394:, in both its social and its religious dimension, being predominant preoccupations. Through the escape and gradual alienation of the book's main character fleeing from a structure that is presented as a sort of confinement, an individual is shown to be the putative victim of a persecuting order. This is complicated further by the underlying trauma of a real – or imagined – social collapse whose details unfold in the course of the narrator's voyage. Exposure outside the limits of a familiar world is also detrimental to the composure of both self and reality which the narrator/author must reestablish. Banishment brings with it the strife to reconstruct a familiar universe, through the formation of new and assimilation of, at times, incomprehensible, nightmarish, or hallucinatory experiences. Reinventing a "personal reality", relating to others and seeking a metaphysically firm foundation are major concerns leading to existential
449:, it builds a sort of unsolvable lore around its narrator/protagonist, alternating poetry and prose in order to represent his inner thoughts and experiences. Poetic tropes combine interchangeably with an almost telegraphic style omitting articles and conjunctions, while using the rhetorics of diary form; mainly colloquial, with violations and distortions of grammar. Free-floating sentences and lacunae form occasionally a broken unstructured syntax, seemingly tight but leaving enough loopholes through which subconscious fears are expressed. At the same time, there is rhythmic use of language creating a musicality in the midst of despair.
29:
426:
somewhere else. They know how to search but they don't know what way. And even if they set off from somewhere they will still be quite far. And they will not be many. Perhaps just one. One is like all of them together. Same eyes that search, the same mind that calculates the next move. Same legs that run same arms that spread wide. Ears straining to listen, nostrils over their prey. Always acted like that. Two eyes, two ears, two nostrils, two arms, two legs. The symmetry of the machine that pursues you.
457:), and various ancient Greek texts being recurrent reference points. Sometimes external sources are amended and seamlessly integrated into the text becoming part of the protagonist's narrative. On the linguistic level the text itself creates a liminal and fragmented landscape thus depicting the fracture of temporal and spatial relations within the universe unraveled in the course of the journey. Ultimately, the text seems to obtain its own independent status, to consider, arrange and re-arrange itself.
285:
station and starts a journey he records in a "found" bible-like booklet which he turns into his diary. As the journey continues a growing sense of paranoia ensues and the idea of being pursued becomes an increasingly central preoccupation. There are no pursuers to be identified, however, in the course of the journey and the supposed hunt remains a mystery until the end. The environment seems to allude to a decadent futuristic state of a
199:. It is the first installment of the Poena Damni trilogy. Despite being the first of the trilogy in narrative order, the book was the third to be published in the series. The work develops as a sequence of fragmented diary entries recording the solitary experiences of an unnamed, Ulysses-like persona in the course of a train voyage gradually transformed into an inner exploration of the boundaries between
311:, and a variety of proposals by scholars and reviewers alike have been made, pointing at different directions within the text. There is a general impression that, given the book's content as an escapee's fictional diary, Z213 could indicate an inmate's unique number, ward, or section in a supposed detention center. A number of other interpretations have been suggested as follows:
486:
technique in contemporary literature while at the same time perceived as an inheritor of epic poetry, molding the ancient storytelling tradition to a post-modern idiom. Z213: EXIT belongs to the canon of postmodern texts published in the new millennium and Lyacos' s Poena Damni trilogy is, arguably,
465:
The original Greek version (Greek title: Z213: ΕΞΟΔΟΣ) was first published in 2009. The
English translation by Shorsha Sullivan appeared in 2010 by Shoestring Press, followed by a second revised edition in 2016. The book, in its two editions, is the most widely reviewed work of contemporary Greek
294:
ends with a description of a sacrifice where the protagonist and a "hungry band feasting" roast a lamb on a spit, cutting and skinning its still bleating body and removing its entrails as if observing a sacred rite. The mood is enhanced by the overriding waste-land setting, which could be (it is
284:
ambient. In the opening sections of the book, the narrator/protagonist flees from what seems like imprisonment in a building consisting of wards and personnel and from where people are being inexplicably taken away to be thrown into pits. The fugitive leaves the "camp" to get to the nearby train
425:
But no one. You are far away, no one knows you, no one wants to find you, and no one is looking for you. And tomorrow you will be somewhere else still farther away, still more difficult yet, even if they would send someone. But they don't know the way and before they find out you have decamped
452:
It has been noted that Z213: Exit exhibits the deep structure of tragedy - instead of its formal characteristics - and has thus been called a post-tragic work. Religious and visionary images as well as a biblical style of language, predominate with the Old
Testament (mostly
207:. The voyage is also akin to the experience of a religious quest with a variety of biblical references, mostly from the Old Testament, being embedded into the text which is often fractured and foregoing punctuation. Most critics place
466:
literature in translation. Critic
Michael O' Sullivan hailed the book as "a wonderfully dark yet enticing description of what might be described as a philosophy of exits and entrances" and as "sitting comfortably among such works as
289:
kind. The journey is mapped in an indeterminate way, though oblique references create a feeling of a time/space vacuum. The narrator seems to be moving ahead while at the same time being engulfed in his own nightmarish fantasies.
