of my Greek clients during that first period, someone wanted me to follow his daughter and her boyfriend. He put the photographs I gave him into his pocket with an enthusiastic smile, as if I’d just handed him the most valuable gift. He paid me and disappeared. For weeks I used to scan the newspapers in case something about them caught my eye, some drama, some row, but it was a waste of time. Total silence. I ran into them, father and daughter, sitting at Zacharatos’ café in Syntagma Square, and they both looked perfectly happy. Just how exactly they’d sorted matters out between them I never did understand.
 
 
© Alexis Panselinos 2020
 
This is an excerpt from The Lame Angel, a novel by Alexis Panselinos, translated by Caroline Harbouri, Recital Publishing 2020
Narrated by Brent Robison.
Narrated by Brent Robison.
POST RECITAL
TALK
TN: Alexis, welcome to The Strange Recital. Yassou. Or should I perhaps say yassas?
 
AP: Yassas, from me to you—Yassou from you to me, that’s very, very good Greek, Tom. So, hi, and I am very happy to be here!
 
TN: Well, thank you… That’s about all I know in Greek… Both Brent and I really enjoyed The Lame Angel.
 
BR: Yes…
 
TN: It wasn’t easy to pick an excerpt. We wanted to give its flavor without revealing too much and spoiling it for the reader. I think Brent came through. He has a knack for this kind of thing…He’s like a bloodhound…
 
BR: Hm, should I say thanks, or…?
 
TN: Well… anyway, your protagonist, Angel, is a private eye and there are hints of a certain literary film noir but the story’s much richer than that. He arrives in Athens just before the war and lives through the occupation—though it’s not a war story either. You describe life in Athens at the time with great historical detail, and with warmth and humor. You know, I started reading Hitler’s Greece once, by Mark Mazower—it’s a history of wartime Greece—quite an assault on the emotions. Actually I found it too disturbing to finish. But I did learn though, that of all occupied countries in Europe, Greece suffered the most. It was robbed of just about everything it produced, and by two occupiers—hence the famine. Can you add to this? Do you have early memories perhaps?
 
AP: Well, the occupations were really three actually—the North had a Bulgarian occupation—and a very harsh one…
 
TN: Yes I obviously forgot about Bulgaria.
 
BR: How could you forget about Bulgaria?
 
TN: That’s because I didn’t finish the book. How was I to know? Im sorry Alexis, please go on.
 
AP: In general my memory is very good, but, you see, as I was born during the German Occupation, I only have my parents’ memories of it, and of course a whole lot of later information about that dark era. Greece did suffer the most, because Greek people resisted the most—and I don’t only mean the armed resistance and sabotage that took place, but also a very impulsive… so to speak… a moral resistance. People looked on the Germans with utter disdain and that must have caused a reciprocation of hate and utter vindictiveness from them. People died in the streets, they fell as they walked, and stayed there, till the municipality removed their bodies from the pavement. Others were hanging from tree-branches and lamp-posts—to intimidate aspiring resisters. The strange thing though is that during the Occupation there was also a surge of creativity: theater, poetry, novels, painting were flourishing then, and the public responded thirsting for life. Ever present death made the passion for living very strong—for living AND for love. I have it from my parents (illustrated with many, many stories) that fear for one’s life caused high eroticism and strong passions!
 
TN: I’m sure it did.
 
BR: So, fear of death maybe could be excellent therapy for our apathetic culture. Well one thing I’m interested in, is how this story incorporates a variation on the Wounded Hero archetype—perhaps related to the Arthurian legend of the Fisher King, whose wound was possibly a genital one. And it's also connected to the Wounded Healer archetype—from the myth of the centaur Chiron who was incurably wounded by Hercules' arrow, and wandered the earth healing others. So it's about a man whose vulnerability and injury provide a secret strength that allows him to save others. Without revealing the magical gift that Angel gets, can you say something about this wounded hero idea?
 
AP: I have to say I don’t pay much attention to the Arthurian legend. I am more at home with the Centaur Chiron, but neither were in my mind when I wrote the book. These myths lurk in our subconscious—but I am against basing novels on them, really. My idea in creating Angel was very down-to-earth. Since I wanted to write about a private eye endowed with some superhuman ability and have him become the angel protector of a musician (a composer in fact who earned his living playing the contrabass in the opera orchestra)—I thought his angelic nature should deprive him of his manhood and his superhuman ability should be offset by him having become lame; and this specific trauma of his should hark back to his American years: crossing a Mafia-boss and paying the price.
 
TN: Angel’s last name is Sotiriou, which I believe in English is ‘Savior’. He has some fairly significant dealings with another character called Agathos, meaning ‘Good’ in English. Angel needs no translation. I’m curious. What was your intention with this symbolism of names? Was it just playful, or was it something else?
 
