Moto


"I write because by writing i find beauty.
To speak about terror or human cruelty is
to seek a way for beauty and justice.
To write is to go against.
All my novels, historical or not, are the way:
From the soul to the soul."

Delphi




INTRODUCTION: THE POEM'S SANCTUARYJacques Lacarriere


Passwords. That is the only way I can define the words of this
poem, although they apply to something quite different from a
child's game or someone on guard duty. Passwords: for passing
where and especially for coming from where? Coming out of the
impasse, the impasse formed by this finite and closed world, by
all places where need, privation, deficiency threaten to imprison
you. This poem is first and foremost marked by the anguish of
aporeia, with its ancient meaning of absence of a way out, of a
passageway, the anguish of the impasse. Aporeia, aporos are
among the oldest Greek words, and aporos already appears in
one of the fragments of a text by Heraclitus. Aporeia is the
impossibility of going any further, of advancing, of passing, of
crossing over a boundary. It is a physical and moral deficiency,
the indigence of the being in the literal and figurative sense of the
word, it is the depletion of body and soul, uncertainty, disarray,
disorientation. A being in a state of aporeia cannot change, has
no future, is a prisoner of its own present as of a labyrinth which
is an "aporic" space. One strives to deliver oneself from anguish
and the aporeia of being, but to attain what, to go where? Toward
a place and a time that none except clairvoyant poets has ever
been able to know and even less able to approach, that other time,
that other space that begins beyond the boundaries of all finitude,
of the imprisonment of the being in a state of aporeia, a place and
time that are accessible only to those rare beings who, like
Empedocles, have felt their tears well up in the face of asynithea
cboro, the strange, unknown country, unfamiliar space.
Then, if one is a philosopher or a visionary poet, one can
catch a glimpse of this unnamed country, this indescribable place;
in the very depths of one's being mystika perasmata, secret and mystic passages, open up (the word mystika has two meanings in
Greek), leading toward that space that is seldom visited except
by those who act as guardians and guides to the poem, Heraclitus,
Anaxagoras, Empedocles, Plato, St. John (the St. John of the
Apocalypse), the Sybil, all of them bearers of words and initiation.
For Maria Lampadaridou, coming up against these words
and the approach to another kind of world resulted from an
intimate and painful tribulation, the loss of a child who departed
at a young age for the world above, a star the memory of which
(even more than memory in general, and the instant, invisible
presence) continued to inhabit her, to illuminate the paths of
exorcism of this poem. What, then, are these passwords, these
words which take on a sense of journey and of urgency, these
words, some of which date back more than three thousand years,
pronounced already by pre-Socratic mouths, then sung by Byzantine
mystics, these words that open the door to another life,
these sentinels which bring down to our century, like the glow of
the stars, the light of a truth that comes from the depths of time?
They are aima (blood), oneiro (dream), mnimi (memory), thanatos
(death), dakri (tear), abyssos (abyss), phos (light), lampsi
(glow), rodo (pink - could be a rose), chriusmos (oracle), rogmi
(fissure), pligi (wound). Words which stake out the inner and
secret paths opening the way to the other space, the unapproached,
the undemonstrable, even the forbidden, the way of
the adyton, of being, that place which, in ancient sanctuaries, was
totally forbidden to the uninitiated. Therefore we will see rising
up in this poem, like a litany, many symbolic and "apotropaic"
images, like the wandering soul that finds a way out of the impasse
only because of this blood of the wound, this fissure of the soul,
this noise of the abyss which irrigates it and inhabits it.
A mystical poem, then, one of initiation, a poem about the
pain of the body, of the heart, of the whole being reached out
toward this desire to abolish time and death, to touch this
previously untouchable, undemonstrable world that begins just
beyond man, just on this side of the angels, with these words and
these incantations which have the power to make the abyss
blossom. Which also have the power, ultimately, to restore the
image - out there or above - of the lost child who has become a
"tender star." Rarely will a poem have gathered together and
assembled in throbbing written expression so many messages and
signs of three thousand years of Greek language. For it is also an
astonishing and living pilgrimage to the sanctuaries of language,
from the ancient propylaia and adyton to the iconostase of the
Byzantine chapels. A pilgrimage with guideposts of familiar silhouettes
such as those of Heraclitus, Anaxagoras, St. John, of the
unknown author of the Acathistos Ymnos, the most beautiful
poem in the Byzantine liturgy, of the contemporary poet Elytis.
But these guideposts are never either references or quotations.
The chosen fragments are inserted, I would even say included in
the poem, and the ancient Greek words join together with the
contemporary ones. Yes, lively portions of Heraclitus, of Plato or
of the Apocalypse, like the rising up of brand-new images, are
these words which helped the author to "dilate her soul," to
"demagnetize the silence" in order to be able to cross over the
abysses which separate her from the adyton of the world.
But Maria Lampadaridou is above all a poet, essentially,
existentially a poet. Poetry is not a writing game for her, it is a
way of being, of breathing, of living. "I write because it is my only
way to exist," she says. "I write because I cannot exist any other
way. Each of my poems is a fragment wrested from life." With
her, poetry becomes an act of resistance, a refusal of contemporary
nihilism, a rebellion against the widely proclaimed absurdity
of the world. For Maria Lampadaridou, poetry is the "blood of
truth." In the present poem, it is even more than that: it is the
blood of memory flowing into the words of the poem, which gives
it the new strength of a continual Genesis.