347:
The book makes oblique reference to an unnamed substance which seems to provoke states of hallucination: According to the book's character, the letter Z is the second letter of the name of the substance followed by "some
254:
whereby horror is forced beneath the surface of consciousness only to emerge again in new and increasingly nightmarish forms. Oblique references to tragedies of recent human history are apparent, although, ample
279:
The work recounts, in what reads like a personal journal, in verse form as well as in postmodern poetic prose, the wanderings of a man who escapes from a guarded building, in a nightmarish version of a
502:
works of the 21st century. Commercially, the book has been one of the best-selling titles of contemporary
European poetry in English translation. A new, revised version of Z213: Exit(
482:
considered the book as "one of the most important and challenging literary works to come from Greece in the past generation". The work is regarded as a characteristic exponent of the
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386:
re-contextualizes elements from the greater Greek canon – including the escaped hero and the devout wanderer. It revolves around a variety of interconnected themes, with the
402:. Simultaneously, there is an effort to reach an absent God who seems to constantly recede away from the protagonist's reach, evoking experiences described by mystics of
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An excerpt from the book in
English translation in Asymptote Journal including the original Greek as well as an audio file of the piece recited by the author.
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the most significant Greek work in the course of postmodern literature and drama history. The trilogy, as a whole, is also categorized as an example of
1312:
28:
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892:
570:
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A special feature on
Dimitris Lyacos's trilogy on the Bitter Oleander Magazine including extensive excerpts and an interview with the author
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295:
never explicit) the result of a war that has left the landscape in ruins. The general impression is reminiscent of a spiritual quest or an
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1313 – namely 13 repeated twice is the year of the Red(reed) sea crossing as well as the year of the revelation on the
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366:
The time of the initial departure of the protagonist from the train station is 21.13. The same passage refers to
219:
while others underline its modernist affinities and the work's firm foundation on classical and religious texts.
483:
1468:"Dimitris Lyacos - A Compendium of Information and Resources on the Contemporary Poet: Reviews & Articles"
323:
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510:) appeared in October 2016 while the full trilogy was published in a Box Set English Edition in 2018.
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works of the 21st centuryas well as one of the greatest works of Greek literature of all time.
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to convey the various layers of its mythical, historical, and fictional content. Beginning
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2:13 an angel prompts Mary and Joseph to flee to Egypt in order to avoid Herod's massacre.
286:
216:
196:
42:
1253:"Poena Damni Z213: Exit by Dimitris Lyacos Gets Worthy Translation from Shorsha Sullivan"
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by which all freemen were given the right to Roman citizenship with the exception of the
991:
Elliott, Allison (Fall 2010). "A review of Poena Damni Z213: Exit by
Dimitris Lyacos".