AP: Well the idea was to play with the name-symbolisms just because I had to realistically describe non-realistic incidents—so symbolism had to be curved by a po-faced first person narrative harking back to the American masters of the noir—both literary and cinematic. “Maltese Falcon” and “The Big Sleep” were very strong influences together with a vast number of 1940s B-movies. For instance… I describe Mr. Agathos very much like Syndey Greenstreet’s character in the “Maltese Falcon” film.
 
BR: Yeah… both of those movies and the books they were based on are favorites of mine. These days I’m a little obsessed by the literary persona that we might call the "metaphysical detective”—he may pursue the solution to a crime in the plot of the story, but the much more important mysteries he pursues are his own identity and the deeper nature of reality—who am I, and what is true? I see Angel as taking that metaphysical detective journey in your book. Would you agree?
 
AP: Absolutely. Being of Greek descent, born in America, and now trapped in the land of his ancestors, of which he knows next to nothing, Angel is on a very intense search (should I say “quest”?) for his identity and for matching his soul with that of the unknown place he’s “landed” on.
 
TN: Another book I love is The Master and Margerita, by Mikhail Bulgakov. It occurred to me that there is some kind of parallel connection between your book and his. The Devil shows up in Moscow during the Stalinist era. God shows up in Athens during the Occupation. Maybe there’s an unconscious connection—a theme of a powerful being turning up unexpectedly in a place where people are suffering, with a particular effect on one individual. Am I talking off the top of my head?
 
AP: Ha ha, you got me there ! I too love that Bulgakov novel and clearly have modeled Mr. Agathos (and his DOG !) on Bulgakov’s “Devil”. You see… although I am not a theologian, I would readily maintain that the Devil is the flip side of God—or vice versa—so my Mr. Agathos (which is a surname denoting one of God’s characteristics—His Good-ness) acts in the story more as the Devil, dealing with both the Greek resistance and the occupying Germans, AND the local black-marketeers and collaborators of the enemy. At the same time he pays my private eye, Angel, to protect (and “save” if needed) his own protégé, the musician—a person who gives me the opportunity to talk about art and philosophy and East-West confrontation leading to an ideal, future amalgamation of the expressive ways of both.
 
BR: I like that your book is a genre-buster—that’s one of its great strengths. Unfortunately…
 
TN: Mia papia ma poia papia… sorry… I’ve been waiting to say that.
 
BR: Tom, please don’t interrupt me.
 
TN: Okay.
 
BR: As I was saying, unfortunately we have to face categories in publishing. Alexis, would you call your book a detective story, a historical novel, magical realism, or what?
 
AP: I don’t like categorizing art. This is the fare of critics and literary-theorists…
 
BR: Hear hear.
 
AP: I prefer to call it a Novel…
 
BR: Yes.
 
AP: … this blessed genre which—from its earliest times—managed to contain all facets of life, the tragic and the comic, the divine and the ridiculous.
 
TN: That’s well put. Now music courses through your book in various guises—from drunken songs in the curfew to the uptight foistering of Germanic culture on starving Greek musicians. Your recent novel Light Greek Songs, although I haven’t read it, implies a musical motif. What significance does music play in your writing? Are you a musician?
 
AP: I am not. Wanted to be when I was very young, but luckily it proved too difficult at the time so I continued writing, which I now much prefer. Yes, I love music. I am a collector of classical recordings since my teens, and I think music has magically closed all the gaps in my literary education—I mean all the great books I haven’t found time to read; music has also taught me gradations, harmony, building climaxes and to freely extemporize when I feel like it. Another novel of mine, written before The Lame Angel, has a great Viennese composer of the 18th century visiting Greece when the land was part of the Ottoman Empire—and has him meet another great Greek poet and discover Eastern music and art. As for the Light Geek Songs you mentioned, these don’t really have so much to do with music or with song, as they have with post-civil war Athens, Greece then a devastated country (yet… sending troops to Korea!) and the sometimes silly songs that were sang or danced to, during the early 1950s, to boost the morale of the people and let them dream of future happiness and prosperity.
 
BR: You have written a number of novels and also worked as a translator. Are you working on anything at the moment?
 
AP: At the moment I am trying to breathe life into an extinct project of a novel of mine, with mixed success—I don’t know if this will come to something in the end or if I shall drop it and try something new.
 
BR: Alexis, what was Tom saying earlier when he interrupted?
 
AP: “A duck but which duck?” Hahaha… That’s a glossodetis – a “tongue twister” in Greek.
 
BR: Hm, I'm lost.
 
TN: I wouldn’t worry too much about it… Anyway, thank you Alexis for talking with us today, but you know we have to end it here. I’ve got to go out and buy a loaf of bread if I can find one. This pandemic in America is no joke.
 
AP: I wish you a happy and full recovery from your pandemic, guys.
 
TN: Thank you.
 