Translated by Yolanda Astarita Patterson





MYSTIC PASSAGE
BY MARIA LAMPADARIDOU-POTHOU
Introduction by Apostolos Athanassakis

Readers of Hellenic poetry will be taken to new unfamiliar groves of painful delight, new meadows of ecstatic liminality by the intense, at times unbridled lyricism of Maria Lampadaridou-Pothou's poetry. The title of the present collection, Mystic Passage, may, to some people at least, conjure up images of the contemplative, the serenely transcendent. This poetess, however, is made of unremitting action. Even when she weeps, she must dance, and dance her way to God. Winter will find me naked
In a dilapidated room
With time welling up through the holes of the floors
Winter will find me stirring the ashes of my poetry
(#1)
Who is speaking? Is it the poet meditating on death? Is the voice that
of a pagan, an Old Testament prophet, a Christian, a woman of our
time? All of these, it seems, all of these in one. This quality of oneness
is pervasive, not only because all things are connected, but also because
they are there for all. I, poetry, and the self are all one. Thus even when
the self appears it is almost without failure in a communal, sacrificial
context:
I raise my poetry before
Garment stained with blood
I burn it to warm myself.
Maria Lampadaridou-Pothou's world is not one of the spirit, not in
the English sense of the word. For her it is her soul that struggles to
"loose the bonds" (#2), a soul that is always rooted in the earth, even
after it goes beyond the "mystic passage." This is a soul that smells and
seeks freedom from a body that carries with it the "odor of birth-blood."

