By Nikos Filippaios (PhD candidate, University of Ioannina, Greece)
Since its beginning, crime fiction in Greece has usually been distributed by publishers in multi-volume series. The first series of crime fiction translated into Greek were published from the 1910s to the 1930s, initially outside of Greece, in the Ottoman capital of Istanbul, where many Greek-speaking people lived, and some years later in Athens (Kassis, 165). Before long however, it centred exclusively around publishers, translators and writers based in Athens. In addition to series of novels and short stories, many magazines appeared dedicated exclusively to crime fiction and the successful family magazines of the era often featured detective stories. Following the difficult decade of the 1940s, in which Greece was wracked by the Second World War and a civil war, the crime, and popular fiction publishing industry in Greece in general, prospered. After the mid-1950s however, something of a “golden era” for popular literature in Greece, a slow decline began, culminating in a defeat by the cinema, TV and, finally, digital media (Filippaios 2015, 5-19).
A compelling phenomenon visible in the evolution of Greek crime fiction of this time is an increasing shift towards violence and sexuality, a trend which began during the early 1970s and lasted at least until the end of the decade. This shift became evident between 1968 and 1972, with the appearance of three new series. The most important of these was the “VIPER Series of crime fiction novel” by Papyros (English: “papyrus”) Publications, a publishing house established in 1936 in Athens, which expanded into the crime fiction genre in 1968. This series was so successful that, not only did it continue publishing until the early 1990s, but some volumes can still be found in kiosks and bookshops around Greece today (Koskinas, 21/01/2014). “VIPER” initially followed the trend of other famous crime fiction series, including mainly classic writers such as Agatha Christie and James Chase. But from 1975 onwards, its publisher turned chiefly to Gérard De Villiers’ SAS novels. After Ian Fleming’s James Bond, SAS’s Malko Linge was the next most famous literary spy who fascinated Greek readers with his violent and erotic adventures.
In fact, Papyrus Publications’ interest in a more hard-core subgenre of crime fiction, such as the spy novel, probably influenced two other, smaller series. Although both featured fewer volumes and were distributed by smaller publishing houses, they followed the trend of “blood and sex” from inception. The first of these was “Fascinating Pocket Books” and was published by Panthir (English: ‘panther’) Publications. Probably active between 1970 and 1973, Panthir Publications was created and curated by Dimitris Chanos, a writer and publisher who began his career in the iconic crime fiction pulp magazine Mask (Chanos, 221-240). From its very first volumes, Panthir adopted a very specific approach: (a) focusing on “hard-boiled” crime fiction writers, mainly Mickey Spillane, and (b) replacing older cover illustrations, usually with photo collages of scantily clad women, an aesthetic which borrows elements from soft-core pornography. Along the same vein, “Modern Pocket Books”, one of the first attempts from Kampanas Publications and also circulating during early 70s, adopted a similar approach to its covers, but with slightly more conservative images. The main writer featuring in “Modern Pocket Books” was Anthony Morton, a pen name of John Greasy. Particularly popular were his spy novels featuring “the Baron”.