A Musical - Visual - Theatrical Performance



Author: Stratis Doukas

English translation of novella / Surtitles: Petro Alexiou

Direction / Adaptation: Elpida Skoufalou


Visuals: Marios Spiliopoulos

Music: Socrates Sinopoulos

Singer: Katerina Papadopoulos

Lighting: Katerina Maragoudaki

Video / effects: Simos Sylaides

Creative Producer: Vassilis Boutos

Archival material: Georgia Kokkori

Technical support: AKTIS AV

Production manager: 

Production: European Center of Animation & Arts


This story written by Stratis Doukas is one of the most powerful literary accounts of the ordeal of those Greeks who were unable to escape in time across the Aegean to mainland Greece after the Greek-Turkish war of 1922. Acclaimed for its oral simplicity and captivating narrative qualities, it is the story of Nikolas Kozakoglou, an Anatolian Greek prisoner of war, who escapes death by pretending to be a Muslim. His story is one of survival, not heroism, hatred, or revenge. It is a testimony to sheer human versatility and resilience and indirectly reveals how, although Greeks and Turks lived together on the whole peacefully in earlier times, they also remained deeply ignorant and suspicious of each other's religious practices.

Translated by Petro Alexiou. Published by The University of Birmingham, Institute of Archaeology & Antiquity Centre for Byzantine, Ottoman & Modern Greek Studies (May 1, 1999). Introduction by Dimitris Tziovas.

Source: Amazon



Translator’s Note:

A Prisoner of War’s Story is a classic literary work that draws on a vernacular idiom and oral narrative tradition. It is highly-crafted prose, characterised by an economical and powerful use of language. Using this oral folk mode, with a minimal focus on introspective comment, Doukas offers us an intimate story that gives a human dimension to the internecine event of the Greek-Turkish conflict of 1919-1922. The story’s depiction of nationalist conflict and ethnic cleansing remains chillingly familiar today.

The primary challenge of the translation was to capture in English the unadorned, oral folk quality of the first-person narration. The narrator belongs to the bygone multi-ethnic world of the Ottoman empire. The translation needed to convey this voice which is largely free of educated and abstract terms, as well as the mental habits of modernity. Through his selective use of Turkish words and dialogue, Doukas creates the cultural and linguistic ambience of the world in which Anatolian Greeks lived. The translation embeds these into the narrative while also conveying the flavour of Turkish loan words which add cultural dimensions to the Greek vernacular of the time.

Finally, it is worth noting that when the novel was first published in 1929, the author felt the need to provide footnotes for Turkish words and dialogue which were unfamiliar to non-Anatolian Greeks. This is indicative of his desire to inform the novel with a dual cultural dimension, which I hope I have captured in some measure in this translation.

Petro Alexiou




Gerasimus Katsan, Journal of Modern Greek Studies, Johns Hopkins University Press, Volume 18, Number 2, October 2000.

Stratis Doukas, A Prisoner of War's Story. Translated by Petro Alexiou with an introduction by Dimitris Tziovas. Birmingham: Centre for Byzantine, Ottoman and Modern Greek Studies, University of Birmingham. 1999. Pp. v + 58. £8.

No one in Modern Greek Studies today can underestimate the value and necessity of good translations. The University of Birmingham has contributed to meeting this need by focusing on what it considers to be important authors in its series Modern Greek Translations, which began in 1995 with Dimitris Hatzis's The End of Our Small Town and continued with Haris Vlavianos's Adieu in 1998. The third in the series, Doukas's A Prisoner of War's Story is the gripping tale of a soldier left behind after the Asia Minor Catastrophe. First printed in 1929, the book has had a remarkable publishing history and, as Tziovas suggests in his introduction, has come to be "one of the most widely-read stories in Greece".

The narrative recounts the brutal experiences of Nikolas Kozakoglou, who is captured by the Turkish Army after the disaster and made to march for days with little food or water. On the march, the Turkish soldiers mistreat the prisoners, strip them of all valuables, and leave the stragglers to the mercy of vengeful civilians. Eventually, the prisoners are separated and given to local villages as slave labor. Kozakoglou and a companion escape, returning to their home village only to find it pillaged and destroyed. Disguising themselves as Turks in order to survive, they part company in search of work. After much wandering, Kozakoglou finds work as a shepherd, and, claiming to be a Kosovar, he develops a close relationship with his kindly employer, who, surprisingly, is treated sympathetically in the narrative. Living in constant fear of discovery, he manages to learn enough of Muslim ways to continue his charade through a series of narrow escapes until he finally saves the money he needs to leave. With the aid of his unwitting employer, he secures travel papers and makes his way to Smyrna, where he manages to board a steamer bound for Constantinople. When the ship makes a stop at Mytilini he persuades the Greek officials that despite his convincing Turkish appearances he is really an Anatolian Greek, whereupon he is allowed to stay in Greece.