The boundless void, the sky, the frigid stars, the night that "riddles" the
soul and even Chaos all share an odor that is in no way immaterial or
metaphysical. The passage to the other time is to take place in the presence
of the firmament and begins with the descent to the depths where
the shades of the dead dwell. The cosmic reality of our poetess is full of
abysses, fissures, cracks. The passage to it is paved with the ubiquitous
drops of blood, the vengeful hyacinths, the many moist flames. It is as
though through the fire of passion a woman is reborn through her own
womb. All of her is reborn when she gives birth, and this wondrous
event is a veritable blueprint of the rebirth of her soul:
I bend over and look at myself
A flower of the abysmal night
To pass my body through to the other time (#3)
The pervasive sensuality of the poems of the Mystic Passage is distinctly
feminine. The flame that appears in so many of her verses is now
that oflove, but now again that of the Resurrection of the candlelit services
of the Church, the Orthodox Church in whose mysticism and liturgical
practices the poetess is steeped. To say that she is religious is to
suggest that there is some objectivity to her poetry, that she and her sacred reality are connected by habit or convention.
I am the mother of the Crucifixion, I
And my eyes, full of blood
Seek the light ... (#6)
Icons, candles, incense, visions from Revelation, crosses, angels,
saints are not comforting accessories but part of the very essence of life.
Yet, this does not prevent her from hearing the footsteps of Homer, Heraclitus,
Anaxagoras. Ancient and modem, pagan and Christian blend
creatively to produce the ontological spasm that precedes the leap into
the mystic passage. The odor of all things great and small, their sweaty
and tearful existence, gives Maria Lampadaridou-Pothou no sleep.
Thus, in "Eighth Passage" the odor of memory turns her lyrical strains
into an epic lament over the loss oflonia, her father's and hence her own
true fatherland. Yet, in her poetry, all grief must flower into joy, ecstatic
joy. The same theme, now in the "Eleventh Passage," has a grandly

epinician tone, becomes an irrepressible affirmation:

From the Prop ontis my days have traveled
Full of princely islands and the gold of tombs
From there I come like a white wave
Upright on the winds
With a breath of the deep and silent time
There is a space within this poetess that is as large as the space without.
Homer's lyre, Sappho's deathless words, the terse and cryptic utterances
of the great pre-Socratic philosophers, the hum of vesperal
devotions, and the bells of Hagia Sophia are all deep within her. So then
hers is a polyphonic tribute to a tradition that, being neither archival nor
academic, is life itself pulsating through her veins, blood of birth, odor
of memory.
Maria Lampadaridou-Pothou is a prolific writer of plays, novels, and
essays. Two of her ambitious critical essays, one on Odysseas Elytis and
the other one on Samuel Becket have received wide acclaim in Greece.
She knew both Nobel Prize laureates, especially Becket, and was greatly
influenced by their work. Her poetry spills abundantly into her prose
work. Poetry is the force that moves and nurtures her at all times. Lernnos,
the beautiful island where she was born and grew up, has stamped
her life, filled it with creative tension. "This place where I came to know
suffering is in everything I do. The moment I feel its absence I seek it as
one seeks his soul" she told me when I met her in September 1996. She
was finishing her monumental historical novel on the fall of Constantinople.
I later found out that the Greek title of the novel would be They
Took the City, They Took Her.! I knew then I was in the presence of a great
Greek woman, a woman of Greek letters, one whose memory bums
love and death to rise from the ashes like the Phoenix bird of myth
immemorial.

This review has been published in the New York academic magazine THE CHARIOTEER, An Annual Review of Moderm Greek Culture, in 2000 – 2002, volume 39/40

Apostolos Athanasakis is a proffessor of classics in the University of Santa Barbara



*******************************************









     THE LAST EMPEROR OF BYZANTIUM  

The story, however real it may be, is every bit as mythical in the novel. It is interwoven with popular legend, prophecies, the memories and hopes of the nation, and miracles. In this way, the mythical element lends a metaphysical character to the tragedy of the Fall. (...) Everything that occurs is transposed in space and time and moves cyclically. One scene flows through another, time ebbs and flows coherently and every so often events are focused in a silver mirror, the mirror of conscience, which senses the mystery of historical events and the dialectic of history.
(...)
In this work, M.L.P. combines narrative grace with poetic and lyrical elements, the inner psychic experience with history, the scenic representation of events with dreaminess of legend.
(...) It is a novel-testament to a great and tragic moment of our historical destiny.”

Kostas MIHAILIDIS
University professor of Philosophy, in the journal “Themata Logotechnias”, Oktober, 1998.

*

This novel,  The Last Emperor of Byzantium, places her among the more significant figures of contemporary intellectual life. It is a work that is notable for the profound and creative way it links human suffering and existential anguish with the most universal issues of our own time.

