Greek Australian writers from both the first and second generation, consciously or unconsciously, have been drawing on the paramythi and transforming it in their works. This vernacular form was also used by the modernist Greek poets in the 1930s. When it functions as a literary trope, it has various manifestations. It may present as a comforting voice because it is familiar on the subliminal level of consciousness when it operates through folktale and demotic sayings, which uses various rhythms and verse forms similar to Greek folk poetry and songs, Byzantine hymns, parables/anecdotes/songs, proverbs or parables. Alternatively, it may have a subversive potential demystifying national history and its social mores. In Greek society, it has had a long history, and a wide scope, ranging from transmitting wise tales to revealing metaphysical truths found in religious parables, but also projecting non-naturalistic fantastical images, gossip and innuendo. This shows paramythi is resilient and adaptable, but it can also be an indicator of how the writers who use it for various aesthetic and political purposes are reacting to change, trauma and their past.

George Seferis, an internationally recognized twentieth-century Modern Greek poet, clearly articulated why Modern Greek poets during the 1930s and beyond were drawing on paramythia in their works. In his poem ‘Last Stop’ in his collection LOGBOOK ll, Seferis wrote:

The symbolic and literal use of paramythic motifs and rhythms for Seferis signifies escapism from the pain of the incomprehensibility of living through war, destruction and exile. This poet was not alone in this as there were others such as Nikos Gatsos, Milton Sachtouris, Andreas Embirikos and Odysses Elytis with an acute sensitivity to the despair around them in post-war twentieth-century Europe. This particular generation has been characterized as moving away from the negative despair of the previous generation of the 1920s with famous poets such as Kostas Karyotakis. According to Yoryis Yiatromanolakis, poets began to adopt an affirmative, optimistic world view indicated in their use of paramythic motifs such as youth and spring and running waters, written in free verse.