The short narrative is told in a vivid and powerfully direct manner by the protagonist, whose dispassionate portrayal of the bare events removes the story from its wider historical context while emphasizing the epic struggle for an individual's survival. What is most interesting about the narrative, however, is the way it was written. In his epilogue, Doukas explains how he met Kozakoglou and took notes as he listened to the story. Doukas later dictated the story based on his notes to his cousin and published the first draft. In later editions, Doukas added material from Kozakoglou and continued to rework it. As Tziovas points out, while the narrative purports to be a "monument of orality" with Doukas being a "mere recorder" of the story, in truth, there has been a great deal of fictionalizing and Hellenizing of the original account. Tziovas goes on to suggest that the text's "duplicity" mirrors the protagonist's use of masks so that it is "as much about shedding artistic devices and enabling the facts to 'speak' for themselves as it is about hiding behind thinly disguised identities [...] stressing its status as a truthful account while at the same time flaunting its construction". Ultimately for Tziovas, it is this self-consciousness that makes the book an important landmark in Greek writing that has become a "formidable model of oral simplicity and stylistic economy for younger writers".


Source: Project MUSE Mission





(Extract p. 215 - 217)


Stratís Doúkas is another Aivaliote. He comes, more precisely, from Moschonisi, the large island that lies, curled up like a faithful dog, at the threshold of Aivali. He is in many ways alike –though different in as many– to Fótis Kóndoglou, with whom he attended High School, being, like him, an artist and a prose-writer. St. Paul the Apostle says: «Where the spirit of the Lord is, there is freedom» (2 Cor. 3.17). Kóndoglou followed the inclination of his heart and the instigations of his art for freedom in the spirit of the Lord, as the Byzantine tradition conceived and crystallized it. Doúkas nourished his heart and his art on the cultural heritage of the Orthodox East, but he was at the same time excited by the intellectual ferment of the West. He took the messages of modern times that came from the West, decoded them and proceeded to compose a more personal view of the world which he bore within him. Today we may see this as much in his artistic work as in his prose. About the former, of course, I shall not write, as it falls outside my province; but the latter must concern us to the degree that its inner worth compels us.

It would be a great omission at this point to fail to mention the fact that Stratís Doúkas was also the editor of the avant-garde magazine To Trito Mati [The Third Eye, 1935-37], which was to our intellectual life between the wars what the Thessaloniki magazine Kochlias [The Snail, 1945-47] was in the years after the war: the bridge over which passed restlessly, currents and ideologies from the outside world into Greece.

Doúkas’ purely creative work as a prose-writer is restricted in its extent, but a wider or narrower range does not constitute a determinator of quality. In 1929, in the same year as Venézis’ Number 31328, The Story of a Captive was published. The narrative of this work is in the first person, and the narrator is Nikolas Kozákoglou, a refugee from Aidini. Doúkas withdraws discretely into the background, and appears to play an auxiliary part, that of a man moved by a feeling of responsibility for history and the mankind, who tries to write down a testimony: the shattering calamity suffered by one more of the countless victims of the Asia Minor disaster.

At the end, as if it were a legal document, the validity of which had to be ratified, Doúkas makes the narrator, the man of the people, confirm with his signature that the deposition is genuine: «When he’d finished telling me, I said to him: 'Sign your name’. And he wrote 'Nikólas Kazákoglou’».1

Nikolas Kazákoglou, along with many other Greeks, was taken prisoner by the Turks. The prisoners’ journey from Smyrna to Magnesia and from there to Ahmetli is reminiscent of the corresponding journey in the interior of Asia Minor described by Venézis. The setting of bestial­ity and barbarism is the same, the difference is only in the external de­tails: hunger, thirst, hardship, degradations in human dignity that raise the victims to the choir of the saints and reduce the perpetrators to the level of animals. But the people say that man’s soul is buried very deep, in the very roots of existence. It does not come out easily. The reader is moved as he follows the struggle of these unfortunate people to hold on desperately, as long as any spark of hope for life is left in them.