(…) The descriptions stir the soul, the heroes rise to the level of heroic and tragic symbols, the language flows vigorously in its emotional and heroic registers, as it attempts parallel approaches to both the external and internal space of events and of their protagonists.

(…) The heroic and tragic event of the Fall is depicted on a large mural brimming with narrative power and passion and anguish of the soul. A novel that takes its place among the most significant of our contemporary literature.”

Dimitris STAMELOS
Literary reviewer, daily newspaper “Elefterotypia, February 26, 1997


*


Maria Lampadaridou Pothou studied the primary sources and chose to present the metaphysical aspect of History in her novel.

(…) At any rate (the author) will add her metaphysical dimension or charge, because she does not aspire to rewrite history as it was written, but to represent it through her own participation as subject.

(…) The author is conscious of the fact that she is talking about something that now exists in the sphere of miracle, and that fact intensifies the tragic dimension of her experience.”

Mihalis MERAKLIS
Literary critic, author, University professor, in the journal “I Lexi”, March-April, 1998


*

It has been a long time since I read the novel ( The Fall of Constantinople ) by Maria Lampadaridou Pothou, yet I am still under the spell of that reading. My critical remarks are a long-owed honor to the author for this very significant literary feat.

(…) Before undertaking the composition of a prose creation on this grand scale, M.L.P was very familiar the prescriptions set forth by Sir Walter Scott for the writing of a historical novel... She succeeds in recreating the epic climate of that deadly clash between two worlds.”

Karolos MITSAKIS
University professor of literature; in the journal “Nea Hestia”, June, 15, 1998


*


Much has been written for the purpose of preserving the collective memory, the thousand-year splendor of the City and its tragic Fall. The monumental novel of M.L.P. shines among them like a jewel with its own light. Its six hundred pages are a precious Byzantine embroidery in gold - an offering of patience and knowledge that was created for the glory of God and also for the glory of the “One Conscience”, as the author herself notes”.

Maria KARAVIA
Journalist, author, in the journal “Themata Logotechnias”, October, 1998


*
The author has given us a national epic in prose, which is suffused with poetry and tremor, a work of enduring beauty. Any literary or aesthetic analysis of the novel by third parties, however skillful it may be, cannot convey to the reader that aesthetic tremor, which he himself will experience when he decides to personally approach the text and engage it.”

Leonidas VELIAROUTIS
Literary critic, tribute, August 10, 1997




SPARTAN
(THE WOODEN WALL)



The epic of the ancient world, but also the enigma of human being. The Ybris, the agony for death, the “sacred as it penetrates the soul”, the gods, all human cycle of understanding in this novel remain unaltered in the time. And in that way the writer manages to give a dimension of the eternal.

of human being. And she does this in a way deep, almost corporal, a way revelative.

The revival of the closed and severe society of Sparta – conception and philosophy of life – are of the very strong pages of the novel. But the big speciality of the writer is the human soul. The grief of existence and the long trip into the time.

The novel is beginning with the return to Sparta of the blind Aristodemos and finishes with the Nekyia (the Oracle of Dead), throwing in that way bridges between the present time and the time of the souls”.

ETHNOS


*

An offer to the Letters and to the today reader, specimen (sample) of ethos and high style.

The persons experience the time as historic and at the same time as present, and the conception of Nekyia (place of dead) gives the other dimension to the novel.

A dialectic of passion and katharsis. And between of all this, Aeschylos, Sophocles, Euripides, who are emerging from the events and are coming to meet our times”.
TA NEA


*
The historical events unfold before us with a vivid and perceptive language. The human adventure of that distant reality becomes an adventure of the today human being, as the writer with the strength of her writing achieves to “annul the time”.

