So in that scene he runs out of the club because he thinks he sees her, but she is not supposed to be there–she is supposed to be where he imagines (remembers) her to be. Then there’s a break, and the flashback begins “She has occupied a place in his heart for as long as he can remember. Petros’ love for the girl Joanna is woven into his earliest memories.”
Elias, meanwhile, tries to tell Petros that a relationship between him and Joanna will never work, because Joanna is a prisoner of memory.
And then when Joanna cries saying she can’t remember father’s face and she has “not even a photograph” of him, this is (part) of what drive Petros to return to Varosha to retrieve a photograph (a memory) in the hopes that retrieving it will change the way Joanna thinks of him (change their relationship). At the end of the story, when he tells her he lost it, the implied question is whether or not this will matter (for their relationship).
You also have Elias and his uncle who have (possibly ill-gotten) wealth from things that happened in the past, Joanna with her own issues about past, Yiorgos Zenios who has old maps to the city, and the Turkish soldiers, who come into conflict because they are looting (raiding the past). And they also have their own internal conflicts about the past (the past actions of Emre’s brother preventing him from advancing in the army). Finally there’s the priest, who is trying to figure out what happened with Elias in the past and whether/how Elias can rectify his past sins.
Well now I think Mike and I are really just illustrating the storyform
I can say that it’s been inspiring for me to revisit this book and watch you two delve into it with so much enthusiasm and insight! So thanks again @Greg for digging it up and asking to read it.