Kazákoglou escapes from a Turkish village where he and some of his companions have been handed over to the muhtar for menial tasks. For months he lives like a troglodyte, hiding in caves and feeding on green­ stuff and whatever he can loot. Eventually, however, his endurance begins to weaken, and he decides to pose as a Turk and seek work. Pos­ing as Bekhçet, a refugee from Macedonia, he enters the employ of a rich and good Turkish kehaya called Hadjimemétis. When, after some time, he gets the chance, he sets off for Constantinople with false pa­pers; and, as soon as the boat reaches Mytiléne, he presents himself to the captain, reveals his true identity and gives himself up to the Greek authorities. One small bitter episode in a great tragedy.

Doúkas’ The Story of a Captive is a short, concise work, compact and full of vigour. The narrator’s simple character admits no chinks in which learned elements may, in unliterary fashion, hide themselves. The narrative nowhere slackens. It has all the power and truth of popular speech, which alone can find the essence of things through the wisdom of instinct. By this work alone Stratíš Doúkas made certain his place in the history of modern Greek letters.

These stories represent different stages in Doúkas’ individual course as a writer and as a human conscience, and for this reason are very uneven. For instance, the sickly genre-story «Spring Concert» sounds very off-key in our ears, which up to this time have been accustomed to other, more dramatic, tones. Collected in one volume, under the title Earrings (1974), they are now available to a wider reading public.

The distance covered between The Story of a Captive and the stories in the collection Earrings is immense; and this difference shows that Doúkas’ art and technique were not static. He moved along a broad arc, one end of which is set in solid traditional forms, the other lost in the fluid extremes of modern expression. This difference also shows the youthful vitality of the author, which has kept him always in the front rank: in the line of fire, where you give battle and either lose or win, where you play pitch-and-toss with your life at every moment.

1. Stratís Doúkas, Ἱστορία ἐνὸς Αἰχμαλώτου [The Story of a Captive], Thessaloniki 1969, p. 69.

Source: Balkan Studies (full text)



STRATIS DOUKAS (May 6, 1895 - November 26, 1983)

Stratis Doukas –one of the great writers and painters of the Generation of the '30s, and a significant representative of the Aeolian school– was born in Moschonisia islands of the Adramytic Gulf of Asia Minor. Son of Constantinos Doukas and Emilia Hatziapostoli, he had four younger siblings: Doukas, Dimitros, Eleni and Alekos.

He finished school in his hometown and the high school in Ayvalik. In 1912 he enrolled in the Law School of the University of Athens and lived with Fotis Kontoglou, with whom he had been friends since high school. He stopped his studies after the outbreak of the First World War and visited Lesvos island and Mount Athos. In 1913 he organized folklore studies in Mytilene city together with Antonis Protopatsis and three years later he enlisted voluntarily in the National Defense. He fought in Macedonia and Asia Minor, where he was wounded.

He was demobilized in 1923 and turned to the effort of spreading Asia Minor folk art and handicrafts (pottery and tapestry) in Greece, while at the same time he organized painting exhibitions with works by Fotis Kontoglou and Spyros Papaloukas. He was a co-founder of the Association of Musical Arts of Mytilene (along with Stratis Myrivilis) and the Society of Decorative Art of Athens. He was also a key executive of the magazines Filiki Etaireia, Frangelio, and artistic director of the Pottery Society of Kioutacheia. He collaborated with the newspapers Macedonia, Efimeris ton Balkanion (Thessaloniki), and Eleftheros Logos (Mytilene).

After a serious illness in 1927 and his recovery in Thessaloniki, he started painting and toured twice in the Macedonian province, an experience that gave him material for journalistic research that he published in the newspaper Proia (series of responses with the general title 'Mountainous Greece'), for some of his works of art, as well as for the narrative A Prisoner of the War’s story. From 1929 he began collaborating with the Athenian newspapers Proia, Politia, Neos Kosmos as a journalist and at the same time published lyrical texts in the magazine Kyklos [Cycle].

In 1931 he started working on the sculptor Giannouli Halepa and met the author Nikos Gabriel Pentzikis. In 1934 he took part in the founding of the Society of Greek Writers. He also collaborated in the establishment and circulation of the magazine To Trito Mati [The Third Eye], together with Pikionis, Papaloukas, Chatzikyriakos-Gikas, and Karantinos (1935-1937) and the magazine Youth (1939-1940). From 1937 to 1939 he worked as secretary of the Thessaloniki Tourism Committee, and during the Greek-Italian War of 1940-41, he served as an officer.