AP: It was great talking with you both. Many many thanks for bringing one of my novels to the American public for the first time!
 
BR: Well thank you Alexis… I’ll come with you, Tom. We can get it from the prostitutes in town.
 
TN: Are there any?
 
AP: Hey! That’s from my book! So you’ve really read it—yes ?
TN: Alexis, welcome to The Strange Recital. Yassou. Or should I perhaps say yassas?
 
AP: Yassas, from me to you—Yassou from you to me, that’s very, very good Greek, Tom. So, hi, and I am very happy to be here!
 
TN: Well, thank you… That’s about all I know in Greek… Both Brent and I really enjoyed The Lame Angel.
 
BR: Yes…
 
TN: It wasn’t easy to pick an excerpt. We wanted to give its flavor without revealing too much and spoiling it for the reader. I think Brent came through. He has a knack for this kind of thing…He’s like a bloodhound…
 
BR: Hm, should I say thanks, or…?
 
TN: Well… anyway, your protagonist, Angel, is a private eye and there are hints of a certain literary film noir but the story’s much richer than that. He arrives in Athens just before the war and lives through the occupation—though it’s not a war story either. You describe life in Athens at the time with great historical detail, and with warmth and humor. You know, I started reading Hitler’s Greece once, by Mark Mazower—it’s a history of wartime Greece—quite an assault on the emotions. Actually I found it too disturbing to finish. But I did learn though, that of all occupied countries in Europe, Greece suffered the most. It was robbed of just about everything it produced, and by two occupiers—hence the famine. Can you add to this? Do you have early memories perhaps?
 
AP: Well, the occupations were really three actually—the North had a Bulgarian occupation—and a very harsh one…
 
TN: Yes I obviously forgot about Bulgaria.
 
BR: How could you forget about Bulgaria?
 
TN: That’s because I didn’t finish the book. How was I to know? Im sorry Alexis, please go on.
 
AP: In general my memory is very good, but, you see, as I was born during the German Occupation, I only have my parents’ memories of it, and of course a whole lot of later information about that dark era. Greece did suffer the most, because Greek people resisted the most—and I don’t only mean the armed resistance and sabotage that took place, but also a very impulsive… so to speak… a moral resistance. People looked on the Germans with utter disdain and that must have caused a reciprocation of hate and utter vindictiveness from them. People died in the streets, they fell as they walked, and stayed there, till the municipality removed their bodies from the pavement. Others were hanging from tree-branches and lamp-posts—to intimidate aspiring resisters. The strange thing though is that during the Occupation there was also a surge of creativity: theater, poetry, novels, painting were flourishing then, and the public responded thirsting for life. Ever present death made the passion for living very strong—for living AND for love. I have it from my parents (illustrated with many, many stories) that fear for one’s life caused high eroticism and strong passions!
 
TN: I’m sure it did.
 
BR: So, fear of death maybe could be excellent therapy for our apathetic culture. Well one thing I’m interested in, is how this story incorporates a variation on the Wounded Hero archetype—perhaps related to the Arthurian legend of the Fisher King, whose wound was possibly a genital one. And it's also connected to the Wounded Healer archetype—from the myth of the centaur Chiron who was incurably wounded by Hercules' arrow, and wandered the earth healing others. So it's about a man whose vulnerability and injury provide a secret strength that allows him to save others. Without revealing the magical gift that Angel gets, can you say something about this wounded hero idea?
 
AP: I have to say I don’t pay much attention to the Arthurian legend. I am more at home with the Centaur Chiron, but neither were in my mind when I wrote the book. These myths lurk in our subconscious—but I am against basing novels on them, really. My idea in creating Angel was very down-to-earth. Since I wanted to write about a private eye endowed with some superhuman ability and have him become the angel protector of a musician (a composer in fact who earned his living playing the contrabass in the opera orchestra)—I thought his angelic nature should deprive him of his manhood and his superhuman ability should be offset by him having become lame; and this specific trauma of his should hark back to his American years: crossing a Mafia-boss and paying the price.
 
TN: Angel’s last name is Sotiriou, which I believe in English is ‘Savior’. He has some fairly significant dealings with another character called Agathos, meaning ‘Good’ in English. Angel needs no translation. I’m curious. What was your intention with this symbolism of names? Was it just playful, or was it something else?
 
AP: Well the idea was to play with the name-symbolisms just because I had to realistically describe non-realistic incidents—so symbolism had to be curved by a po-faced first person narrative harking back to the American masters of the noir—both literary and cinematic. “Maltese Falcon” and “The Big Sleep” were very strong influences together with a vast number of 1940s B-movies. For instance… I describe Mr. Agathos very much like Syndey Greenstreet’s character in the “Maltese Falcon” film.
 
