The theatrical language of Parris Takopoulos is as recognizable and distinctive as his laughter. In his writings, whether they are poetry, novels, short stories, or essays-criticism, there is a continuous dialogue. That is, everything is theater. Even his two-volume Empty Testament, the most linguistically and metafictionally Greek novel - Ilissos, is theater. This is natural, as it owes its biblical Genesis to The Penultimate of Monikins, his first one-act play, which almost became the catalyst for the beginning of the end for the author himself. His theater has as its act his subversive language, and language as his subversive act, and it belongs to both the future and the present, which is why it is not at risk of becoming a reversible past.