{"id":12077,"date":"2020-11-18T11:03:49","date_gmt":"2020-11-18T08:03:49","guid":{"rendered":"http:\/\/ziarulderimnic.ro\/?p=12077"},"modified":"2020-11-18T11:03:49","modified_gmt":"2020-11-18T08:03:49","slug":"literadura-nr-10-7","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=12077","title":{"rendered":"Literadura nr. 10 (7)"},"content":{"rendered":"<p><strong>Tudor CICU<\/strong><\/p>\n<p><strong>Cartea cu femei<\/strong><\/p>\n<p>Parc\u0103 vr\u00e2nd a da vuiet \u00een cetate, Nicolae<br \/>\nPogonaru scrie p\u0103tima\u015f poezia<br \/>\nradicalizat\u0103 de social \u0219i se dovede\u0219te<br \/>\n(dup\u0103 criticul Ghe. Postelnicu) \u201eexploratorul<br \/>\nrealit\u0103\u021bii nude \u0219i al provincialismului exotic\u201d,<br \/>\ndemol\u00e2nd printr-un lirism cu \u00eenc\u0103rc\u0103tur\u0103<br \/>\nironic\u0103 tr\u0103irile avute \u00eentr-un periplu zilnic prin<br \/>\nora\u0219. Aflat mai mereu \u00een mijlocul<br \/>\nevenimentelor, prefer\u00e2nd voluptatea vizual\u0103 \u0219i<br \/>\nsenzorialul, poetul trubadur, pe deplin liber,<br \/>\nnoteaz\u0103 \u0219i tr\u0103ie\u0219te din plin toate aceste \u201emici<br \/>\ndelicii\u201d oferite de semeni, la tot pasul.<br \/>\nImagistica discursului s\u0103u liric (subtil ironic<br \/>\nuneori) are pe alocuri o cruzime specific\u0103,<br \/>\nexpresionist\u0103, oniric\u0103. Acum, \u00een volumul<br \/>\nrecent \u201eCartea cu femei\u201d (ap\u0103rut la editura<br \/>\neditgraph, 2017), \u00een retorica discursului<br \/>\nparodic (\u201e\u00een poezie totul e posibil\u201d), Nicolae<br \/>\nPogonaru porne\u0219te o c\u0103l\u0103torie liric\u0103-nuan\u021bat\u0103<br \/>\n\u00een antologia care buzun\u0103re\u0219te lumea-spectacol<br \/>\nprin universul de tain\u0103 al femeii<br \/>\ndinspre care \u00eencepe poezia: prostituata,<br \/>\nfi\u021boasa \u201eplin\u0103 de bijuuri\u201d, frecventatoarea de<br \/>\ncluburi selecte, nehot\u0103r\u00e2ta, voiagera,<br \/>\nmalagambista, \u0219armanta, aroganta, regina<br \/>\nbalului, femeia gazel\u0103, centurista, femeia<br \/>\ncasnic\u0103, afacerista, diva, femeia-scandal,<br \/>\nfemeia de la \u021bar\u0103 \u0219i \u201er\u0103t\u0103cit\u0103\u201d la ora\u0219,<br \/>\nfemeia-vampir etc&#8230; c\u0103ci \u201epe unde ea trece n-ai<br \/>\ncum s\u0103 nu-ntorci capul\u201d.<br \/>\nOarecum distant de tot ce se petrece<br \/>\ndincolo de el, dar un poet prin excelen\u021b\u0103<br \/>\ncitadin (iar dup\u0103 I. Ro\u0219ioru: \u201eun poeta-cives-mundi\u201d),<br \/>\nironic \u0219i vis\u0103tor, cu o not\u0103 distinct\u0103 a<br \/>\nconcretului, Nicolae Pogonaru are umor,<br \/>\nfr\u0103m\u00e2nt\u0103ri de iscoditor al vie\u021bii cotidiene \u0219i<br \/>\nchiar are tandre\u021bea unui aristocrat<br \/>\nhipersensibil al poeziei. Poezia ca spectacol,<br \/>\nla N. Pogonaru, transmite cititorului acea<br \/>\nstare ironic-amar\u0103 ce dimensioneaz\u0103 oniric<br \/>\nuniversul cet\u0103\u0163ii \u00een care se simte receptor\/<br \/>\ntransmi\u021b\u0103tor de fapte\/ \u00eent\u00e2mpl\u0103ri stranii din<br \/>\nurbea natal\u0103.