Adrianne Kalfopoulou is the author of two collections of poetry, several chapbooks, and a book of essays, Ruin: Esscrys in Exilic Living, all from Red Hen Press. Her work has appeared in journals and anthologies including Ame1fran Poets in Greece, Borderlands and Crossroads: Writing the Motherland, Duende, Futures: Poetry of the Greek Crisis, The Harvard Re~iew Online, Hotel Amerika, Kindled Terraces, and Superstition Review. She chairs the English program at Deree College in Athens, Greece.

Other poems by Poet Name in Verse Daily:
January 28, 2010:   "Before the Ship Arrives" "Night and the wait is long...."
December 21, 2009:   "Fall Grapes" "We didn't know the acrid scent of trodden grapes..."
November 16, 2002:  Corinna's Bones "You sleep as you lived, far away..."

Books by Adrianne Kalfopoulou :

Other poems on the web by Adrianne Kalfopoulou :
"The History of Too Much"
"Coming Down the Mountain Before Dark"
Six poems
"Poem in Pieces, a log"
Four poems
"Water"
"In a Pomegranate Time"

Adrianne Kalfopoulou 's Website.

Adrianne Kalfopoulou on Twitter.

About A History of Too Much:

"Adrianne K:dfopoulou's -luminous du:onicle of love and debt in the time of the Greek Euro crisis, A Htstory of Too Much, is powerful lyric testimony to the courage, humor, and brave resistance with which ordinary people faced augurs of loss in Greece, where the beauty of 'the oregano's thick perfume, the sapphire sea' remind them of a heritage of beauty and sacrifice, as the title poem puts it. 'It felt so much bigger than me,' says the speaker of the magnificent hybrid poem that caps the collection, an assemblage of the voices and visions of historic change, which is, like History itself, a tour de force."
—Cynthia Hogue

"The "too much" that piques the reader's interest in the arresting title of these poems does double service: it sounds a cry of anguished exasperation uttered by this collection and comments on the way private life has been massively invaded by public upheavals. A startling theme, viewed with unexpected ambivalence, is hope-or rather "the carcass of hope"-that in these poems seems fated to end with "passionate disappointment." As the immigrant daughter of political exiles, I grasp that theme viscerally as Kalfopoulou pursues it through marvelous use of sensory details; attention to the voices and narratives of individuals, named and specified; love poems both tender and erotically vivid; memories of the dead; encounters with the maimed but still-living; physical vestiges of World War II and its victims, and travel accounts full of foreboding amid strangers in nocturnal surroundings."
—Rhina P. Espaillat

"This is how the best contemporary poetry serves-as linguistic performance of an uncommonly attentive, empathetic soul making what sense it can of the vertiginous phenomena spinning before us. In terms of both content and style, these poems perform a necessary recognition of how the past is everywhere present, of how presence is ever imminent in what passes, and-most importantly-of how our every choice matters."
—Scott Cairns