471:
251:
212:
1313:"Book Review: Poena Damni Trilogy by Dimitris Lyacos (Translated by Shorsha Sullivan)"
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motives suggest a far broader project. The book can be read as the first volume of a
98:
856:
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722:"A Philosophy of Exits and Entrances: Dimitris Lyacos's Poena Damni, Z213: Exit"
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296:
333:
In 213 BCE major book burnings take place in China after a decision by
Emperor
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330:. The book makes specific reference to them and to a state of statelessness.
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16. An explicit reference to the
Leviticus excerpt is made in the book.
268:
226:
204:
1678:"Participants of the Tbilisi 3rd International Festival of Literature"
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671:
Sullivan, Shorsha. "The art of translating". In
Lukather, C.E. (ed.).
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474:'s short poem "My way is in the sand flowing". Literature critic and
352:
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in a postmodern context exploring correlations with such writers as
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930:
https://www.editoreric.com/greatlit/greatest-Greek-literature.html
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454:
407:
395:
387:
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234:
536:, Issue 30.1, Winter/Spring 2018, Houston USA, (pp. 277–286)
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1509:"Eucharist: Dimitris Lyacos's "With the People from the Bridge""
686:
684:
682:
230:
200:
523:, analyzing Lyacos's trilogy in the Journal of Poetics Research
1396:
Historical dictionary of postmodernist literature and theater
881:
Widdicombe, Toby; Morris, James M.; Kross, Andrea L. (2017).
1727:
1490:"Department of English, The Chinese University of Hong Kong"
1582:"Ergodic Literature – the Most Interactive Book Genre Ever"
1275:
1273:
225:
is difficult to classify by genre, and is simultaneously a
1094:
Dew, Spencer (July 2011). "Dimitris Lyacos' Z213: Exit".
606:
604:
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epic. It is considered as one of the most important anti-
237:. In contradistinction to "factual report" works such as
1632:"Grab the Nearest Buoy: On Dimitris Lyacos' Poena Damni"
1246:
1244:
1242:
1240:
1043:"Review: Dimitris Lyacos's Z213: Exit, a world gone mad"
778:"From the Ruins of Europe: Lyacos's Debt-Riddled Greece"
692:"'Poena Damni – Z213: Exit' by Dimitris Lyacos (Review)"
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1034:
1013:"Dimitris Lyacos' Z213: Exit (Volume 1 of Poena Damni)"
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841:
745:
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1714:
Journal of Poetics Research –A lively journal for all
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635:
633:
613:"Review: Z213: Exit (Poena Damni) by Dimitris Lyacos"
1199:
Carter, Will (Spring 2017). "Review of Z213: Exit".
1006:
1004:
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1728:"Gulf Coast: A Journal of Literature and Fine Arts"
830:King, Mark (April 2017). "A review of Z213: Exit".
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307:The title of the book seems to present a case of
1282:"Z213: Exit by Dimitris Lyacos (Second Edition)"
351:The letter Z is related to the root of the word
422:
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887:(2 ed.). Lanham, Maryland. p. xxxi.
715:
713:
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611:Hayes, Nicholas Alexander (21 February 2017).
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1192:
1069:"Z213: Exit (Poena Damni) by Dimitris Lyacos"
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939:
937:
565:. Shorsha Sullivan (2 ed.). Nottingham.
8:
1447:Tbilisi International Festival of Literature
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666:
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554:
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498:, as well as one of the most important anti-
322:213 AD is the year of the implementation by
21:
1595:Philip, Shaw (2017). "The Sublime is Now".
752:"A review of Z213: Exit by Dimitris Lyacos"
1427:: CS1 maint: location missing publisher (
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915:: CS1 maint: location missing publisher (
593:: CS1 maint: location missing publisher (
355:(לַעֲזָאזֵל la-aza'zeyl), designating the
27:
20:
849:"Review of Z213: Exit by Jacob Silkstone"
33:Z213: EXIT, Front Cover of Second Edition
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644:"Poena Damni Trilogy by Dimitris Lyacos"
532:John Taylor interviews Dimitris Lyacos.
146:101 (First Edition)/152 (Second Edition)
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984:
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978:
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1544:. Vol. 22, no. 1. New York.