<br \/>\nVersul s\u0103u e personal \u015fi \u00eenc\u0103rcat de<br \/>\nsubstan\u0163\u0103. Dic\u0163iunea rostirii \u00een fraz\u0103 e sigur\u0103<br \/>\n\u015fi relevant\u0103, \u015fi versul ridic\u0103 sentimentul la<br \/>\npropor\u0163ii de sfin\u0163enie a rostirii, de aici o<br \/>\nposibil\u0103 interpretare a candorii \u0219i a lecturii<br \/>\nincitante.<\/p>\n<p><strong><br \/>\nFrumoasele poezii ale lui Dumitru<\/strong><\/p>\n<p>Iscoditorul poet Dumitru Istrate Ru\u0219e\u021beanu,<br \/>\nscrie poezie cu acea intui\u021bie sorescian\u0103 \u00een<br \/>\n\u201eFrumoasele poezii ale lui Dumitru\u201d,<br \/>\ned. Editgraph, 2015, \u00een fapt \u201eantologia de<br \/>\npoezie scris\u0103 p\u00e2n\u0103 \u00een 30 de ani\u201d, \u00eencerc\u00e2nd<br \/>\ns\u0103-\u0219i surprind\u0103 cititorul prin sinceritate \u0219i<br \/>\n\u00eenc\u0103rc\u0103tura emo\u021bional\u0103 a g\u00e2ndurilor. P\u0103trunde<br \/>\n\u00een esen\u021ba vie\u021bii, a fiin\u021b\u0103rii individului cu<br \/>\nmijloace poetice trudind s\u0103 devin\u0103 creatorul<br \/>\nlumii din jurul s\u0103u. Poet existen\u021bialist,<br \/>\nD.I. Ru\u0219e\u021beanu se declar\u0103 deschis (\u201eam \u0219i eu<br \/>\nasemenea vou\u0103, un vis\/pe care-l \u021bin \u00een<br \/>\ncolivie\/ca pe o pas\u0103re rar\u0103\/&#8230;\/c\u00e2t\u0103 vreme simt<br \/>\no dorin\u021b\u0103 nebun\u0103\/de a da din aripi\u201d. \u00cen poeme<br \/>\naforistice, c\u00e2nd parabolice, c\u00e2nd<br \/>\nmoralizatoare g\u0103sim texte concepute \u00een haina<br \/>\nhaikuului sub aria unui c\u00e2ntec metafizic<br \/>\nn\u0103scut din dureri, t\u0103ceri, g\u00e2nduri viscolite,<br \/>\ntr\u0103iri \u0219i moarte. Revolta sa pe o via\u021b\u0103 iluzorie<br \/>\npare fireasc\u0103. Are furia celui \u00eendrept\u0103\u021bit s\u0103<br \/>\ncerceteze partea unde e ascuns sufletul \u0219i s\u0103<br \/>\nafle pricina de tulburare a revela\u021biei sale. Mai<br \/>\nales c\u00e2nd via\u021ba (\u201eam fost \u00eembr\u00e2ncit \u00een afara<br \/>\nei\u201d), \u00eei descoper\u0103 at\u00e2tea \u201esemne\u201d \u0219i \u201eelemente<br \/>\nde medita\u021bie\u201d. Pe m\u0103sur\u0103 ce \u00eenaint\u0103m \u00een<br \/>\npoezia \u015fi subteranele poemelor lui, \u00eentrez\u0103rim<br \/>\ntot mai limpede, cum doar \u201ecu-n zid de<br \/>\ncuvinte dup\u0103 mine\u201d, devine creatorul unei<br \/>\nlumi \u00een care a \u00eengr\u0103m\u0103dit c\u00e2te pu\u021bin din toate<br \/>\nale vie\u021bii: fericirea \u201es\u0103 otr\u0103ve\u0219ti moartea cu<br \/>\nea\u201d; singur\u0103tatea: \u201emama nu mi-a n\u0103scut\/\u0219i<br \/>\nmorm\u00e2ntul\/ s\u0103-l fi t\u00e2r\u00e2t dup\u0103 