With her lyric images, her fresh pictures of an unprecedented idyllic Athens, and always focucing at the human being, the writer creates a wonderful scenic, an ambitious and vivid novel, with maps and blueprints. A quality novel, intelligent and erudite.                                                                 

KATHIMERINI  


*
The novel has the allure that only Maria L. Pothos can give to her reader. She takes him by the hand and drives him to the thousand years history, which we knew certainly from the historic sources, but we had never felt the warm breathe of a human being or the tear of a real world.

From the confrontation of two so different civilizations, the Greek and the Persian, the novel looks for, at the depth of the soul, the collective memory and the self-knowledge of the today man”.

VRADINI

*

The ancient world meets the 21th century. When Alcamenis says at the battle of Salamis that: “a trireme is coming in a hurry in the dark”, the reader lifts his eyes to see the trireme which seems to have escaped from the depths of centuries. So alive is the novel.

I keep in my hands one of the more beautiful novels that I have read. Maria L. Pothos has written a historical novel through an Orphic vision. Warriors who are ready to be sacrificed, are transformed at solar heros, at mortal gods. Her wandering starts from depths of the historic past, with the “Then and Now” to meet and to compose a magical present.

At the unrivaled poetic writing of M P the mortality is the way to surpass the measure of man.

Her hero says: “Today we will give what gods can not: our life”.

And when the time is coming to devour the History, her hero resists: “I am the fragment of eternity, and I contain the entire time” he says.

And when her Alkamenis is fighting at the naval battle of Salamis, he feels that he is identified with History, he says: “This moment will remain indelible, it will be engraved at the depth of the time and after two thousand years I will find it...”

And when another moment, as he was lost at the dance of blood and death, he says “I”, feels that it was an “I” collective, an “I” spartan, a piece of one huge, eternal “we”.

This novel of Maria L. Pothos is built by the same eternal material as our soul.

TO VIMA
and “Themes of Literature”
Written by Zoe Samara, University professor of Literature


MYSTIC PASSAGE
(Stockholm)



Published by Bonnier's Publications in Stocholm Swedish

There are many good poets in Greece today. One of them is Maria
Lampadaridou Pothou, whose collection of poems “The Mystic Passage”
was published in Sweden.
(...)
Lampadaridou is an exacting writer of high intellect, at least as seen from the secularized swedish perspective. Seen from a different angle, Lampadaridou is automatically registered in the Modern Greek tradition - the one that includes Kalvos and Sikelianos as main figures.
(...)
Lampadaridou wanted to build a bridge to unite the great Greek past, which has been dominant for thousands of years and includes the Pre-socratic philosophers, and the byzantine visionaries.
(...)
The closest figures to whom the poet refers us is Odysseas Elytis.
For himself, Rhedin (the translator) very aptly says that “Sappho and Heraklitus seem like good neighbors who a little while ago passed by to borrow some oil”. As far as passion and nostalgia are concerned, the poet has common elements with Gabriela Mistral, who wrote for a child that she never had, whereas the Greek poet writes for a child she lost. The poet has an unattainable dream to pass through into the other dimension.

No matter how vehemently the poet identifies herself with Sibyl “Chewing laurel and wild roots” as well as with Christ’s Mother, whose child is “Evangelizing the world”, here not only the Jew not only the Greek but everyone and everything give flesh and bone for a protest against the convention of existence. This protest is voiced through our history and pre-history.

Certainly, also, in the future which opens before us.
For me, the poet is more fascinating when she vacillates between archangels and Pythia and with the crystalline waters of her paradises. But for her it is an obvious necessity to explore all perspectives.

Only in that way and having those visions can she say: “Drops of blood my marks”.


