An enormous bestseller in Greece, this is a bold, witty retelling of the story of Ancient Greece by a rising star in archaeology

Two strangers meet in a trapped elevator. One is an archaeologist, the other isn’t. A simple question, ‘What do you do?’, becomes the springboard for a dialogue that weaves a fascinating tale.

Archaeologist Theodore Papakostas takes the reader on a spectacularly iconoclastic and hugely engrossing journey through ancient Greece, from its beginnings in prehistory to its end. Marvelling at the exalted moments in history as well as the more mundane, Papakostas introduces the reader to countless fascinating stories about the cradle of western civilisation – many of which upend received wisdom about the empire as well as about archaeology itself. Along the way, he settles questions such as: What did a Minoan princess pack for a trip to Egypt? How did a raunchy dance lead to the birth of Democracy? Why did Heraclitus suggest that Homer should be slapped?

A whistle-stop tour through three hundred years of Greek history, How to Fit All of Ancient Greece in an Elevator is an unforgettable love letter to the treasures we’ve inherited from the ancient world, as well as to those who have helped us unearth them.

This book deals with historical consciousness and its artistic expressions in contemporary Greece since 1989 from the point of view that contemporary Greeks have been faced with the contradictions between on the one hand a glorious, world-famous yet distant past and, on the other, a traumatic contemporary history of wars, expulsions, civil strife and political and economic crises. Such clashes of imaginary identifications and collective traumas call for interpretations not only from historians but also from artists and storytellers. Therefore, the chapters in this volume explore the ways in which sensitive and creative perspectives of art approach and appropriate history in Greece. Through a rich collection of analytical case studies and creative reflections on Greece's past, present, and future this volume presents the reader with the ways a set of contemporary Greek storytellers in different genres have incorporated previously under-explored or little-known themes, events, and epochs in modern Greek history showing how the past, by being interpreted and represented in the present, can teach us a lot about contemporary Greek society. The themes that form the point of departure for the stories told or retold cover various significant components of Greek history and culture such as ancient myths, the Ottoman period, the Greek War of Independence and the Greek Civil War, but also less prominent or known aspects of Greek history such as the Greek Enlightenment, the long and tragic history of Greek Jewry, and migration to and from Greece.

Eager to flee the parochialism of her French upbringing, and a painful family past, the young and beautiful Marina falls in love with a seductive Greek sea-captain she meets at the port of Rouen. She follows him to the Aegean island of Syros to begin a new life as a married woman in the home of her formidable mother-in-law. Enchanted by the beauty of her surroundings, and fascinated by her husbands erudite younger brother, she aspires to learn all she can about contemporary Greek culture and live up to the ideals of her classical education. But when disaster upends her husbands shipping business and the comfortable stability of their life together, Marinas world slides into a vicious circle of love, passion, and death. Set in the early decades of the twentieth century, this is an exquisite account of the inner life of the heroine, and the collisions of different cultures and ways of being. In prose that ranges from the lyrical to the tersely realist, Karagatsis weaves a classic tale that is wide-ranging in its literary references, and devastating in its psychological nuance. This modern Greek tragedy has been made into a TV series and a highly acclaimed stage play, enjoying three sold-out seasons in Athens, and an international tour.

Amanda Michalopoulou's God's Wife is a deceptive novel: it draws us close with promises of titillating confession and heart-warming intimacy only to send us on a conceptual scavenger hunt that probes the ethics of reading, writing, and the unspoken conventions of literary mastery. "It sounds like a lie, but I am His wife," is the arresting opening declaration made by the novel's unnamed narrator, who will always be known through her role as an appendage, "at His side." This premise-bringing to mind as it does the very origins of the western novel: epistolary novels of romance as both salvation and captivity-immediately also raises issues of power, domination, truth and belief. God's Wife, then, is ultimately a meditation on the power of literature to create a space of imaginative play. It is a love story, a philosophical treatise on the nature of faith and divinity, a self-conscious meditation on the nature of writing and creativity, and a feminist tract all rolled into one. What holds all these strands together is what can only be described as the compelling authenticity of the narrator's voice and her relentless focus on the role of femininity as performance and convention in literature. Her voice is, of course, shaped by Michalopoulou's inimitably spare, elegant and masterfully evocative prose, which like the narrator's mother's brand of storytelling, uses few words and eschews didacticism.