In 1942 he returned to Athens and married Dimitra Maggana, who was also involved in literature. He took part in the Resistance against the NAZI occoupation from the lines of the National Liberation Front (EAM) and joined the Communist Party of Greece. He was tortured by the German occupiers for his actions. After the liberation, he served in the clinics of the International Red Cross and collaborated with the magazines Free Letters (director 1949-1950), Our Century, Poetic Art, and Scale. He was a consultant (1949-1953) and general secretary (1953-1960) of the Society of Greek Writers.

In 1962 he left for prostate surgery in Moscow. The operation did not go well and Doukas spent the rest of his life in bed at his home in Athens. He then collaborated with the Thessaloniki magazine Diagonios and completed his literary works Odoiporos [Wayfarer] and Enotia [Earrings], as well as his texts about the sculptor Halepas. He was persecuted from the dictatorial regime of Papadopoulos (1967-1974) and spent the last years of his life in nursing homes.

In 1979, the European Art Center organized a central honorary exhibition of his biographical testimonies and a retrospective exhibition of paintings from the period 1924-1929, which was the material of the Stratis Doukas Museum at the Villa Vouga Cultural Center of the Municipality of Zografou, with the organizational design and curated by Evangelos Andreos, poet and curator. In the year of his death, he managed to be named honorary president of the Society of Greek Writers, honorary member of the Pen Club, and honorary citizen of Zografou.

The writing work of Stratis Doukas is placed chronologically in the Greek prose of the Interwar period and extends to the post-war Greek prose. Characteristic of his writing is his parallel support both in the tradition and in the renewing currents of his time, the utilization of the vernacular, and the experiential element.

His brother Alekos immigrated to Australia in 1927, where he became an important figure in Greek literature and the labor movement there. He was killed returning from a pro-peace demonstration. His sister Eleni Doukas-Andronikou and her family settled in Australia in 1937. Stratis Doukas died on November 26, 1983, at the age of 88, in Athens.


I. Prose

  • A Prisoner of War’s story. Athens, Ch. Ganiaris, 1929.
  • To oneself. Athens, Author's edition, 1930.
  • Letters and conversations. Thessaloniki, reprint from the Diagonios magazine, 1966.
  • The life of a saint (Giannoulis Halepas). Thessaloniki, reprint from the Diagonios magazine, 1967.
  • Wayfarer. Thessaloniki, reprint from the Diagonios magazine, 1968.
  • Bond. Athens, Kedros, 1970.
  • Testimonies and judgments. Athens, Iolkos, 1971 (and corrected edition Athens, Iolkos, 1972).
  • The little brother. Athens, 1972.
  • Earrings. Athens, 1974.
  • Memoirs from ten of my friends. Athens, Kedros, 1976.
  • The twelve months. Athens, Kedros, 1982.
  • Greenhouse. Athens, Kedros, 1982.

II. Essays - Studies

  • Assumptions and solutions to problems in the life and work of Giannoulis Halepas. Athens, Kedros, e.g.
  • The iconographic epic of the eastern church. Athens, private edition, 1948.
  • Giannoulis Halepas · New biographies. Athens, 1952.
  • Giannoulis Ioannou Halepas. Published by the Brotherhood of Tinos, reprinted from the Yearbook of the Cycladic Studies Society B', 1962.
  • The painter Spyros Papaloukas. Thessaloniki, reprint from the Diagonios magazine, 1966.
  • The life of a saint; Giannoulis Halepas. Thessaloniki, reprint from the Diagonios magazine, 1967.
  • Giannoulis Halepas. Second edition Athens, Kedros, 1978.
  • Testimonies and judgments. Athens, Iolkos, 1971.
  • Letters and conversations. Thessaloniki, reprint from the Diagonios magazine, 1965.

III. Albums

  • Drawings of Stratis Dukas. Athens, Agra, 1979.

