{"id":10741,"date":"2020-09-17T12:29:48","date_gmt":"2020-09-17T09:29:48","guid":{"rendered":"http:\/\/ziarulderimnic.ro\/?p=10741"},"modified":"2020-09-17T12:29:48","modified_gmt":"2020-09-17T09:29:48","slug":"spatii-culturale-nr-69-4","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=10741","title":{"rendered":"Spa\u021bii culturale nr. 69 (4)"},"content":{"rendered":"<p><strong>Elena B\u0102L\u0102\u0218ANU<\/strong><br \/>\n<a href=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10742 lazyload\" data-src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu-170x300.jpg\" alt=\"\" width=\"170\" height=\"300\" data-srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu-170x300.jpg 170w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu.jpg 250w\" data-sizes=\"(max-width: 170px) 100vw, 170px\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 170px; --smush-placeholder-aspect-ratio: 170\/300;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-10742\" src=\"http:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu-170x300.jpg\" alt=\"\" width=\"170\" height=\"300\" srcset=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu-170x300.jpg 170w, https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/09\/balasanu.jpg 250w\" sizes=\"(max-width: 170px) 100vw, 170px\" \/><\/noscript><\/a><\/p>\n<p><em><strong>d\u00e9j\u00e0 vu<\/strong><\/em><\/p>\n<p>un carusel<br \/>\nne \u00eenv\u00e2rte<br \/>\n\u00een sens invers<br \/>\nsuntem copii<br \/>\nnu \u0219tim s\u0103 spunem<br \/>\nce sim\u021bim<br \/>\n\u00eemi iei m\u00e2na<br \/>\no atingi u\u0219or<br \/>\nse vrea o m\u00e2ng\u00e2iere<br \/>\npentru suflet<br \/>\n\u00ee\u021bi scap\u0103 un z\u00e2mbet<br \/>\n\u00een col\u021bul gurii<br \/>\nc\u00e2nd \u00ee\u021bi spun<br \/>\nnu m-ai iubit<br \/>\nniciodat\u0103<br \/>\nba te-am iubit<br \/>\nm\u0103 tragi spre tine<br \/>\n\u00ee\u021bi a\u0219ezi capul<br \/>\n\u00een poala mea<br \/>\n\u0219i adormi<br \/>\ne ca atunci<br \/>\nc\u00e2nd m\u0103 cuib\u0103resc<br \/>\n\u00een bra\u021bele tale<br \/>\n\u00eenainte<br \/>\ns\u0103 facem dragoste<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>the bus<\/strong><\/em><\/p>\n<p>o diminea\u021b\u0103 f\u0103r\u0103 p\u0103s\u0103ri<br \/>\n\u0219i avioane<br \/>\nlini\u0219tea pic\u0103 din cer<br \/>\ntu dormi cu fa\u021ba \u00een jos<br \/>\nstr\u00e2ngi \u00een bra\u021be<br \/>\no carte cu coper\u021bi verzi<\/p>\n<p>la naiba -\u00eemi zic-<br \/>\nva fi o zi lung\u0103<br \/>\n\u00eemi pun tricoul<br \/>\ncu logo \u0219i plec<br \/>\nautobuzul e plin<br \/>\nde b\u0103tr\u00e2ni t\u0103cu\u021bi<br \/>\ncu gen\u021bi troller<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>iubirea se \u00eemparte \u00een vis<\/strong><\/em><\/p>\n<p>Cecilia lipe\u0219te stele fosforescente<br \/>\nstele peste stele<br \/>\nprinse \u00eentr-un cerc<br \/>\nvorbim despre spaimele noastre<br \/>\ndespre lucrurile care ne fac fericite<br \/>\ndespre adev\u0103r<br \/>\n\u0219i tentaculele lui transparente<br \/>\nseara c\u00e2nd ne \u00eentindem \u00een pat<br \/>\nunul l\u00e2ng\u0103 altul<br \/>\nun zid uman f\u0103r\u0103 fisur\u0103<br \/>\n\u00eemi \u0219opte\u0219te c\u0103 o s\u0103 m\u0103 viseze<br \/>\no s\u0103 te visez \u0219i eu \u2013 \u00eei spun \u2013<br \/>\niar tati o s\u0103 ne viseze pe noi<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>XII. Drag\u0103 a.<\/strong><\/em><\/p>\n<p>Aici e raiul.<br \/>\n\u0218i noi r\u00e2dem, c\u0103ci i-am promis.<br \/>\nDe la balconul nostru<br \/>\nse vede mai bine.<br \/>\nSeara cu stelele cameleonice,<br \/>\nlic\u0103riri pe retin\u0103.<br \/>\nNe amintim de prieteni vechi.<br \/>\nCe simte copilul din tine acum?<br \/>\n\u0218tii doar,<br \/>\nnoaptea nu iart\u0103 pe nimeni.<br \/>\n\u00cenchidem ochii \u0219i ascult\u0103m.<br \/>\nO mare agitat\u0103<br \/>\ncu cioburi ce se macin\u0103 la \u021b\u0103rm.<\/p>\n<p><em><strong>s\u0103 te bucuri de r\u0103s\u0103rit<\/strong><\/em><\/p>\n<p>deschidem fereastra<br \/>\nne bem cafeaua<br \/>\ntu ceaiul aburul se amestec\u0103<br \/>\ncu visele de noaptea trecut\u0103<br \/>\ncu temerile \u00eenceputului de zi<br \/>\npar\u021bial noros<br \/>\nne \u00eentreb\u0103m dac\u0103 va ploua<br \/>\n\u00eemi atingi u\u0219or p\u0103rul cu<br \/>\ng\u00e2ndul la ale tale<br \/>\neu \u00eemi lipesc buzele<br \/>\nde cana fierbinte<br \/>\nf\u0103r\u0103 s\u0103 beau<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Istorie literar\u0103 &#8211; Recitiri<\/strong><\/p>\n<p><strong>Adrian Dinu RACHIERU<\/strong><\/p>\n<p><strong>DANIEL DR\u0102GAN \u015eI \u201eTEMA DESTINULUI\u201d<\/strong><\/p>\n<p>Chiar dac\u0103 se voia, \u00een june\u0163e, scenarist \u015fi regizor, literatura l-a confiscat \u201ecu o patim\u0103 captivant\u0103\u201d, m\u0103rturisea Daniel Dr\u0103gan; din \u201eapele\u201d ei n-a mai dorit s\u0103 ias\u0103, v\u0103dind o admirabil\u0103 disponibilitate (romancier, poet, dramaturg, ziarist) \u015fi acoperind un larg evantai tematic. De peste \u015fase decenii scrie \u015fi \u00ee\u015fi urmeaz\u0103, \u00een pofida potrivniciilor, calea; bun gospodar, a refuzat, c\u00e2ndva, \u201ecolivia de aur\u201d a Capitalei \u015fi a pus um\u0103rul, sub patronaj astrist, la rena\u015fterea cultural\u0103 a Bra\u015fovului. A mers, purt\u00e2nd \u201eamintiri proletare\u201d, spre \u201evremurile noi\u201d cu inima deschis\u0103 \u015fi s-a desprins, greoi, din \u201em\u00e2lul unei Istorii otr\u0103vite\u201d. A trecut prin \u015ecoala de literatur\u0103 \u015fi a crescut \u00eentr-un context sufocant, \u00een \u201eborhotul literar\u201d al anilor \u201950. Poate c\u0103 Subreta, un proiectat roman autobiografic, ar fi adus la lumin\u0103 (alte) informa\u0163ii pre\u0163ioase din epoc\u0103. A p\u0103r\u0103sit un rai \u201ene\u015ftiut\u201d (la Glodeni) \u015fi a construit un alt eden, reg\u0103sit, la Bogata, ctitorind \u015fi Funda\u0163ia Cultural\u0103 Arania. A fost, la c\u00e2rma Astrei, gazd\u0103 bun\u0103 pentru un migrator cenaclu transilv\u0103nean (Saeculum) \u015fi a ini\u0163iat campanii de ecou (demetropolizarea culturii, concursul de receptare a poeziei, de pild\u0103), atr\u0103g\u00e2nd colaboratori de prim\u0103 m\u00e2n\u0103. \u00cen fine, dincolo de \u201eplato\u015f\u0103\u201d, descopeream un ins cald, vibratil \u015fi vulnerabil, afi\u015f\u00e2nd o boierie deloc lenoas\u0103, c\u00e2t\u0103 vreme, mereu \u00een priz\u0103, dovedea c\u0103 e, cu adev\u0103rat, scriitor. Livra, cu o ritmicitate de invidiat, noi titluri, avea pl\u0103cerea povestitului \u015fi lucra pe mari cicluri