1251:Rivieccio, Genna (12 February 2017).
195:is a 2009-2018 novel by Greek author
120:2009-2018 (2009 First Edition, Greek)
7:
720:O'Sullivan, Michael (October 2011).
642:Goodman, Justin (22 December 2015).
1598:The Sublime: the New Critical Idiom
1555:Carducci, Vince (14 October 2016).
1067:Brown, Max Goodwin (October 2017).
884:Historical Dictionary of Utopianism
782:Tikkun Magazine Archive 1994 - 2018
1218:Woodhead, Juliana (19 June 2015).
750:Philip, Elliott. A (August 2017).
441:Z213: Exit uses the device of the
14:
803:"With the People from the Bridge"
461:Publication history and reception
1443:"Dimitris Lyacos - Greece/Italy"
1363:Bistolas, Ilias (January 2017).
1317:Word for Sense and Other Stories
1011:Schneider, Aaron (Winter 2021).
168:Until the Victim Becomes our Own
1507:Zaller, Robert (7 March 2016).
1041:Schutt, Marie (February 2017).
181:With the People from the Bridge
1311:Franks, Talia (10 July 2020).
1288:. Maryland USA. Archived from
1280:Bledsoe, C.L. (October 2017).
726:Cha: An Asian Literary Journal
673:The Writing Disorder Anthology
1:
1536:Roth, Paul B. (Spring 2016).
16:2009 novel by Dimitris Lyacos
1557:"Bob Dylan: Nobel Laureate?"
1171:"Timeline of Jewish History"
1141:"Flucht als Heiligenpassion"
855:. March 2017. Archived from
247:, the work adopts a mode of
1201:Ezra Journal of Translation
1114:"Poena Damni/Poetry Review"
374:, two archetypal wanderers.
1793:
1696:"Poena Damni: The Trilogy"
1601:. Routledge. p. 176.
1365:"Poena Damni - Z213: Exit"
1139:Oehle, Peter (July 2020).
1112:O'Brien, Toti (May 2019).
834:. Vol. 3, no. 1.
675:. Vol. 2. p. 82.
359:cast in the wilderness in
1338:"Z213: Exit: Poena Damni"
946:Georginis, Manos (2011).
776:Labernik, Joseph (2015).
559:Lyakos, Dēmētrēs (2016).
134:Published in English
26:
1630:Phelps, Garrett (2019).
470:'s "Before the Law" and
1369:Southern Pacific Review
398:and a growing sense of
324:Constitutio Antoniniana
1777:Books by Greek authors
1399:(2 ed.). Lanham.
519:A 6000 words essay by
429:
993:The Adirondack Review
617:Your Impossible Voice
1664:asymptotejournal.com
1393:Mason, Fran (2016).
1224:The Writing Disorder
138:2010 (First Edition)
1542:The Bitter Oleander
1257:The Opiate Magazine
696:Tony's Reading List
432:From "Z213: EXIT";
49:Original title
23:
1513:The Critical Flame
1151:on 5 February 2021
489:ergodic literature
1767:Fictional diaries
1762:Postmodern novels
1682:tbilisilitfest.ge
1660:"from Z213: Exit"
1608:978-1-138-85964-7
1406:978-1-4422-7620-8
1344:. 3 February 2017
1292:on 4 October 2017
1286:Free State Review
1220:"Dimitris Lyacos"
1047:Liminoid Magazine
1019:. Ontario, Canada
963:Missing or empty
894:978-1-5381-0217-6
853:The Missing Slate
832:The Literary Nest
756:Compulsive Reader
572:978-1-910323-62-5
404:negative theology
309:overdetermination
188:
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125:Publication place
67:Cover artist
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1772:Dystopian novels
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1478:on 18 June 2011.
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476:Robinson Jeffers
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240:If This Is a Man
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109:Shoestring Press
95:World Literature
62:Shorsha Sullivan
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1584:. 8 March 2024.
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410:'s Inferno and
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