IV. Translations

  • Histoire d'un prisonnier (Tr.: Michel Volkovitch), Éd. du Griot, Boulogne 1994
  • Histoire d'un prisonnier (Tr.: Michel Volkovitch), Éd. Ginkgo 2009
  • Istor ur prizoniad (Tr.: Alan Botrel), Éd. Roazhon / Rennes 2006
  • A prisoner of War's Story (Tr.: Petro Alexiou), Ed. The Center for Byzantine, Ottoman and Modern Greek Studies. The University of Birmingham, 1999
  • En grekisk krigsfånges berättelse, Bergendahls, Göteborg 1967, (illustrationer av Bengt Kristenson)
  • Историята на един пленник (Tr.: Georgi Kufov), Narodna Kultura, Sofia 1967
  • Zajatcův příběh (Tr.: František Šturik), Praha: Státní Nakladatelství Krásné Literatury a Umení, 1963
  • Verhaal van een gevangene (Tr.: Marianne Moussault) Totemboek, Amsterdam 2004
  • Relato de um cativo de guerra (Tr.: Cristiano Zwiesele do Amaral), illustration Gabriela Brioschi. Odysseus, São Paulo 2005
  • Historia de un prisionero (Tr.: Manuel Rincón), Labrys, Sevilla 2001
  • Geschichte eines Kriegsgefangenen (Tr.: Birgit Hildebrand), Edition Romiosini, Berlin 2017 






Elpida Skoufalou was born on the island of Chios in Greece. She is a Pierce College graduate. She studied Economics at the National and Kapodistrian University of Athens, Theatre at the Art Theatre (Theatro Technis) Karolos Koun, Music and History of Art at the Sorbonne University. She has worked as a theatre and film director and as a critic in film, radio and TV.  She has taught History of Cinema, Media and Acting at the Art Theatre (Theatro Technis) Karolos Koun, as well as translated numerous plays. Her film “I heard god crying”, under the auspices of Unesco, on ecstatic rituals has been shown in festivals around the world. At the 2012 Olympic Games in London and at the 2015 Special Olympics in Los Angeles she directed the performance entitled “Sisyphus” with the Golden Olympic medalist, Ioannis Melissanidis. She is the artistic director and the film director of Athens University cultural site yougoculture. She is the mother of three children.




He was born in Polygyros, Greece in 1957. He studied Painting at the Athens School of Fine Arts (Demosthenis Kokkinidis Lab). In 2005 he was elected Professor of the Athens School of Fine Arts, where he has been teaching since 1991. In 2005 he was the Director of the 3rd Painting Laboratory. He participates in the Working Group for the Creation of the Master of Fine Arts where he has been teaching since its inception in 2003. In 2014 he took on its management. He has represented Greece in three ‘European Capitals of Culture’, Glasgow (1990), Madrid (1992), Copenhagen (1996), and the 2nd Biennale of Constantinople (1990). In 1994 he was awarded the ‘Grand Prix d 'Alexandrie’ at the 18th Alexandria Biennale. He has exhibited in various solo and group exhibitions in Greece and abroad. Many of his artworks have been selected by Museums and private collectors around the world.





Greek musician Socrates Sinopoulos is a contemporary master of the lyra, a bowed instrument that dates back to the Byzantine era. His playing is delicate and nuanced yet highly expressive, and his proficiency on the instrument has been widely acclaimed. Sinopoulos has collaborated with numerous musicians throughout the world. He is equally comfortable crossing genre boundaries into jazz and classical, as he is to staying true to folk traditions of Greece and the Eastern Mediterranean. Born in Athens in 1974, he studied Byzantine music and classical guitar as a child, and began playing the lyra in 1988, under the instruction of Ross Daly. Sinopoulos’ remarkable talent was immediately apparent, and he joined Daly’s group Labyrinthos a year later. He became highly prolific, contributing to recordings by countless musicians all around the world. Sinopoulos was awarded the Melina Mercouri Award for young artists in 1999. In 2010, he formed Socrates Sinopoulos Quartet with pianist Yann Keerim, bassist Dimitris Tsekouras, and drummer Dimitris Emmanouil. The debut album of the quartet “Eight Winds”, was produced by Manfred Eicher for ECM records and received excellent reviews globally. Socrates Sinopoulos is an assistant professor in the Department of Music Science and Art at the University of Macedonia, Thessaloniki, Greece.





Katerina Papadopoulou is considered one of the very few singers in Greece who still continues the art of the old masters of traditional singing. She has exceptional fluency in moving between different vocal styles, combining them with her unique vocal and musical expression. She has participated in several recordings of Greek traditional music as well as contemporary Greek music.