romane\u015fti, \u00eendemnat de voluptatea\/ \u015ftiin\u0163a construc\u0163iei. T\u00e2rgovi\u015ftean fiind, i s-au c\u0103utat (\u015fi nu s-au g\u0103sit) afinit\u0103\u0163i cu faimoasa \u015fcoal\u0103. Categoric, Daniel Dr\u0103gan cultiva o alt\u0103 formul\u0103 estetic\u0103. Revenit la realitate, f\u0103r\u0103 teze \u015fi \u015fabloane (observa Marian Popa, \u00eenc\u0103 \u00een 1980), s-a apropiat de problemele epocii, \u201eaproape f\u0103r\u0103 urme de patos reportericesc\u201d (cf. L. Ulici). E interesat de pictura social\u0103, iube\u015fte concizia, are un stil telegrafic, f\u0103r\u0103 excese metaforice \u015fi a creat, pe fundalul debordan\u0163ei narative, personaje memorabile, de-ar fi s\u0103 o invoc\u0103m doar pe Maria Suru. Simte, asemenea altui erou, Simion Petrineac, \u201echemarea tainei\u201d \u015fi \u00een\u0163elege visul ca form\u0103 de existen\u0163\u0103. Or, \u00een vis, toate se amestec\u0103. \u00cenc\u00e2t, re\u0163eta sa, \u201eproductiv\u0103\u201d, asta face, afl\u00e2nd \u00een Arania nu doar un inspirat toponim fantezist, ci un \u0163inut magic, \u00een care timpul are alt\u0103 valoare. Prozatorul, oricum, ne avertizase: \u201escriu dup\u0103 cum \u00eemi dicteaz\u0103 firea\u201d. Iar firea \u00eel poart\u0103 \u00een \u0163inuturile visului, altern\u00e2nd registrele, cu popasuri onirice \u015fi incizii t\u0103ios-realiste.<br \/>\nBine\u00een\u0163eles, \u00een varii \u00eemprejur\u0103ri, somat de contextul socio-politic, scriitorul rom\u00e2n a fost obligat s\u0103 foloseasc\u0103 esopismul, \u201ere\u0163eta bizantiniz\u0103rii\u201d, s\u0103 cultive regimul echivocului, p\u0103c\u0103lind cenzura \u015fi \u00eengrop\u00e2nd, \u00een cutele textului ori \u00een subsolul c\u0103r\u0163ilor, sensurile ascunse; astfel, dublul s\u0103u, cititorul, trebuia (dup\u0103 spusele lui \u015etefan B\u0103nulescu) s\u0103 caute \u201eoul de sub cuv\u00e2nt\u201d. Un exemplu ar fi \u015fi romanul lui Daniel Dr\u0103gan (Presim\u0163irile, Ed. Cartea Rom\u00e2neasc\u0103, 1989), ap\u0103rut, totu\u015fi, \u015fi grabnic retras de pe pia\u0163\u0103, relansat \u015fi cump\u0103rat (disp\u0103rut), roman \u00een care \u2013 sub un titlu fericit g\u0103sit \u2013 prozatorul bra\u015fovean anun\u0163a parc\u0103 uimitorul decembrie \u201989.<br \/>\nPu\u0163ini \u00ee\u015fi mai amintesc c\u0103 Daniel Dr\u0103gan debuta cu versuri (\u00een 1954, \u00een Gazeta literar\u0103); trimiterea e important\u0103 nu doar pentru reconstituirea exact\u0103 a unui traseu\/ destin creator, c\u00e2t, mai cu seam\u0103, pentru descifrarea unui complex \u015fi controversat profil scriitoricesc, v\u0103dind o irepresibil\u0103 \u201esete poetic\u0103\u201d. Aceast\u0103 infuzie de lirism nu mineaz\u0103, \u00eens\u0103, proza robustului autor al Ursei mari; ea deschide, negre\u015fit, o viziune poematic\u0103, dar nu \u00eenseamn\u0103 \u2013 ca \u00een at\u00e2tea alte cazuri \u2013 o risip\u0103 de metafore \u015fi o \u00eenn\u0103molire \u00een \u201evorbirea \u00eenmiresmat\u0103\u201d. Daniel Dr\u0103gan a fost, indiscutabil, un prozator puternic, iar chemarea poetic\u0103, rezistent\u0103 \u00een timp, exprim\u0103 o formul\u0103 temperamental\u0103.<br \/>\nS\u0103 reamintim c\u0103 primele romane ale lui Daniel Dr\u0103gan cre\u015fteau dintr-un elan sociografic. Prozatorul propunea c\u0103r\u0163i despre \u201edinamica social\u0103\u201d, voia \u2013 cum spune un protagonist \u2013 \u201es\u0103 \u00een\u0163eleag\u0103 bine realitatea\u201d; privea, deci, cu ochi de sociolog via\u0163a uzinal\u0103, examina setea de putere, fanatismul politic, reu\u015fea prin Maria Suru \u2013 un personaj exponen\u0163ial, de o inflexibilitate monstruoas\u0103, un brav soldat al Revolu\u0163iei, f\u0103c\u00e2nd din ur\u0103 combustibilul ei \u2013 s\u0103 dea seama despre \u201eun fenomen special\u201d, privind lumea \u201eprin vizorul unui suflet ars\u201d, investig\u00e2nd o perioad\u0103 confuz\u0103. Primul s\u0103u ciclu romanesc (Tare ca piatra recapitul\u00e2nd, \u00een 1986, obsesiile acestui univers) \u00eembr\u0103\u0163i\u015fa o formul\u0103 aparte; cronologia era sfidat\u0103, schimbarea accentelor (lumin\u00e2nd alte nuan\u0163e) se \u00eenso\u0163ea cu alternarea registrelor; mim\u00e2nd supu\u015fenia auctorial\u0103, liricul, intarsia livresc\u0103 coexistau cu grotescul \u015fi ceremonialul parodic. Radiografia social\u0103 se \u00eenvecina cu epicul suculent, fix\u00e2nd \u00een pagin\u0103 ticuri verbale \u015fi comportamentale, m\u00e2nuind cu bune rezultate \u201eoralitatea\u201d. Seria romanesc\u0103 lua, a\u015fadar, probe din actualitatea imediat\u0103, o f\u0103cea recognoscibil\u0103, explor\u00e2nd bog\u0103\u0163ia ei tematic\u0103 \u015fi problematica. Dar scrisul lui Daniel Dr\u0103gan ambi\u0163iona altceva. Prozatorul urma s\u0103 demonstreze c\u0103, l\u00e2ng\u0103 largile panouri sociale (manevr\u00e2nd o \u201efic\u0163iune realist\u0103\u201d), era apt de \u00eennoire, \u00eembog\u0103\u0163indu-\u015fi \u201erealismul economic\u201d, ridic\u00e2nd la putere detaliul. Am semnalat, alt\u0103dat\u0103, c\u0103 Drum spre Arania (1983), povestire culeas\u0103 \u00een M\u0103rgele ro\u015fii (1984), anun\u0163a virajul. Voluntar\u0103, inflexibil\u0103, demonic\u0103, golit\u0103 de afec\u0163iune, \u015ftiuta Maria Suru \u00een\u0163elegea via\u0163a ca un \u201emecanism perfect proiectat\u201d; era un personaj rectiliniu.<br \/>\nOr, absorb\u0163ia realului favorizeaz\u0103 decantarea adev\u0103rului; tranzit\u0103m de la realitatea faptului brut la adev\u0103rul lui meandric, descifr\u00e2nd sensul parabolic ascuns \u00een cutele textului, str\u0103b\u0103t\u00e2nd \u201e\u00een\u0163elesurile concentrice\u201d. Dincolo de farmecul stilistic, noul (pe atunci) Daniel Dr\u0103gan atr\u0103gea aten\u0163ia asupra subteranelor prozei, interesat de lumea l\u0103untric\u0103.