mine\u201d;<br \/>\nz\u0103d\u0103rnicia \u201eca un p\u0103ianjen\/c\u0103ruia\/ i-a secat<br \/>\nsubstan\u021ba\/ din care-\u0219i concepe firul\u201d; ruga<br \/>\ninterioar\u0103: \u201ede-ar fi s\u0103 te leg la ochi\/ cu<br \/>\ng\u00e2ndurile mele\/ai nimeri pr\u0103pastia\u201d; rostul<br \/>\npoeziei: \u201ela ce-i bun\u0103 Poezia, dac\u0103\/nu se<br \/>\nrostogole\u0219te ca o roat\u0103\/ sub cer\u201d; femeia cu<br \/>\n\u201eraiul ei\/pe din\u0103untru\/ dar pe buze are<br \/>\nmu\u0219c\u0103tura iadului\u201d; via\u021ba \u00eens\u0103\u0219i, acest bulg\u0103re<br \/>\nde z\u0103pad\u0103\u201d; moartea chiar atunci c\u00e2nd<br \/>\namenin\u021b\u0103: \u201evine moartea, ei \u0219i!\/n-oi pune-o \u00een<br \/>\njug\u201d etc&#8230; Poetul acesta alearg\u0103 \u201epe acoperi\u0219ul<br \/>\nstelelor\u201d cu teama c\u0103, odat\u0103 l\u0103sat f\u0103r\u0103 coala de<br \/>\nscris, totul e de\u0219ert\u0103ciune.<\/p>\n<p><strong><br \/>\n\u0218lefuitorii de cuvinte<\/strong><\/p>\n<p>Din dorin\u021ba ferm\u0103 de a-\u0219i invita<br \/>\ncititorul la lectur\u0103 \u201epentru a<br \/>\n(re)descoperi frumuse\u021bile scoase la<br \/>\niveal\u0103 de \u0219lefuitorii de cuvinte\u201d (poe\u021bii- n.n.),<br \/>\nStan Brebenel scoate primul vol. din<br \/>\n\u201e\u0218lefuitorii de cuvinte\u201d (ap\u0103rut la ed.<br \/>\nTeocora, 2018) cu un optimism ce poate fi<br \/>\nconsiderat de critica actual\u0103 nu numai un act<br \/>\nde curaj dar \u0219i credin\u021ba c\u0103 apari\u021bia acestui<br \/>\nvolum (o simbioz\u0103 \u00eentre dic\u021bionarul despre<br \/>\nscriitori \u0219i antologia de poezie) e necesar\u0103<br \/>\ncelui doritor \u00een a se documenta cu privire la<br \/>\ndestinul, opera, stilul, c\u0103ut\u0103rile tematice ale<br \/>\npoe\u021bilor \u00eendr\u0103gi\u021bi. Portretele poe\u021bilor<br \/>\n(surprinse \u00een adev\u0103rate tablouri de via\u021b\u0103),<br \/>\npove\u0219tile roman\u021bate despre debutul unora,<br \/>\npublicistica \u00een reviste, c\u0103r\u021bile scrise, distinc\u021bii<br \/>\nprimite, \u0219coli urmate, considera\u021bii generale<br \/>\nasupra \u00eencadr\u0103rii acestora \u00een literatura zonal\u0103<br \/>\nca \u0219i cele dou\u0103 poeme venite s\u0103 le reprezinte<br \/>\nc\u0103ut\u0103rile poetice, sunt relatate cu grija de a fi<br \/>\nc\u00e2t mai la obiect cu fenomenul literar actual.<br \/>\nCartea e necesar\u0103 celui doritor s\u0103 afle c\u00e2t mai<br \/>\nmulte despre via\u021ba poe\u021bilor prefera\u021bi \u0219i prin<br \/>\nmodul \u00een care autorul buzun\u0103re\u0219te sufletele<br \/>\npoe\u021bilor prin acele \u00eensemn\u0103ri ce \u00eencadreaz\u0103<br \/>\nsuccint evenimente ca: descoperirea unei c\u0103r\u0163i<br \/>\nbune(asupra c\u0103reia face o dizerta\u021bie<br \/>\npunctual\u0103), o discu\u0163ie \u00eentre prieteni, \u00eent\u00e2lniri<br \/>\ncu oameni