The theatrical language of Parris Takopoulos is as recognizable and distinct as his laughter. In his writings, whether they are poetry, novels, short stories, or essays-criticism, there is a constant dialogue. In other words, everything is theater. Even his two-volume Empty Testament, the most anarchic Greek novel-Ilyssos, which is as easily understandable as Joyce's Finnegans Wake, is also theater. This is natural, as it owes its biblical Genesis to The Penultimate of Monikins, his first one-act play, without a beginning or an end. His theater has as its action his subversive language, and language as his subversive action, belonging both to the future and the present, which is why it is not at risk of becoming a reversible past.