<br \/>\nScris, p\u0103relnic, \u00een prelungirea anterioarelor romane, Tare ca piatra inventaria, de fapt, obsesiile acestei lumi romane\u015fti, reintroduc\u00e2nd \u00een scen\u0103 personaje cunoscute. Ne re\u00eent\u00e2lnim cu \u201efantoma\u201d Mariei Suru \u00een acei primi ani ai Revolu\u0163iei, urm\u0103rindu-i \u201em\u0103rirea \u015fi dec\u0103derea\u201d. Copil de pripas \u00een casa Caliopilor, \u201eMi\u0163a cea proast\u0103\u201d devine un brav soldat al Revolu\u0163iei; se desprinde de albul fetid al descompunerii, \u00eenst\u0103p\u00e2nit acolo, pentru a se angaja cu entuziasm \u00een furtuna fierbinte, fascinat\u0103 de \u00eenceputul Lumii. Se desparte de lumea hidoas\u0103 a b\u00e2lciului de la Leordeni (cum o va sanc\u0163iona ulterior) pentru a se angaja, cu fanatism politic, pe altarul cauzei. Ambi\u0163ia de reu\u015fit\u0103 o m\u00e2n\u0103 f\u0103r\u0103 istov. Sabia judec\u0103\u0163ii cade f\u0103r\u0103 \u015fov\u0103ire. De o corectitudine dezarmant\u0103, g\u0103sind c\u0103 elasticitatea unui revolu\u0163ionar \u00eei probeaz\u0103 inconsecven\u0163a, cu sete de putere \u015fi influen\u0163\u0103, cu zel \u00eenn\u0103scut, Maria Suru \u00ee\u015fi d\u0103ruie\u015fte revolu\u0163iei anii cei mai buni. Fiin\u0163\u0103 b\u0103nuitoare, \u00eembr\u0103c\u00e2nd c\u0103ma\u015fa revolu\u0163iei, ea devine \u2013 ca \u015fef\u0103 de cabinet a directorului general Vasile Bic\u0103 \u2013 o for\u0163\u0103; vor urma picaje, va reurca pe culmi, se va stinge nea\u015fteptat, f\u0103r\u0103 a se dezice, \u00eens\u0103, de crezul ei sf\u00e2nt, sigil\u00e2nd o genera\u0163ie de sacrificiu: revolu\u0163ia e patos.<br \/>\nDaniel Dr\u0103gan rescrie acea perioad\u0103 incandescent\u0103. Scriitorul a aflat \u00een Maria Suru personajul exponen\u0163ial: o femeie care a c\u0103l\u0103rit pe creasta valului sacrific\u00e2ndu-\u015fi sentimentele personale, o verig\u0103 \u00een lan\u0163, o roti\u0163\u0103 a angrenajului, travers\u00e2nd toate \u00eencerc\u0103rile cu voluptatea identific\u0103rii. Maria Suru s-a aliniat r\u00e2ndurilor indivizibile, n-a sim\u0163it ispita, n-avea timp s\u0103 se priveasc\u0103 \u00een oglind\u0103, convins\u0103 fiind de originea vinovat\u0103 a pl\u0103cerilor. Pentru eroina lui Daniel Dr\u0103gan, \u00eenchis\u0103 \u00eentre zidurile principiilor, departe de fream\u0103tul vie\u0163ii, amorul era o realitate (ceva natural, \u201ea\u015fa ca piatra\u201d), dar nu o necesitate. Maria Suru crede \u00een \u201emecanismul perfect proiectat\u201d, precizia \u00eei define\u015fte drumul vie\u0163ii, nici o dezordine nu are cum p\u0103trunde \u00een acest scenariu impecabil programat.<br \/>\nRoman al unei epoci, cartea lui Daniel Dr\u0103gan \u00ee\u015fi prelunge\u015fte raza investiga\u0163iei \u00een contemporaneitate. Scriitorul pare degajat, e departe de crisparea redact\u0103rii, are un ton bonom, d\u0103 pagini colorate, suculente, atent fiind la limbajul str\u0103zii (vezi internarea lui Lic\u0103 Gurici la Spitalul uzinal, aventura Norei la Ghilodeni \u015f.a.); sau \u00ee\u015fi probeaz\u0103 disponibilitatea \u00een iriz\u0103rile fabulosului (a se vedea prezen\u0163a medicinistului Augustus Marchidan \u00een jungla de ap\u0103 \u015fi stuf a Deltei, \u00eent\u00e2lnirea cu t\u0103tarca etc.). Confirm\u00e2ndu-i ascensiunea, romanele eviden\u0163iau \u2013 la modul spectaculos \u2013 traiectoria unui scriitor, decant\u00e2nd, ini\u0163ial, faptul brut cu ochiul multifa\u0163etat al reporterului \u015fi develop\u00e2ndu-\u015fi virtu\u0163ile \u00een spa\u0163iul fantasticului.<br \/>\nSeria sa romanesc\u0103 (\u00eentrerupt\u0103, \u00een 1984, cu M\u0103rgele ro\u015fii, un volum adun\u00e2nd proze scurte) lua probe din imediata noastr\u0103 apropiere. Iat\u0103, Doi ori doi (1978) se vroia o carte despre \u201edinamica social\u0103\u201d. Prozatorul explora secven\u0163ial via\u0163a uzinal\u0103, sonda mediile de impact (expuse hibrid\u0103rii culturale), investiga \u201euzina-caracati\u0163\u0103\u201d. \u00cen prelungirea acestor preocup\u0103ri, \u00een Oceanul (1980), Daniel Dr\u0103gan afirma net: \u201euzina e un ocean\u201d. Aceea\u015fi Mi\u0163a, cu destinul ei \u201erico\u015fat\u201d, c\u0103pr\u0103re\u015fte, acela\u015fi director Bic\u0103, cu voca\u0163ia deciziei (ap\u0103r\u00e2nd necesitatea), folose\u015fte \u201ecricul minciunii\u201d; l\u00e2ng\u0103 ei, foiala personajelor pitore\u015fti (Radu Nicolae \u2013 Kent, Ghi\u0163\u0103 \u2013 Contra, Ril\u0103, S\u00eec \u015f.a.), \u00eentr-un caleidoscop care promitea romanul-sintez\u0103, absorbind \u2013 pe liniile de for\u0163\u0103 anun\u0163ate \u2013 acest cople\u015fitor material epic.<br \/>\nUrsa Mic\u0103 (1985) \u00eencercuia, printr-o lung\u0103 rememorare, via\u0163a constructorilor nomazi. Daniel Dr\u0103gan pune sub lup\u0103 seismele suflete\u015fti, timpul critic al \u201eciocnirii\u201d lumilor, \u00eentreprinde excava\u0163ii de epoc\u0103, descrie marile e\u015fecuri. Via\u0163a ca angrenaj perfect (a\u015fa cum o concepea, am v\u0103zut, Maria Suru, cea f\u0103r\u0103 \u201eo lacrim\u0103 de umor\u201d) ascunde, de fapt, fisuri, crize de \u00eencredere, cheam\u0103 capitalul secret de sentimente. Constructorii barajului, cotropi\u0163i de patima meseriei, retr\u0103iesc anii cei tineri \u015fi fierbin\u0163i; o parte din ei r\u0103m\u00e2ne, definitiv, acolo, \u00een pieptul barajului. Miniromanul lui Daniel Dr\u0103gan reface abisul unei v\u00e2rste, plonjeaz\u0103 \u00een spa\u0163iul memoriei, amestec\u0103 invazia amintirilor \u00een plasma fierbinte a imagina\u0163iei. Ziaristul Sorin Petreanu, cu fibr\u0103 de vis\u0103tor, revede locurile, tr\u0103ind \u00een a\u015fteptarea lui Vintil\u0103: \u201ete-am creat \u2013 se m\u0103rturise\u015fte el \u2013 pentru c\u0103 aveam nevoie de tine\u201d. Apelul memoriei, retr\u0103ind v\u00e2rsta unei copil\u0103rii alungate, aduc\u00e2nd \u00een scen\u0103 chipul \u00eenv\u0103\u0163\u0103torului Nanu Pandele, ne arunc\u0103 \u00eentr-un h\u0103\u0163i\u015f epic. Dar pove\u015ftile sunt legate; nici o poveste \u2013 ne asigur\u0103 Daniel Dr\u0103gan \u2013 nu vine singur\u0103. Sorin Petreanu se prezint\u0103 la aceast\u0103 banc\u0103 a timpului, vrea ca adev\u0103rul s\u0103 nu moar\u0103. Supus c\u00e2ndva unor demasc\u0103ri (\u00eenscen\u0103ri), va refuza toboganul mincinos, neaccept\u00e2nd s\u0103 devin\u0103 \u201esicriul adev\u0103rurilor pe care le-a adunat\u201d.