In 2002, after archival and personal research, she released Ta Tragoudakia Mou Poulo, her first personal CD, including old traditional songs from Asia Minor. The CD was voted by the music magazine Echo & Artis as the best Greek traditional music CD in 2002. In May of 2007, she released the CD single ‘San Helidoni’ (Cantini label), singing three songs by Socrates Sinopoulos. In the autumn of 2008, she released Amygdalaki Tsakisa (Music Corner label), an LP with songs from different regions of Greece. In May 2010, together with Christos Tsiamoulis and Socrates Sinopoulos, she released Politiki Zygia (Legend label), which was a live recording of a concert in Utrecht, November 2008. In 2012, Amygdalaki Tsakisa was released in the United States under the title Drawing in an Almond (Golden Horn Records). 

In the international music field, she has collaborated with Jordi Savall on Mare Nostrum, Esprit des Balkans, Pelerinages de l‘Ame, Orient-Occident and the Ibn Battuta programmes, singing songs from Greece. The Ibn Battuta project was recorded live in Abu Dhabi. She took part in the Scuola Vivante documentary film Mare Nostrum with Jordi Savall, the Hesperion ensemble and herself as protagonists.

She has collaborated with the baroque group L’Arpeggiata for the music project Mediterraneo presenting old songs from the Mediterranean Sea. Mediterraneo was released by Virgin in 2013. For the last nine years, she has conducted Greek singing seminars in France in collaboration with the Hiphaistia Association Européenne Pour l’Expression de la Culture Grecque. She teaches Greek traditional singing and repertory in the Postgraduate Department of the National and Kapodistrian University of Athens, Greece. In October 2018, in collaboration with Stefanos Dorbarakis, Kyriakos Tapakis, Yorgos Kontogiannis, and Yorgos Kariotis, she participated in recordings in the Holy Patriarchal and Stavropegic Monastery of Saint George of Vasses in Karpathos. The recordings were released in March 2019 with the CD Notio Toxo - Ιn Karpathos which received exceptional reviews.





Katerina Maragoudaki was born in Chania, Greece. She studied direction of Photography in several universities and film schools in Greece, Italy and Australia.

Since 1990, she has been working as a Director of Photography in feature films and short films – for some of them she has been awarded in international Film Festivals such as Thessaloniki International Film Festival, Drama International Short Film Festival, Alexandria International Film Festival Etc., – and in Television for TV series, documentaries and commercials.

Since 1992 she has done the lighting design for more than 350 theatrical plays, concerts, music performances, dance-theaters, in Greece and abroad.

Furthermore, in the Athens Olympic Games 2004, she designed the lighting of the Closing Ceremony of Gymnastics.




Petro Alexiou was born in Australia (1950) and completed tertiary studies in Australia and Greece. His PhD Thesis in Critical Cultural Studies at Macquarie University, Australia, is a critical biographical study on the migrant author Alekos Doukas. He is the English translator of the 1929 Greek novella A Prisoner of War’s Story by the Asia Minor writer Stratis Doukas, Alekos’ older brother.

He worked as a translator for SBS–TV for over a decade, subtitling Greek films and television series. He is a graduate of the Australian Film, Television and Radio School’s extension course in screenwriting and was the co-writer for the 1989 short film The Killing of Angelo Tsakos (1989).

He was one of the main organisers of the Sydney Greek Film Festival for its first 10 years and is the President of the Greek Film Society Sydney. He has published articles on Greek cinema in the online journal Senses of Cinema.

Recently, he was the English translation editor of the book by Dr. Panayota Nazou Promised Brides: Experiences and Testimonies of Greek Women in Australia (1950-1975).




Vassilis Boutos was born in Greece in 1959. He is an author (a member of the Hellenic Authors' Society), and screenwriter (a member of the Scriptwriters Guild of Greece).

The following books have been published: Gestures of Shame, short stories, 1986, Kastaniotis Editions. Night Rebellion, novel, 1988, Kastaniotis Editions. John-Mary of the Fall, novel, 1990, Kastaniotis Editions. Women in Parks, short stories, 1993, Kastaniotis Editions. The Nomination, narrative, 1994, Tramakia Editions. Blood Libel, novel, 1997, Nefeli Publisher. Half-Breed, short stories, 1999, Greek Letters. Queen’s Tears, novel, 2000, Nefeli Publisher. The Oil of the Dead (in progress).

He has also written the scripts John-Mary of the Fall (for the Greek Film Centre) and The Nomination (for Greek Radio Television ERT). Twenty episodes of Blood Libel were broadcast on ERT in 1999. 

Blood Libel has been translated into Italian as La Calunnia del Sanque by Umberto Fiorino, published by the University of Palermo, 2021.

In 2004 he founded and currently directs, the European Center of Animation and Arts, a non-profit organization.