The saints of illegality Technologybud

In “The Bandits” by Giorgos Gousis and Giannis Ragos, the landscape is the best resonance for the psychology of (anti) heroes. Dark, watered in the rain and humidity, cavernous, ruthless. On page 14 he accepts Constantova’s blood. On page 35 he returns it as a gift. On page 60 it is transformed into a chthonic mound of revenge, on page 111 into a memory of death. In the territory of the robbers Thymiou and Giannis Dova, modernity is clashing with tradition. Here, in Epirus at the beginning of the 20th century, everything is a community. Isolated, enclosed, frozen in time. A community that mourns its dead (Kostadova’s mourners like a black and white epitaph) and, above all, carries their memory on the backs of their descendants. The Dova brothers are associated with the silent oath of revenge of the father, the codes of the Balkan honor and the privileges provided by “heroism”. The original matrix of the passions remains the pre-modern self-judgment. “Robbers” means violence. From the first frame, with the elements of the word “death” impregnated, to the last, when the two brothers declare themselves “kings of Epirus”. Behind the secretive eyes they know that they own a kingdom built on alisverisi: their own death machine for the reward reserved for them by the rich merchants of the time. The Dovai – a duo inspired by the true story of the Renzo brothers – have for their part the contradiction in the interpretation of human nature. Criminals or saints of illegality? “No one says a word, some because they love them and others because they are afraid of them,” the cafe patron monologues, reading in the local newspaper the “new crime of the infamous Dovai bandits”. They feed the give and take of impressions while triggering the countdown of the fall. Heroization the marginalized? How current is the heroism of two people who put themselves outside the boundaries of society, bearing interest from popular sympathy? Interpretations are open to the reader, as long as the Balkan road story transforms into a noir narrative. The continental landscape of the end, a precursor of the continuation in the second volume, the script of which has already been written, seems to absorb again the existential agony of the two outlaws, the ambivalence of the local population towards the robbers and the underground tensions between the old and the rising modernism. More severe than the punitive action of the Dovans sounds, in this case, the punishment reserved by ancient Greece for modernization experiments. “Venizelos has left the newest provinces of the country for the sake of the Great Idea. In the elections, however, he will receive the message of the people! ” The cunning politician of the time is heard in the same cafe. Follow him on Google News and be the first to know all the news See all the latest News from Greece and the World, at

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