<br \/>\nDac\u0103 Tare ca piatra era o carte recapitulativ\u0103, mix\u00e2nd teme reluate, luminate din alte unghiuri, veritabilele obsesii ale lui Daniel Dr\u0103gan \u0163\u00e2\u015fnesc \u00een Ursa Mare (1988), o carte a \u00eentreb\u0103rilor tulbur\u0103toare. O carte obsesiv\u0103, o evocare recunoscut\u0103 ca atare, populat\u0103 de stafiile memoriei, purt\u00e2nd spre noi ecouri livre\u015fti. Prozatorul adun\u0103 \u00een chenarul unei epoci o puzderie de \u00eent\u00e2mpl\u0103ri, montura \u00een context v\u0103dind o permanent\u0103 alternan\u0163\u0103 a planurilor, interes pentru \u201emica istorie\u201d \u015fi, \u00een egal\u0103 m\u0103sur\u0103, pentru \u201ecazierul\u201d epocii. Se confirm\u0103 apeten\u0163a pentru fantastic, p\u0103trundem \u00een latura mitico-magic\u0103 a imaginarului, dincolo de \u201e\u00eenveli\u015ful comun al lucrurilor\u201d, pip\u0103ind c\u0103ile cunoa\u015fterii. Arania este un loc magic, o \u201egur\u0103 de rai fl\u0103m\u00e2nd\u0103\u201d. Ciudata Ursa Mare cultiv\u0103 ambiguizarea, suspend\u0103 cronologia, abole\u015fte distan\u0163ele, abure\u015fte ecranul narativ; vorbe\u015fte despre o vreme \u201etulbur\u0103toare \u015fi eroic\u0103\u201d, chem\u00e2nd la ramp\u0103 un eu scindat. Prozatorul nu r\u00e2vne\u015fte cronologia, ci \u00een\u0163elesul, \u201em\u0103rturisirea \u00een\u0163elesurilor\u201d. Saltul peste timp, teroarea amintirilor, vibra\u0163ia afectului, suprema\u0163ia visului etc., amestec\u0103 acest polen epic \u00eentr-o existen\u0163\u0103 divizat\u0103, \u201ez\u0103rit\u0103 cu g\u00e2ndul\u201d, \u00een care \u00eent\u00e2mpl\u0103rile trec din una \u00een alta. Fiindc\u0103 fantoma Mariei Suru b\u00e2ntuie \u015fi aici, afl\u00e2ndu-\u015fi replica masculin\u0103: Radu Nicanor, \u201easul\u201d, un profesionist al puterii, purt\u00e2ndu-\u015fi nimbul eroic, excesul s\u0103u de zel alung\u00e2nd \u201e\u00eentreb\u0103rile sterile\u201d. Iar dac\u0103 cei poposi\u0163i \u00een Arania (cercet\u0103torii veni\u0163i s\u0103 dezlege cazul Sim) cer \u201emai pu\u0163in\u0103 poezie\u201d, romanul \u00eensu\u015fi caut\u0103 \u201em\u0103sura basmului\u201d. Sim vrea s\u0103-\u015fi citeasc\u0103 sufletul, multe pagini cresc la grani\u0163a literaturii S.F. Culege faptele, pre\u0163uie\u015fte gravitatea lor real\u0103, dar e atras de ecoul lor, de acel rest care supravie\u0163uie\u015fte. Pierim cu tot ce suntem? Ce este mai important pentru om? C\u00e2\u0163i oameni locuiesc \u00eentr-unul? Iat\u0103 \u00eentreb\u0103ri tulbur\u0103toare, injectate la temelia romanului Ursa Mare prin \u201erecursul la mitologie\u201d (cf. Gheorghe Glodeanu). Arania ar trebui \u201es\u0103 piar\u0103\u201d. Rigoarea \u015fi pragmatismul nu \u00eenfr\u00e2ng, \u00eens\u0103, fascina\u0163ia, misterul; epicul e sc\u0103ldat \u00eentr-o baie de lumin\u0103, cheam\u0103 \u00een ajutor \u201em\u0103sura basmului\u201d, scotocind \u00een alveola timpului nepieritor. \u201eCobai de-o s\u0103pt\u0103m\u00e2n\u0103\u201d, Sim coboar\u0103 pe \u201epartea etern\u0103 a fiin\u0163ei\u201d. Totul a fost vis, conchide. Chinuit de adev\u0103r, el descoper\u0103 \u201es\u0103lb\u0103ticia eretic\u0103\u201d, \u201ep\u0103durea surd\u0103\u201d, e p\u0103truns, cu o neputin\u0163\u0103 uimit\u0103, de secretele cosmice. Romanul se deschide erosofiei; preocup\u0103rile ciudate ale Mariei nu \u00eenseamn\u0103 doar bazaconiile unei fantezii somnambule\u015fti, dup\u0103 cum aiurerile unui fl\u0103c\u0103u bezmetic foreaz\u0103 stratul arhaic, \u201eordinea veche\u201d, cu puterile ei tainice, depunerile livre\u015fti. R\u0103t\u0103cirile lui Petrineac au miez filosofic. Cre\u015fte aici un poem naturist, deslu\u015find o tensiune erotic\u0103 contamin\u00e2nd mediul. Provoc\u0103rile Erosului au bl\u00e2nde\u0163e sadovenian\u0103, o \u201eprospe\u0163ime primitiv\u0103\u201d, f\u0103r\u0103 a biciui sim\u0163urile. \u201eNatura se pricepe\u201d, sun\u0103 unul dintre avertismentele Vesalomului. Energia sufletului afl\u0103 c\u0103i tainice de comunicare, fulgerele mentale br\u0103zdeaz\u0103 cerul acestei t\u0103ceri uitate, vorbind despre ne\u015ftiutul purtat \u00een noi. Suntem, prin astfel de pagini, \u00eentr-un univers sadovenizat, st\u0103p\u00e2nit de pacea ecologic\u0103. Cunoa\u015fterea, zice Sim, ar fi \u201erodul care atest\u0103 iubirea\u201d; ecoul r\u0103m\u00e2ne donator de sens \u015fi detonator al epicului, \u00eencercuind \u201eraiul ne\u015ftiin\u0163ei\u201d. Ursa Mare este (\u015fi) un roman al ini\u0163ierii, Sim, cutreierat de ar\u015fi\u0163ele tinere\u0163ii, afl\u00e2nd \u201erostul cel nou\u201d. El urc\u0103 (cobor\u00e2nd) treptele \u00een\u0163elegerii cu un \u201epatos \u00eenfrico\u015fat\u201d. Rivalitatea cu Radu (focaliz\u00e2nd energiile spre \u0163el, iubind meticuloasa rigoare) \u00eenseamn\u0103, de fapt, \u201echemarea tainei\u201d, biruin\u0163a fiorului enigmatic. Daniel Dr\u0103gan desf\u0103\u015foar\u0103 cu abilitate o re\u0163ea epic\u0103, plant\u00e2nd noduri (depozite de \u00een\u0163elepciune), afl\u00e2nd peste tot \u00eensemnele morale. El particip\u0103, astfel, la ctitorirea adev\u0103rului, lumin\u00e2ndu-i fa\u0163etele. Instalat \u00een fic\u0163iune, naveteaz\u0103 dezinvolt, cu o exersat\u0103 \u015ftiin\u0163\u0103 a construc\u0163iei, \u00eentre prezentul acaparant \u015fi trecutul ap\u0103s\u0103tor, pierdut \u015fi trudnic recucerit. Scrisul s\u0103u propunea convergen\u0163a lumilor.<br \/>\nFrisonat de realitate, iubind descrip\u0163ia reportericeasc\u0103, Daniel Dr\u0103gan s-a implicat pasional \u00een literatur\u0103, trec\u00e2nd, dezinvolt \u015fi definitiv, \u00een spa\u0163iul fic\u0163ional. Tr\u0103itul, autenticul (cov\u00e2r\u015fitoare alt\u0103dat\u0103) fac loc rememor\u0103rii; voca\u0163ia dialogului (scurt, repezit, mereu sub \u201epresiunea timpului\u201d) se estompeaz\u0103, ced\u00e2nd spa\u0163iul epic monologului. Aceast\u0103 \u201enou\u0103 formul\u0103\u201d (cum o numea cineva) consfin\u0163ea instalarea lui Daniel Dr\u0103gan \u201e\u00een literatur\u0103\u201d; era o victorie cert\u0103. Scrisul s\u0103u concentrat, urm\u0103rind, prin \u201etransferul\u201d realit\u0103\u0163ii, tema destinului (A. I. Brumaru), c\u00e2\u015ftiga prin sugestie simbolic\u0103 \u015fi puternica \u00eenc\u0103rc\u0103tur\u0103 de lirism \u015fi fantezie. Navet\u00e2nd \u00eentre lumi paralele, Daniel Dr\u0103gan a trecut de la evocare la implicare, oferind un nou centru de greutate epicii sale. A\u015fadar, prozatorul anun\u0163a instalarea \u00eentr-un nou cod; o nou\u0103 orientare, cum nota Lauren\u0163iu Ulici, tulbur\u00e2nd epicul (scenariul \u201erealist\u201d era concurat), mut\u00e2ndu-l la marginea fantasticului, \u015fterg\u00e2nd grani\u0163ele, develop\u00e2nd meandrele imaginarului. Ursa Mare, interfer\u00e2nd romanul realist cu cel alegoric, v\u0103dind o \u00eengrijit\u0103 \u201eaten\u0163ie estetic\u0103\u201d, transforma \u2013 potrivit aceluia\u015fi critic \u2013 tot ce scrisese Daniel Dr\u0103gan \u00eenainte \u00een \u201esimple exerci\u0163ii epice\u201d. Afirma\u0163ia, la o ochire retrospectiv\u0103, ni se pare, \u00eens\u0103, excesiv\u0103. Semne erau, patosul reportericesc se convertise \u00een literaritate, sprijinindu-se \u00een perspectiva poetic\u0103 \u015fi satura\u0163ie metaforic\u0103 (controlat\u0103). Investig\u00e2nd realul caleidoscopic, Presim\u0163irile utilizeaz\u0103 aceea\u015fi