Reviews of his work (selection)
Spyros Evangelatos, Former President of the Academy of Athens, welcomed him in the ceremony of his election as a poet to the Academy as Corresponding Member, 10.12.2013:
“Charalambides is the leading living poet of Cyprus, being among the major poets of Hellenism.”
Kiki Dimoula, Member of the Academy of Athens, poet, in her presentation of the poet in the Academy of Athens, 10.12.2013:
[She referred to] the multiple honours and prizes of the poet and stressed among the characteristics of his work the harmonious consonance of words, wisdom without becoming didactic; shining Greekness; wide ranging knowledge; sense of tragic; great benefit to his homeland; among the most penetrating and recognizable voices of Hellenism; the national poet of his generation in Cyprus.
Garantoudis Evridipis, Professor of Modern Greek Philology, Univ. of Athens, presenting the poet in his award ceremony of the Doctorate Honoris Causa of the University of Athens, 29.11.2013:
The high aesthetic value of the poetry of Charalambides makes him one of the most important Greek poets of the post-war and post-junta period. […] A contemporary Greek poet of the Cypriot and the wider Greek world. […] Both the sense and the desire [of Charalambides] refer to the founder of Modern Greek poetry and Greece’s founding national poet, Dionysios Solomos. […] The type of National poet Charalambides has developed is a descendant from the poetry of Seferis. […] He was led and has reached the deeply humanistic and supra-national dimension of his poetry. […] A modem type of national poet. […] A profound dialogue with the whole Greek literary tradition: with Ancient Greek, Byzantine and Modern Greek text, the folk songs and modern poetry. […] He is the poet who has travelled the length and width of the history of his homeland Cyprus and Greece, guided by the textual sources, as no one else among his contemporaries has done. He can draw the traces of the Greek language in its timeless history poetically in living words. […] His expression of the “suffering of Romiosyne (Hellenism)” is transmitted to the reader because he can combine the personal with the collective experience and the contemporary with the timeless experience. I would say that Charalambides can both narrate as Cavafy does and mythologize as Seferis. […]
Papatsonis Takis, poet, Member of the Academy of Athens (†1976). Preface to Charalambides’ collection of poems Άγνοια του Νερού [Ignorance of water], Athens 1967:
Brevity is one of his general virtues; proof of sound technique is the merging of images, senses and notions, the paring down to what is technically necessary. Such virtues that manage such complete artistic results, are proof of the complete language? Culture of the poet, his familiarization with all the successive layers of our timeless language but also [his familiarity] with foreign language traditions. [Charalambides] gives life to the shriveled and ill Modern Greek Poetry. He gives back to her with the proper awe, its great moral foundation, a new and lively humanism.
Savvidis Yiorgos, Professor of Modem Greek Philology, University of Thessaloniki, (tl995), εφημ. To Βήμα [newspaper To Vima], 26 August, 1973:
I believe that the basic virtues of the Cypriot craftsman have been seriously strengthened and enriched. His already enviable epigrammatic writing style seems to acquire a special weight… His humor has gained in easy and vigour … This new expressive versatility takes him not in witty acrobatics, but into spiritual daring almost unthinkable for an orthodox faithful.
Mastrodimitris Panayiotis, Prof. Emeritus of Modem Greek Philology, University of Athens, Εισαγωγή στη Νεοελληνική Φιλολογία, [Introduction to Modern Greek Philology], Athens: Δόμος 102012, pp. 206-207:
He has assimilated brilliantly the poetic teaching of Papatsonis and Seferis […] His Αχαιών Ακτή [Achaeans’ Shore] (1977) […] is the most genuine poetic work on the Cyprus disaster [the Turkish Invasion of 1974].
Kechayioglou Yiorgos, Professor of Modern Greek Philology, University of Thessaloniki, Journal “Διαβάζω” [Diavazo], Athens, τεύχος 62,9.2.1983:
Kyriakos Charalambides has long passed the threshold of the good poet; he has also undoubtedly conquered one of top positions among the poets of his generation and of the whole Hellenism. And we would not be saying anything bold or unproven if we accept, with unreserved emotion, gratitude and sense of justice, that Famagusta Reigning City is the most complete Greek poetic work for the year 1982.
Kechayioglou Yiorgos, Professor of Modem Greek Philology, University of Thessaloniki – Papaleontiou Lefteris, Former Assist. Professor of Modern Greek Philology, University of Cyprus, Ιστορία της Νεότερης Κυπριακής Λογοτεχνίας [History of Modern Cypriot Literature], Nicosia 2010:
pp. 601-602: His poetry is maturing with the books published after 1974, affected by the Cyprus tragedy [the Turkish invasion of 1974]. The author feels compelled to undertake and serve the role of a “national poet”. […] Rich, multi-level image-making, in mainly narrative settings, where words scholarly and idiomatic or rare, part of the age-long journey of the Greek language, are assimilated. […] Readings wide and still sharp, and the passion for language flock in his poetic workshop with a poetic view of the world, often with the innocent viewpoint of a child […] p. 707: [There is] a strong function of a solid and wondrous personal universe, where all things are christened anew and reacquire their virginity of the first-revealed [according to the author Ant. Fostieris].
Garantoudis Evripidis, Professor of Modern Greek Philology, University of Athens, newspaper Τα Νέα [Τα Nea], 15/16.7.2006:
Charalambides still writes, with a deeply assimilated knowledge of the Greek literary tradition, with an active historical conscience, with a rare linguistic sensitivity, and an original poetic “word”, when no other mainland Greek poet worthy of then name even thinks of doing something like this. Charalambidis’ poetry puts us in front of the question if there can exist today a modernised version of the national poet. My view is that Charalambides’ own poetry gives itself a positive answer to the question, with its distinguishing difference.
Pieris Michalis, Lecturer, University of Crete [now Professor of Modem Greek Philology, University of Cyprus], Από το μερτικόν της Κύπρου [From the share of Cyprus], Athens: Καστανιώτης 1981:
The collection «Αμμόχωστος Βασιλεύουσα» [Famagusta, Reigning City] in my opinion the best synthetic works of modern Greek poetry, in which the decisive role is played by the historical or national parameter – and I mean works like Solomos’ «Ελεύθεροι Πολιορκημένοι», Seferis’ «…Κύπρον, ού μ’ εθέσπισεν…», Elytis’ «Άξιον Εστί». Ritsos’ «Η καταστροφή της Μήλος», Montis’ «Τρίτο Γράμμα στη Μητέρα», or Sinopoulos’ «Νεκρόδειχνος»
Anagnostaki Nora, literature critic, collective volume Χρονικό 1973 [Chronicle 1973], Athens 1974:
One could say that no one could write today poetry with such aroma of wisdom, surprising originality of understanding, and virginal verbal expression through and through. Nothing ready-made, taken from the heap, not even two words arranged in the way you are accustomed to listening or reading them. This, here, poet really makes the world anew, inventing a new poetic language, like he is looking at matters and their combination for the first or an infinity of times. The nature of his poetics lends itself to continuous myth-makings and enigmatic oracles, whence a shaking sense of contemporary Greek reality arises.