Nengt HOMQVIST, newspaper Dagens Nyheter, Stockholm, 8, November 1996
The Mystic Passage was translated into Swedish by Ingemar Rhedin






  
MYSTIQUE PASSAGE

IN FRENCH

Published by Editions LE TEMPS QU' IL FAIT

A mystical poem, then, one of initiation, a poem about the pain of the body, of the heart, of the whole being reaching out toward this desire to abolish time and death, to touch this previously untouchable, undemonstrable world that begins just beyond man, just on this side of the angels, with these words and these incantations which have the power to “make the abyss blossom”. Which also have the power, ultimately, to restore the image - out there or above - of the lost child who has become a “tender star”. Rarely will a poem have gathered together and assembled in throbbing written expression so many messages and signs of three thousand years of Greek language.
(...)
For it is also an astonishing and living pilgrimage to the sanctuaries of language, from the ancient “propulaea” and “adyton” to the “iconostase” of the Byzantine chapels. A pilgrimage with guideposts of familiar silhouettes such as those of Heraclitus, Anaxagoras, St John, of the unknown author of the Acathistos Ymnos, the most beautiful poem in the Byzantine liturgy, of the contemporary poet Elytis.
(...)
Yes, lively portions of Heraclitus, of Plato or of the Apokalypse, like rising up of brand-new images, are these words which helped the author to “dilate her soul”, to “demagnetize the silence” in order to be able to cross over the abysses which separate her from the “adyton” of the world.
(...)
But Maria Lampadaridou Pothou is above all a poet, essentially, existentially a poet. Poetry is not a writing game for her, it is a way of being, of breathing, of living. “I write because it is my only way to exist”, she says. “I write because I cannot exist any other way. Each of my poems is a fragment wrested from life”. With her, poetry becomes an act of resistance, a refusal of contemporary nihilism, a rebellion against the widely proclaimed absurdity of the word. For Maria Lampadaridou Pothou, poetry is “the blood of truth”. In the present poem, it is still more than: it is the blood of memory flowing into the words of the poem, which gives it new strength of a continual Genesis.”

Jacques LACARRIERE,
French writer, translator of the Mystic Passage
Extract from the Introduction to the French edition

MYSTIC PASSAGE
IN GREECE


Lampadaridou, as a poet and writer, is the most sensitive sounding board in Greek writing today. An aeolian harp whose strings are so finely tuned as to vibrate with each change in the cosmic breeze.
(...)
Acquaintance with her work constitutes acquaintance with a given of existence.
And that shows that Lampadaridou lives her truth directly.”

Christos MALEVITSIS
Philosopher, literary writer, “Nea Estia” journal






A WOMAN OF LEMNOS

THREE THEATRICAL PLAYS:
THE GLASS BOX
BIDDING YOU FAREWELL
ANTIGONE OR THE NOSTALGIA OF TRAGEDY


For THE GLASS BOX:

It is a work of very high quality. Both the characters and the language are so deeply evocative and, of course, mysterious. In a way it seems to me to be more of dramatic poem than a play, in the same way as some of Harold Pinter’s later plays are dramatic poems.”
Ronald HARWOOD
English playwright (letter to the writer)

For THE GLASS BOX:

I read your play with great interest and sent it to J.L.Barauld”
Samuel BECKETT
( 1979 )


For the book A WOMAN OF LEMNOS:

In her writing, Maria Lampadaridou Pothou struggles always to get at true reality, that which is hidden “on the other side” of objects, in the invisible world. Movement in her writing is between the visible and supernatural worlds. Images of light in darkness, of fissures in time and space, of restless souls and secret passages, appear recurrently in her work. In these ways, her poetry and prose are reminiscent of work by Gabriel Garcia Marquez, Isabella Alliende, and Salman Rushdie.”

Rhoda KAUFMAN
Professor of Drama, California State University Hayward
Editor of the volume “A Woman of lemnos” (Introduction)

For the play ANTIGONE OR THE NOSTALGIA OF TRAGEDY

It is an honor to direct a play such as this. Its creation tested the limits of our abilities to match the poetic images and intensities of the text, to find the theatrical equivalents that would create vital and surprising experiences for you, the audience.
(...)
I felt that in the play there were powerful surges of passion and I wanted to uncover them and to find poetic 3-dimensional images to reflect them so that the audience could participate in the heroine’s attempts to define herself.
It is very rare these days to find plays that deal with archetypes.