re\u0163et\u0103. Fragmentele pe care prozatorul le publicase prin reviste (c\u00e2nd manuscrisul era botezat Via\u0163a e totul; apoi, Efrac\u0163ii) ne-au \u00eeng\u0103duit, atunci, c\u00e2teva constat\u0103ri: ele se confirm\u0103 la o lectur\u0103 a \u00eentregului \u015fi rezist\u0103. Asist\u0103m, a\u015fadar, la un balans epic, slujind ambiguiz\u0103rii, convergen\u0163ei \u201elumilor\u201d. Pe suport monografic (e vorba de mina din Baia de Jos) prozatorul adun\u0103 destine \u00een conflict, propun\u00e2nd un erou puternic, plin de neast\u00e2mp\u0103r \u2013 Vic\u0103 Dodolocea, \u201eursul blond\u201d. \u015ei, al\u0103turi de el, Darina \u2013 o femeie cu farmec robust, de fibr\u0103 sadovenian\u0103 \u015fi filosofie stenic\u0103, respect\u00e2nd \u201evoia atot\u015ftiutoare a naturii\u201d, lupt\u00e2ndu-se pentru \u201er\u0103scump\u0103rarea\u201d b\u0103rbatului (adic\u0103 a lui Vic\u0103), scormonind \u201eadev\u0103rul de dedesupt\u201d. Sau o c\u0103ut\u0103toare de iluzii, o fantasm\u0103 \u00een continu\u0103 remodelare, un \u201esuflet candriu\u201d, oferindu-\u015fi colocvii de tain\u0103: Silvia Brani\u015fte, nepoata \u00eenv\u0103\u0163\u0103torului Brani\u015fte Salvatorul, o fiin\u0163\u0103 prismatic\u0103, doritoare a se afla pe sine. Un roman puternic, a\u015fadar, care se vrea o jubila\u0163ie a vie\u0163ii; \u201evia\u0163a e totul!\u201d vor spune protagoni\u015ftii c\u0103r\u0163ii, c\u0103ut\u00e2nd \u201ebuc\u0103\u0163ele de adev\u0103r\u201d, \u00eencerc\u00e2nd \u201es\u0103 rup\u0103 visul\u201d, reinvent\u00e2nd toate gesturile lumii. Cartea pledeaz\u0103 (patetic \u015fi tensional) pentru valoarea unic\u0103 a existen\u0163ei. A tr\u0103i este o bucurie sau o datorie? \u2013 iat\u0103 \u00eentrebarea care revine obsesiv, sigil\u00e2nd o carte a destinelor risipitoare, vorbind despre poz\u0103, impertinen\u0163\u0103, candoare, tandre\u0163e, iubire. O<br \/>\nsimfonie a vie\u0163ii, Daniel Dr\u0103gan chem\u00e2nd \u00een sprijin realul caleidoscopic \u015fi bre\u015fele fantasticului, poemul naturist \u015fi radiografia social\u0103. \u00cen acest ghem epic, el desf\u0103\u015foar\u0103 numeroase fire: planeaz\u0103 umbra lui Brani\u015fte, cel d\u0103ruit ob\u015ftei (casa Brani\u015fte devenind simbolul demnit\u0103\u0163ii pe Valea Ad\u00eencatei), oferind \u201esubstan\u0163a vital\u0103\u201d unui mit local; o existen\u0163\u0103 centrat\u0103 deci, o lume redescoperit\u0103 prin str\u0103daniile elevului Dodolocea, prelu\u00e2nd \u015ftafeta \u015fi scufund\u00e2ndu-se \u00een universul \u201ecaietelor gri\u201d. \u00cen replic\u0103, vom g\u0103si personaje m\u00e2nate de un romantism vicios \u015fi dezordine existen\u0163ial\u0103: cazul Eleonorei Savopol, gratuitatea fiind transferat\u0103 fiicei, irepresibila Silvia. Jocurile ei (\u00een care visurile n\u0103v\u0103lesc \u201eca o ap\u0103 mare\u201d) puncteaz\u0103 dec\u0103derea: pofta inventiv\u0103 afl\u0103 \u00een comprehensivul doctor Bazil \u015etef\u0103noiu un duhovnic, \u201eun cinic timid\u201d. Frumoas\u0103, nebun\u0103, unic\u0103, ea fuge de \u201efrigul singur\u0103t\u0103\u0163ii\u201d, caut\u0103 f\u0103r\u0103 a \u015fti ce, penduleaz\u0103 \u00eentre con\u015ftiin\u0163a trufa\u015f\u0103 a frumuse\u0163ii \u015fi erup\u0163iile disper\u0103rii. Rezonant\u0103 pentru Toma Stoleru (D\u2019Amore), pictor cu reputa\u0163ie de profesionist \u00een ora\u015ful N., propun\u00e2nd o \u201e\u00eencredere nou\u0103 \u00een art\u0103\u201d (ins sortit pierzaniei, oferindu-i o \u201evacan\u0163\u0103 cast\u0103\u201d), Silvia concentreaz\u0103 enigma feminit\u0103\u0163ii. Vrea s\u0103 afle ce e cu sine \u015fi rec\u00e2\u015ftig\u0103 \u00eencrederea \u00een binele neperisabil; risipitoare, \u201epresimte\u201d c\u0103 iubirea e totul, cumin\u0163indu-se. Ar fi interesant de urm\u0103rit \u201eduelul\u201d celor dou\u0103 ipostaze ale feminit\u0103\u0163ii; hamletiz\u0103rile muiere\u015fti, f\u0103r\u0103 \u201e\u0163el adecvat\u201d ale capricioasei Silvia, pe de o parte, \u015fi \u2013 \u00een replic\u0103 \u2013 siguran\u0163a rece a Darinei, lupt\u00e2ndu-se exemplar pentru binele \u015fi adev\u0103rul vie\u0163ii, \u00een\u0163eleg\u00e2nd c\u0103 \u201eeste moral tot ce este natural\u201d, pe de alt\u0103 parte, polariz\u00e2nd nara\u0163iunea; adic\u0103 \u00eent\u00e2mplarea \u015fi tradi\u0163ia. R\u0103ut\u0103\u0163ile rev\u0103rsate asupra pensionarului Vic\u0103 (suspect\u00e2nd, de fapt, h\u0103rnicia acestuia, \u201ebel\u015fugul muncit\u201d) m\u0103resc grijile \u015fi nelini\u015ftile Darinei. Descinderea lui Gogoa\u015f\u0103-Bogozan la st\u00e2n\u0103, pentru verific\u0103ri, perchezi\u0163iile abuzive, poverile casei n-o clatin\u0103, totu\u015fi. Darina caut\u0103 cump\u0103r\u0103tori, se bate \u2013 cu o siguran\u0163\u0103 rece \u2013 pentru revenirea lui Vic\u0103 \u201e\u00een Ithaca\u201d, pentru a-\u015fi continua \u201edamblaua\u201d cu g\u00e2ng\u0103niile. Ea este o \u201eintelectual\u0103 arhaic\u0103\u201d (zice detronatul Bogozan), l\u0103s\u00e2ndu-se \u00een voia naturii. \u00cen replic\u0103, Silvia se conduce dup\u0103 capriciosul bun plac. Ea se ap\u0103r\u0103, dezv\u0103luindu-se. Descurc\u0103rea\u0163\u0103, \u201epulverizat\u0103\u201d, speriat\u0103 de singur\u0103tate, cu instincte treze, Silvia cea plin\u0103 de neast\u00e2mp\u0103r rena\u015fte, pritocindu-\u015fi sufletul; afl\u0103 puterea de a renun\u0163a, descoper\u0103, dincolo de coaja frivolit\u0103\u0163ii, s\u00e2mburele grav. P\u0103rea un \u201eastru mort\u201d, c\u0103ut\u00e2nd f\u0103r\u0103 a g\u0103si, manevr\u00e2nd \u201efic\u0163iuni selec\u0163ionate\u201d. \u00cen cele din urm\u0103, ie\u015find din convalescen\u0163\u0103 (\u00eengrijit\u0103 fiind de Darina), fiica speologului \u00eenl\u0103tur\u0103 \u201ep\u00e2nza de spaim\u0103\u201d; se regenereaz\u0103, cutreierat\u0103 de \u00eentreb\u0103ri despre dragoste \u015fi adev\u0103r, \u00ee\u015fi ascult\u0103 fream\u0103tul fiin\u0163ei. Presim\u0163irile ar fi \u015fi un tulbur\u0103tor roman de dragoste, descifr\u00e2nd \u201ejubila\u0163ia vie\u0163ii\u201d. \u00cent\u00e2lnirea cu Vic\u0103 marcheaz\u0103 tocmai schimbarea. Iar \u00eensemn\u0103rile fostului pictor Toma Stoleru, lungile epistole c\u0103tre Bazileus (animat de filantropie sentimental\u0103), \u00eenv\u0103luite, pasager, de \u201elumina speran\u0163ei\u201d, vorbesc despre \u201emiracolul expansiunii\u201d \u015fi salvarea omului. Fermec\u0103tor stilistic, masc\u00e2ndu-\u015fi miezul problematic, altern\u00e2nd regimul realist cu \u201eadev\u0103rurile\u201d onirice, romanul Presim\u0163irile confirma saltul valoric al unui prozator tenace. \u015ei care, \u00een anii postdecembri\u015fti, \u015fi-a \u00eembog\u0103\u0163it, impresionant, \u00een avalan\u015f\u0103 prozastic\u0103, palmaresul.