BR: Yeah… both of those movies and the books they were based on are favorites of mine. These days I’m a little obsessed by the literary persona that we might call the "metaphysical detective”—he may pursue the solution to a crime in the plot of the story, but the much more important mysteries he pursues are his own identity and the deeper nature of reality—who am I, and what is true? I see Angel as taking that metaphysical detective journey in your book. Would you agree?
 
AP: Absolutely. Being of Greek descent, born in America, and now trapped in the land of his ancestors, of which he knows next to nothing, Angel is on a very intense search (should I say “quest”?) for his identity and for matching his soul with that of the unknown place he’s “landed” on.
 
TN: Another book I love is The Master and Margerita, by Mikhail Bulgakov. It occurred to me that there is some kind of parallel connection between your book and his. The Devil shows up in Moscow during the Stalinist era. God shows up in Athens during the Occupation. Maybe there’s an unconscious connection—a theme of a powerful being turning up unexpectedly in a place where people are suffering, with a particular effect on one individual. Am I talking off the top of my head?
 
AP: Ha ha, you got me there ! I too love that Bulgakov novel and clearly have modeled Mr. Agathos (and his DOG !) on Bulgakov’s “Devil”. You see… although I am not a theologian, I would readily maintain that the Devil is the flip side of God—or vice versa—so my Mr. Agathos (which is a surname denoting one of God’s characteristics—His Good-ness) acts in the story more as the Devil, dealing with both the Greek resistance and the occupying Germans, AND the local black-marketeers and collaborators of the enemy. At the same time he pays my private eye, Angel, to protect (and “save” if needed) his own protégé, the musician—a person who gives me the opportunity to talk about art and philosophy and East-West confrontation leading to an ideal, future amalgamation of the expressive ways of both.
 
BR: I like that your book is a genre-buster—that’s one of its great strengths. Unfortunately…
 
TN: Mia papia ma poia papia… sorry… I’ve been waiting to say that.
 
BR: Tom, please don’t interrupt me.
 
TN: Okay.
 
BR: As I was saying, unfortunately we have to face categories in publishing. Alexis, would you call your book a detective story, a historical novel, magical realism, or what?
 
AP: I don’t like categorizing art. This is the fare of critics and literary-theorists…
 
BR: Hear hear.
 
AP: I prefer to call it a Novel…
 
BR: Yes.
 
AP: … this blessed genre which—from its earliest times—managed to contain all facets of life, the tragic and the comic, the divine and the ridiculous.
 
TN: That’s well put. Now music courses through your book in various guises—from drunken songs in the curfew to the uptight foistering of Germanic culture on starving Greek musicians. Your recent novel Light Greek Songs, although I haven’t read it, implies a musical motif. What significance does music play in your writing? Are you a musician?
 
AP: I am not. Wanted to be when I was very young, but luckily it proved too difficult at the time so I continued writing, which I now much prefer. Yes, I love music. I am a collector of classical recordings since my teens, and I think music has magically closed all the gaps in my literary education—I mean all the great books I haven’t found time to read; music has also taught me gradations, harmony, building climaxes and to freely extemporize when I feel like it. Another novel of mine, written before The Lame Angel, has a great Viennese composer of the 18th century visiting Greece when the land was part of the Ottoman Empire—and has him meet another great Greek poet and discover Eastern music and art. As for the Light Geek Songs you mentioned, these don’t really have so much to do with music or with song, as they have with post-civil war Athens, Greece then a devastated country (yet… sending troops to Korea!) and the sometimes silly songs that were sang or danced to, during the early 1950s, to boost the morale of the people and let them dream of future happiness and prosperity.
 
BR: You have written a number of novels and also worked as a translator. Are you working on anything at the moment?
 
AP: At the moment I am trying to breathe life into an extinct project of a novel of mine, with mixed success—I don’t know if this will come to something in the end or if I shall drop it and try something new.
 
BR: Alexis, what was Tom saying earlier when he interrupted?
 
AP: “A duck but which duck?” Hahaha… That’s a glossodetis – a “tongue twister” in Greek.
 
BR: Hm, I'm lost.
 
TN: I wouldn’t worry too much about it… Anyway, thank you Alexis for talking with us today, but you know we have to end it here. I’ve got to go out and buy a loaf of bread if I can find one. This pandemic in America is no joke.
 
AP: I wish you a happy and full recovery from your pandemic, guys.
 
TN: Thank you.
 
AP: It was great talking with you both. Many many thanks for bringing one of my novels to the American public for the first time!
 
BR: Well thank you Alexis… I’ll come with you, Tom. We can get it from the prostitutes in town.
 
TN: Are there any?
 
AP: Hey! That’s from my book! So you’ve really read it—yes ?
Music on this episode:
Piano Sonata no. 7 in B flat Major "Stalingrad", Opus 83 by Sergei Prokofiev
License Public Domain Mark 1.0