Maria’s characters were archetypes, even icons of universal personalities.
(...)
This production pays homage to all the wonderful aspirations of humanity
for a braver more meaningful world.”

Edgardo De La CRUZ
Professor at California State University, Hayward
Program of the performance of “Antigone Or the Nostalgia of Tragedy”







REMEMBER


For the novel REMEMBER

The writer has her own way of approaching people and things. A mystical truth
and tenderness pervades this novel too, as in all her works, elements that are evocatively suggested.

A story which becomes both a trial and a liberation, within shifting feelings, with circle after circle, the present living with the past, loneliness joined with a blinding light, sensation becoming fire and ash, today, yesterday, tomorrow, becoming tied together in a parallel temporal dimension. ...

Vivid descriptions. The recording of the movements of feeling impressive and revealing. And the prose solid and mature, the expression elliptic, imposing, and the atmosphere full of warmth and life.

A significant contribution to contemporary writing.”

Dimitris STAMELOS, literary reviewer,
daily newspaper “Elefterotypia”



FIVE THEATRICAL PLAYS
WICH ARE PERMORMED

The Glass box
The Rafts
Bidding you Farewell
Antigone Or The Nostalgia of Tragedy
Paper Moon

For the play:  BIDDING YOU FAREWELL

A wonderful dramatic poetry.  Two human beings, of universal stuff, suspended
in a nightmarish void.

(...) The two absurd and tragic heroes, abandoned and trapped in the infinite cobwebs of an inhospitable, technologically armed universe, try to stir up their memory”

Marica THOMADAKI
Professor of Drama,
Newspaper “The Seventh” 


The play transports us to an atmosphere of Marguerite Duras, only more fertile and warmer, more Mediterranean, without the intense intellectuality of the French writer.”

Leandros POLENAKIS, theatrical reviewer,
newspaper “Avgi”

For the play: ANTIGONE OR THE NOSTALGIA OF TRAGEDY

Beautiful language, powerful acting and wonderful surreal sets are the stars of the CSUH production of the play “Antigone or the Nostalgia of Tragedy. Written by famous Greek author and playwright during the Greek dictatorship, the play is modern interpretation of Sophocles’ ancient tale.”

Stephanie WRIGHT,
Newspaper “The Pioneer”, California


THE SIXTH SEAL


The just published new novel by Maria Lampadaridou Pothou The Sixth Seal, despite its size, has already entered the list of best sellers.

(...) The heroine of the novel lives her love like the primeval woman, the Mother of the Earth. On the other hand, it is the place itself which leads people and things, re-creating the legend of the Stone Woman and reacting as a being full of life to the “anarchy”.

In a parallel level, more essential and clearly transcendental, evolves the adventure of the place, the magical surrealistic adventure, which functions out of our mind but using us....

(...) The Sixth Seal is a prophetic novel for those who have still the ability to feel the undercurrents. For those who experience love as a pre-taste of paradise or the life beyond.

Eleni GKIKA, literary reviewer and writer, newspaper “Ethnos”

 The Sixth Seal carries us to fascinating and mystic worlds. With a language strong and firmly structured, Maria Lampadaridou Pothou leads us into her own ways of thought, ways real and imaginary, which reveal her own truth. A truth engraved by the Creator on the “unknown fields of psyche”.

And that “truth” only the initiated can know, the one who possesses a third, invisible, eye, invisible between the two perishable eyes. The eye which the writer has. And with this she penetrates to the depths of things and souls. With this eye she tried, years ago, to make us participants of her visions and her questions, through her works.

(...)The Sixth Seal, title inspired from the Apokalypse is a novel opening new ways to the thought. Adriani (the heroine) struggles to discover the answer of the ancient site’s mystery.
And for this, she uses the ancient oracles and the coded messages and the symbols.”

Theodoros BELITSOS, literary reviewer,
journal “Diavazo”, May 2000