<br \/>\nUn avertisment juc\u0103u\u015f, deschiz\u00e2nd tripticul romanesc dedicat vrednicilor logofani de pe Valea Cohalmului \u015fi, desigur, ispitei satanice, cu mul\u0163imea \u201eminunilor necurate\u201d, atrage aten\u0163ia asupra poten\u0163ialit\u0103\u0163ilor textului (labirintic, neap\u0103rat), descifr\u00e2nd, sub glazur\u0103 ludic\u0103, un \u201ecaleidoscop de adev\u0103ruri\u201d (ar fi zis U. Eco). \u00cendrept\u0103\u0163it, Daniel Dr\u0103gan refuz\u0103 ideea c\u0103 ar fi pus, \u201esub lup\u0103\u201d, problema specificului rom\u00e2nesc \u015fi \u00eenc\u0103 la dimensiunile unui respectabil \u015fi scor\u0163os \u201etratat\u201d de etnopatologie, cum s-a insinuat. Scris dup\u0103 cele trei romane a\u015fezate sub cupola Logofani-lor, Biedermeier (2011) ne asigura c\u0103 exist\u0103, pentru fiecare, o f\u0103g\u0103duin\u0163\u0103; dar \u015fi c\u00e2te un \u201e\u00eengera\u015f viclean\u201d, aduc\u00e2nd, cu o diabolic\u0103 satisfac\u0163ie, ispita. Nici suferin\u0163a, nici fericirea nu sunt \u00een stare pur\u0103. Lumea e un t\u00e2rg, \u201ejurubi\u0163a\u201d de bun\u0103tate sau de lumin\u0103 se \u00eemplete\u015fte cu abjec\u0163ia, \u00eenc\u00e2t Pu\u015fa\/ Vladia (nume de scen\u0103), fire romantic\u0103 \u015fi impetuoas\u0103, simte nevoia spovedaniei. Deap\u0103n\u0103, cu o bucurie lini\u015ftit\u0103, o poveste tulbure, tocmai pentru a se reg\u0103si; se \u00eencredin\u0163eaz\u0103 lui Arvi, ca \u201eteren neaflat\u201d, falsificat, despov\u0103r\u00e2ndu-se, \u00eentr-un salvator \u201ecatharsis al fiin\u0163ei\u201d, \u00eembog\u0103\u0163indu-se prin dragoste, ie\u015find din solitudine \u015fi disperare. Confesiunea o purific\u0103, suport\u00e2nd, astfel, pustietatea din jur.<br \/>\n\u00cen fond, toate c\u0103r\u0163ile lui Daniel Dr\u0103gan pun, din unghiuri mereu schimb\u0103toare, astfel de teme, de exploziv\u0103 \u00eenc\u0103rc\u0103tur\u0103 dramatic\u0103. Fie c\u0103 discut\u0103 despre exodul sa\u015filor, \u00eentr-un timp istoric \u201eotr\u0103vit\u201d (cf. Ion Itu), convoc\u00e2nd o arhitectur\u0103 narativ\u0103 de un simbolism fastuos (precum \u00een P\u0103rintele Thom), fie c\u0103 cerceteaz\u0103 dramele transilv\u0103nenilor, c\u0103ut\u00e2ndu-\u015fi \u201esinele mai larg\u201d, cum observase Adrian Lesenciuc (vezi poemul epic Exodul, \u00een 22 de c\u00e2nturi), fie c\u0103 \u00ee\u015fi dezv\u0103luie, mereu disponibil, \u00eennoitor, o alt\u0103 fa\u0163\u0103 scriitoriceasc\u0103, aduc\u00e2ndu-l, de pild\u0103, \u00een prim-plan, pe intolerantul Mehmed, \u00eentr-o seduc\u0103toare \u201epoveste oriental\u0103\u201d, Daniel Dr\u0103gan iube\u015fte metamorfoza, c\u0103ut\u00e2nd, neobosit, caleidoscopia vie\u0163ii, oferta bogat\u0103 a realului, pentru a-i descifra, cu iscusin\u0163\u0103, \u201et\u00e2lcurile\u201d. Ivit\u0103 dintr-un roman \u201ecu cheie\u201d, prezent\u00e2nd un cuplu diabolic (directorul unei mari uzine, respectiv \u015fefa de cabinet), umbra Mariei Suru, o femeie cazon\u0103, de un dogmatism intratabil, casant, \u00eentruchip\u00e2nd, zicea Petru Poant\u0103, feminismul maladiv, se \u00eentinde tiranic peste acest univers epic; este, negre\u015fit un personaj antologic, reverber\u00e2nd \u015fi \u00een absen\u0163\u0103. Parc\u0103 ar fi moart\u0103, constat\u0103 cei care o vor conduce pe ultimul drum.<br \/>\nSub aparen\u0163e juc\u0103u\u015fe, \u00een trilogia \u00eenchinat\u0103 \u201elogofanilor\u201d, Daniel Dr\u0103gan discuta despre pericolul logofanismului (regenerabil). Cele trei romane, \u201evegheate\u201d, editorialistic, de Mona Mamulea, trase, \u00een edi\u0163ii rev\u0103zute, la Bibliotheca t\u00e2rgovi\u015ftean\u0103, vorbesc, de fapt, despre o afacere dr\u0103ceasc\u0103. \u00cen Ciuma boilor (2005), o primejdie \u201ef\u0103r\u0103 chip\u201d \u00een povestirile celor b\u0103tr\u00e2ni, devine, brusc, un pericol real, cre\u00e2nd panic\u0103 \u00een micu\u0163ul \u0163inut al Logofaniei. Se revars\u0103, sub un pretext ritualic (c\u0103ma\u015fa ciumei), \u201efluvii de vorbe\u201d; m\u0103run\u0163eii tr\u0103nc\u0103nici se risipesc \u00een logoree \u015fi invidie, r\u0103utate \u015fi du\u015fm\u0103nie, acuz\u00e2nd sminteala. Apar fapte \u201edincolo de fire\u201d: carantina, groaza, avalan\u015fa proceselor, fuga tinerilor etc., culmin\u00e2nd cu mistuirea Arhivelor. Adic\u0103 suspendarea Memoriei, o chircire mimetic\u0103, un destin umilitor, sigil\u00e2nd un teritoriu strict localizat, greu \u00eencercat, \u00een extensie. Din acela\u015fi filon cre\u015fte \u015fi Diavolul, aproapele nostru (2006). Desc\u0103lecat \u00een \u0163inutul logofanilor, incoruptibilul profesor de fizic\u0103 Damian Adamescu vrea s\u0103 \u201ecure\u0163e\u201d Logofania. Aici va fi vorba de sminteala c\u00e2\u015ftigurilor. Odat\u0103 cu limuzina c\u00e2\u015ftigat\u0103 de Mitu Roth, vin pe band\u0103 \u201epomeni otr\u0103vite\u201d, isc\u00e2nd \u2013 \u00een viziunea ufologului local Sava Alexe \u2013 hipnoza colectiv\u0103 a \u00eembog\u0103\u0163irii. Dezl\u0103n\u0163uite, for\u0163ele r\u0103ului st\u00e2rnesc \u00eengrijorare: la c\u00e2rciuma lui Werestoy, s\u0103tenii, pu\u015fi pe har\u0163\u0103, se \u00eencaier\u0103, Emanuella vrea iubiri best (bestiale) \u015fi viol cu fiori, Axente invoc\u0103 teorii manipulatorii, liceencele creeaz\u0103, \u00eentr-o \u015fcoal\u0103 l\u0103sat\u0103 de izbeli\u015fte, o Lig\u0103 Contra Gogo\u015feriei, \u00eentr-un carusel \u2013 abil regizat \u2013 al \u00eent\u00e2mpl\u0103rilor. Micile istorii derivate, aparent haotice, se leag\u0103 la final. Desprins din vis, profesorul, \u201esc\u0103pat\u201d de \u201eprivirea vulturian\u0103\u201d a lui Miron Du\u0163u, se leap\u0103d\u0103 \u015fi de micu\u0163a femeie din coasta lui, \u201eezoterica entitate\u201d s\u0103l\u0103\u015fluind \u00een \u00eens\u0103\u015fi fiin\u0163a lui, ca siamez\u0103 (femeia-anex\u0103). Dar concluzia e fals\u0103: seduc\u0163ia pactului faustic, \u00een plin turboconsumerism, \u00een aceast\u0103 frenetic\u0103 goan\u0103 achizitiv\u0103 nu ne scute\u015fte de nota de plat\u0103. Iar \u201eciudata creatur\u0103\u201d feminin\u0103, \u015ftiutoare \u015fi ispititoare, \u00eentre\u0163ine un fream\u0103t dulce, provoc\u00e2nd o melodie fierbinte. \u00cenc\u00e2t romanul poate fi citit \u015fi ca un imn erotic, Femeia adun\u00e2nd, ne previne prozatorul, \u201e\u00eentreaga frumuse\u0163e a lumii\u201d.<br \/>\n\u015ei \u00een Umbra Marelui Protector (2008) se furi\u015feaz\u0103 diavolul, \u00eentruchipat de agentul Marcel, de la o ciudat\u0103 Societate de asigur\u0103ri. Matei vede \u00een Marcel un complotist cinic, \u201eunealta obscur\u0103\u201d a Marelui Protector (cu a sa strategie protectiv\u0103) \u015fi refuz\u0103 categoric a-i fi client; b\u0103nuie\u015fte c\u0103, dedesupt, se ascunde \u201eo dr\u0103covenie\u201d.Refuzul lui Matei Filipescu de a semna \u201easigurarea absolut\u0103\u201d ne invit\u0103, transparentizant, s\u0103 examin\u0103m societatea de azi, r\u0103v\u0103\u015fit\u0103 de necrofagie cultural\u0103 (cf. Virgil Nemoianu), o lume (de)c\u0103zut\u0103, \u00een care p\u0103catul este posibil \u015fi R\u0103ul, pus \u00een c\u00e2rca Diavolului, e peste tot. F\u0103r\u0103 a cheltui erudi\u0163ie teologic\u0103 (demonologic\u0103), autorul, \u00eentr-o incursiune sprin\u0163ar\u0103, vervoas\u0103, aten\u0163ioneaz\u0103 asupra travestiurilor umane. Fiindc\u0103 Dumnezeu rabd\u0103 r\u0103ul \u00een lume, dar \u201e\u00eendr\u0103cirea\u201d (maleficitate, abjec\u0163ie) e a noastr\u0103, a celor vanito\u015fi, ademeni\u0163i de ispita satanicului, accept\u00e2nd \u201en\u0103cl\u0103iala f\u0103r\u0103 orizont\u201d. Printre \u201ebra\u015foavele\u201d lui Jojo \u015fi alte fugace \u00eent\u00e2mpl\u0103ri, \u00ee\u015fi taie vad ipoteza transferului demonic. Teoria \u201edeficitului de densitate\u201d ne face s\u0103 cochet\u0103m, b\u0103nuielnic, cu ideea c\u0103 r\u0103utatea s-ar aciua \u00een sferele \u00eenalte, \u201ede la Belzebut mai sus\u201d, dilu\u00e2nd propria noastr\u0103 responsabilitate. Or, peste tot, descoperim \u201eo noim\u0103 \u015fi un mesaj\u201d. \u015ei, desigur, propria vin\u0103, f\u0103r\u0103 a obstruc\u0163iona frumuse\u0163ea lumii. Aidoma lui Matei, privind-o pe Laura, Daniel Dr\u0103gan, ademenit, el \u00eensu\u015fi, de umbra viselor, descoper\u0103 farmecul contempla\u0163iei, deslu\u015find, \u00een c\u0103r\u0163ile sale, dincolo de coaja anecdotic\u0103, o noim\u0103 \u015fi un mesaj.<br \/>\n\u00cen chip evident, odat\u0103 cu Mi\u0163a (Editura Arania, 2016), impozantul Jurnal intim al Mariei Suru (\u201esecret \u015fi adev\u0103rat\u201d), Daniel Dr\u0103gan se \u00eentoarce la eroina preferat\u0103, un personaj vital, monstruos \u015fi memorabil, b\u00e2ntuind prin mai toate romanele sale. Prozatorul (1935-2016) c\u0103uta, neobosit, caleidoscopia vie\u0163ii, oferta bogat\u0103 a realului, pentru a-i descifra \u201et\u00e2lcurile\u201d. Umbra Mariei Suru, o femeie cazon\u0103, de un dogmatism intratabil se \u00eentinde peste acest univers epic; este, negre\u015fit un personaj antologic, reverber\u00e2nd \u015fi \u00een absen\u0163\u0103. Parc\u0103 ar fi moart\u0103, constat\u0103 cei care o vor conduce pe ultimul drum. Or, chiar acest episod deschide cartea, Mi\u0163a, un suflet uscat, cu via\u0163\u0103 tumultuoas\u0103, chinuit\u0103, afl\u00e2nd \u00een jurnal \u201esingurul prieten\u201d. Crescut\u0103 \u00een \u201elitera moralei proletare\u201d, Mi\u0163a (Maria Suru) \u015fi-a pus via\u0163a \u00eentr-un jurnal, \u00eenceput la 14 ani, pe c\u00e2nd era elev\u0103 la un Pension de domni\u015foare (la Turnu M\u0103gurele) \u015fi transmis, dup\u0103 moarte, prin intermediul lui Vasile Bic\u0103, fostul director general al Uzinei (\u201emare c\u00e2t un ocean\u201d) unde Maria Suru oficia ca \u015fef\u0103 de cabinet, fiului, ajuns un reputat medic. Sub pretextul acestui manuscris, \u00eenceput \u201esub pana crud\u0103 a unei \u015fcol\u0103ri\u0163e\u201d, ad\u0103postit \u00eentr-un plic voluminos, transmis \u2013 ca datorie testamentar\u0103 \u2013doctorului Mircea Suru, parcurgem \u00eensemn\u0103rile unei femei, cu certe calit\u0103\u0163i de comandant \u015fi \u201edestin de \u00eemp\u0103r\u0103teas\u0103\u201d, ajung\u00e2nd, \u00eens\u0103, dup\u0103 aprecierile fiului, pe \u201eun drum \u00eenfundat\u201d. Fiindc\u0103 Maria Suru se \u00eenrolase \u00een oastea Partidului, slujind o cauz\u0103, credea, \u201einvincibil\u0103\u201d; a avut un \u0163el (ideea comunist\u0103), cunosc\u00e2nd sacrificii, e\u015fecuri \u015fi victorii. Iar Jurnalul, scris \u00een timp real (afl\u0103m), ca veritabil Jurnal de front, redactat cu fervoare, cu \u201efoame de fapte\u201d \u015fi apoi cu lungi pauze, cu \u00eensemn\u0103ri din ce \u00een ce mai rare, se \u00eencheie, simbolic, la 15 noiembrie 1987, odat\u0103 cu revoltele bra\u015fovene. Un jurnal ciudat, \u00een care, deseori, protagonista se prive\u015fte din exterior, dorindu-se un \u201epion curat\u201d \u00eentr-o epoc\u0103 fluid\u0103. O femeie singur\u0103, dur\u0103, cu un destin contorsionat, reprim\u00e2ndu-\u015fi feminitatea. Nu se va m\u0103rita, dar hot\u0103r\u00e2nd \u201e\u00eens\u0103m\u00e2n\u0163area\u201d va avea, ca unic p\u0103rinte, un fiu de care se va ocupa maniacal. Tat\u0103l-linie, atent \u201eselectat\u201d, a fost un b\u0103rbat iubit \u201eo singur\u0103 clip\u0103\u201d; fiul, asalt\u00e2nd-o cu \u00eentreb\u0103ri, \u00eentr-o rela\u0163ie complicat\u0103, devine o captur\u0103, \u00een timp ce mama este, \u00een ochii lui Mircea, \u00een r\u0103zboiul acuzelor reciproce, o penal\u0103.<br \/>\nJurnalul Mi\u0163ei, un \u201eroman\u201d-acolad\u0103, cu inciziile sale t\u0103ios-realiste dezv\u0103luie, de fapt, sfid\u00e2nd aparen\u0163ele, o femeie vulnerabil\u0103. Orfana Mi\u0163a, v\u00e2ndut\u0103 ca \u201esclav domestic\u201d la Castelul Caliopilor, \u00eentr-o familie de boieri \u201ejego\u015fi\u0163i\u201d, traverseaz\u0103 ani tumultuo\u015fi, \u00een care \u0163ara o ia \u201e\u00een alt\u0103 direc\u0163ie\u201d. Marile schimb\u0103ri, cu rechizi\u0163ii, confisc\u0103ri, arest\u0103ri etc., marcheaz\u0103 o cotitur\u0103 istoric\u0103, \u00een pofida orizontului \u201e\u00een p\u00e2cl\u0103\u201d. Mi\u0163a se va de\u015ftepta \u015fi constat\u0103 c\u0103 are nevoie de un scop. Trage cortina, a\u015fadar, peste lumea Caliopilor \u015fi, zeloas\u0103, \u00een\u0163elege, ajutat\u0103 de un consilier sovietic (tovar\u0103\u015ful Vladimir), c\u0103 lupta de clas\u0103 e motorul societ\u0103\u0163ii. Va munci \u201e\u00een draci\u201d la Clubul Tineretului aplic\u00e2nd experien\u0163a sovietic\u0103, va urma \u015ecoala de cadre \u015fi, citindu-l pe Marx (Manifestul fiind \u201eo comoar\u0103 de carte\u201d), se dedic\u0103, cu heirupism, urm\u00e2nd un \u201einventar de teme\u201d, lumin\u0103rii poporului. B\u0103t\u0103ioas\u0103, mare cititoare, destupat\u0103 la minte, tov\u0103r\u0103\u015fica Mi\u0163a-Ma\u015fa \u00ee\u015fi ap\u0103r\u0103 \u201ecorpul delict\u201d (jurnalul), \u00een\u0163eleg\u00e2nd c\u0103 \u00een colivia acelei \u00eenalte \u015fcoli se mi\u015fc\u0103, riscant, \u00eentr-un \u201emediu acid\u201d; grijulie, va nota cu intermiten\u0163e, constat\u00e2nd c\u0103 \u015fcoala de cadre nu i se potrive\u015fte, recunosc\u00e2nd c\u0103 Vladimir Sokolov (Vodolea) i-a marcat via\u0163a. E vorba, \u00eens\u0103, de o rela\u0163ie cast\u0103, pur emotiv\u0103, Maria Suru neaccept\u00e2nd s\u0103-i fie insultat\u0103 fiin\u0163a, reprim\u00e2ndu-\u015fi fiorul erotic. Ia \u00een m\u00e2ini crava\u015fa \u015fi, \u201elocotenent cu ca\u015f la gur\u0103\u201d, instituie un \u201econtrol perfect\u201d la Sec\u0163ia de femei, altern\u00e2nd dragostea matern\u0103 cu apriga vigilen\u0163\u0103, pedepsind \u201ede\u015feurile\u201d luptei de clas\u0103. \u00cen echipa de arest\u0103ri-escorte, Mi\u0163a-poli\u0163ista particip\u0103 la \u00eentemni\u0163area familiei Prunache, f\u0103c\u00e2nd din Sofia-Domni\u0163a (de\u0163inuta 735), so\u0163ia lui Apolodor Prunache, o adev\u0103rat\u0103 obsesie, care o va urm\u0103ri toat\u0103 via\u0163a. Vin \u201edepe\u015fe otr\u0103vite\u201d, ticluite de unchiul s\u0103u, Nicu Suru, de la P\u0103t\u00e2rlagele, va fi exclus\u0103 din partid, \u00een furtunoase \u015fedin\u0163e de \u201edemascare\u201d, afl\u0103 \u2013 bulversat\u0103 \u2013 c\u0103 scrisorile de la Vladimir i-au fost confiscate. Se refugiaz\u0103 la munca de jos \u00een uzina-ocean, \u00een Ora\u015ful Stalin, se zbate, rezolv\u0103, devine o prezen\u0163\u0103 indispensabil\u0103 pentru directorul Papazian-Dum\u0103 \u015fi apoi Vasile Bic\u0103, un ins energic \u015fi imprudent. Femeie radical\u0103, veghind devenirea fiului, las\u0103 urme: pe unde trece Maria Suru, se vede, constat\u0103 cei din jur. \u00cencrederea sa (total\u0103) \u00een teoria luptei de clas\u0103 o \u00eempiedic\u0103 s\u0103 vad\u0103 fund\u0103tura, convins\u0103 c\u0103 acesta e drumul, \u00een pofida \u00eentreb\u0103rilor care o asalteaz\u0103. \u015ei a disputelor familiale cu Mircea, acesta c\u0103s\u0103torindu-se cu Nora Prunache, fiica rivalei sale de-o via\u0163\u0103. Dup\u0103 cearta cu fantomele (Sofiei-Domni\u0163a repro\u015f\u00e2ndu-i tocmai feminitatea), dup\u0103 \u00eembl\u00e2nzirea lui Bic\u0103, o \u201efiar\u0103\u201d ascult\u0103toare \u015fi mariajul cast cu Br\u0103tucu, devenind o so\u0163ie intangibil\u0103, acuplarea fiind, \u00een ochii Mariei Suru, \u201eo mizerie biologic\u0103\u201d, protagonista (autoarea?) Jurnalului, cu destin programat, nu \u015fi \u00eemplinit, descoper\u0103 c\u0103 \u201ese zguduie \u0163ara\u201d; c\u0103 ar fi nevoie de o alt\u0103 revolu\u0163ie (comunist\u0103), dispari\u0163ia ei coinciz\u00e2nd cu revolta bra\u015fovean\u0103 din noiembrie 1987. \u00cencheiere simbolic\u0103, fericit aleas\u0103 de controversatul*) prozator.<br \/>\n<em>*)Survol\u00e2nd, \u00een excursul s\u0103u monografic (2016), peisajul literar bra\u015fovean, poetul-publicist Nicolae Stoie reconstituia incisiv, \u201edin interior\u201d, parcursul sinuos al semicentenarei reviste Astra, acolo unde Daniel Dr\u0103gan a fost o vreme secretar general de redac\u0163ie \u015fi apoi redactor-\u015fef (1981-1989), destituit de \u201erevolu\u0163ionarii lui Gogea\u201d (cf. M. V. Stanciu). \u015ei Vladimir Udrescu (\u00een ProSaeculum, nr. 3-4\/2017, pp. 118-121) sanc\u0163iona \u201ederapajele memorialistice\u201d ale lui Daniel Dr\u0103gan, c\u00e2ndva \u201elibretist doftangiu\u201d (Trandafirii Doftanei, 1963, \u00een tov\u0103r\u0103\u015fia lui Gheorghiu-Dej), \u201eroman\u0163\u00e2nd\u201d \u015fi \u201ecosmetiz\u00e2nd\u201d propria-i biografie cultural\u0103.<\/em><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Daniel DR\u0102GAN<\/strong><\/p>\n<p><em><strong>Ne\u00eemplinita v\u00e2n\u0103toare<\/strong><\/em><\/p>\n<p>Dorm sufocate-n p\u0103duri troienite<br \/>\nurme de s\u00e2nge c\u0103ma\u015fa fratelui meu<br \/>\nfiara fl\u0103m\u00e2nd\u0103 adulmec\u0103 urmele<br \/>\ngeam\u0103t \u015fi s\u00e2nge urmele fratelui meu.<\/p>\n<p>Pulberea alb\u0103 frige potecile<br \/>\nurmele mor\u0163ii reazim\u0103 coastele digului<br \/>\nfiara p\u00e2nde\u015fte ascult\u0103<br \/>\ncum taie \u00een oase fier\u0103straiele frigului.<\/p>\n<p>Fiara \u00ee\u015fi leag\u0103n\u0103 multele capete<br \/>\nn-are angoase \u015ftie ce vrea.<br \/>\nNici o p\u0103dure nici o crevas\u0103<br \/>\nnu se compar\u0103 cu ea.<\/p>\n<p>Tremur\u0103-n lan\u0163uri cuvinte uitate<br \/>\ngramatica s-a acrit ca o\u0163etul.<br \/>\nNu bate nimeni darabana n-o bate<br \/>\nDumnezeu a uitat alfabetul.<\/p>\n<p>Pip\u0103ie noaptea cu degete ude<br \/>\nnoaptea e oarb\u0103 oarbele tac<br \/>\nNu ne mai vede nu ne mai aude<br \/>\nicoana cavalerului trac.<\/p>\n<p>&nbsp;<\/p>\n<p><em><strong>Hohote mari auzind<\/strong><\/em><\/p>\n<p>T\u00e2n\u0103ra femeie nu exist\u0103 dec\u00e2t \u00een zilele cu so\u0163.<br \/>\nRupea macaroane deasupra oalei cu sup\u0103.<br \/>\n\u0218i macaroanele trosneau ca sentimentele<br \/>\nvreascuri c\u0103lcate-n picioare.<\/p>\n<p>De ce r\u00e2zi?<br \/>\n\u00eentreab\u0103 el hohote mari auzind.<\/p>\n<p>Nic\u0103ieri nu se mai afla pentru el<br \/>\no alt\u0103 oal\u0103 cu sup\u0103.<br \/>\nNic\u0103ieri nu se mai afla pentru ea<br \/>\no alt\u0103 oal\u0103 cu sup\u0103.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Elena B\u0102L\u0102\u0218ANU d\u00e9j\u00e0 vu un carusel ne \u00eenv\u00e2rte \u00een sens invers suntem copii nu \u0219tim s\u0103 spunem ce sim\u021bim \u00eemi<\/p>\n","protected":false},"author":18,"featured_media":10070,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"colormag_page_container_layout":"default_layout","colormag_page_sidebar_layout":"default_layout","_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"ngg_post_thumbnail":0,"video_url":"","footnotes":""},"categories":[7,328],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/10741"}],"collection":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10741"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/10741\/revisions"}],"predecessor-version":[{"id":10743,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/10741\/revisions\/10743"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/10070"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10741"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10741"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10741"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}