deosebi\u0163i sau mici \u00eent\u00e2mpl\u0103ri din<br \/>\nvia\u0163a lor\u2026 Despre cei 75 de poe\u021bi prezenta\u021bi<br \/>\n\u00een acest prim volum, aproape jum\u0103tate (36)<br \/>\nsunt buzoieni, al\u021bii sunt din Slobozia, Bac\u0103u,<br \/>\nBr\u0103ila, Foc\u0219ani, Bra\u0219ov, Bucure\u0219ti etc&#8230; Prin<br \/>\nacest mod de a \u00eembina informa\u021biile despre un<br \/>\npoet (de eviden\u021ba unui dic\u021bionar) cu poezia<br \/>\nspecific\u0103 fiec\u0103rui autor, Stan Brebenel ne<br \/>\nofer\u0103 o imagine a vie\u0163ii \u0219i totodat\u0103 o aventur\u0103<br \/>\npe cont propriu, ca oricare alta \u2013 un risc<br \/>\nasumat. Poate ar mai fi de spus \u0219i despre o<br \/>\nanume poetic\u0103, a \u00eensemn\u0103rilor din acest<br \/>\nvolum, dac\u0103 memorialistica din \u201e\u0218lefuitori de<br \/>\ncuvinte\u201d n-ar fi \u00eembr\u0103cat \u201ehaina literar\u0103\u201d a<br \/>\ngenului, un fel de cronic\u0103 a evenimentelor.<\/p>\n<p><strong><br \/>\nDup\u0103 50 de ani<\/strong><\/p>\n<p>Cu vol. \u201eDup\u0103 50 de ani\u201d, 2018, Aneta<br \/>\nPioar\u0103 re\u00eenscrie romanul \u201efeminin\u201d, pe<br \/>\nlinia picanteriei \u015fi senza\u0163ionalului, a<br \/>\ndramatismului desf\u0103\u0219urat cinematografic \u00een<br \/>\nvia\u021ba unor destine feminine, \u00eencepute \u00een<br \/>\nliteratura feminin\u0103 cu Hortensia Papadat<br \/>\nBengescu \u015fi continuat\u0103 cu Sanda Movil\u0103.<br \/>\nDac\u0103 la cele dou\u0103 precursoare romanul<br \/>\n\u00eentrecea senza\u0163ionalul \u015fi picanteria unei<br \/>\nrealit\u0103\u0163i a vremurilor descrise, romanul Anetei<br \/>\nPioar\u0103 trateaz\u0103 partitura nu lipsit\u0103 de<br \/>\nroman\u0163iozitate, \u00een care dragostea sau mai<br \/>\nexact erotismul, sub forme neobi\u015fnuite,<br \/>\nciudate, dac\u0103 nu de-a dreptul morbide, este<br \/>\ntema central\u0103, determin\u00e2nd desf\u0103\u015furarea<br \/>\nepic\u0103, \u00eendeob\u015fte cu finaluri cr\u00e2ncene:<br \/>\nsinucideri, omoruri, nebunie, renun\u021bare, vise<br \/>\nfr\u00e2nte, declasare etc. Romanul are \u00een prim<br \/>\nplan povestea tulbur\u0103toare a Antoanetei,<br \/>\ncopila firav\u0103 a unei familii de la \u021bar\u0103, care<br \/>\ndup\u0103 o c\u0103s\u0103torie \u201ec\u00e2t o joac\u0103\u201d este dat\u0103 de<br \/>\np\u0103rin\u021bi unui t\u00e2n\u0103r ceva mai \u00eenst\u0103rit din sat. O<br \/>\niubire fr\u00e2nt\u0103, urmat\u0103 de fuga Antoanetei,<br \/>\n\u00eens\u0103rcinat\u0103 deja, \u00een lumea larg\u0103. Na\u0219te un<br \/>\ncopil \u00eentr-o m\u00e2n\u0103stire \u0219i acest copil ajunge pe<br \/>\nmuntele Athos, c\u0103lug\u0103r \u0219i va afla de moartea<br \/>\nmamei \u0219i existen\u021ba adev\u0103ratului tat\u0103, prea<br \/>\nt\u00e2rziu pentru a mai \u00eendrepta ceva. Sub zodia<br \/>\ndestinelor fr\u00e2nte \u015fi a iubirilor spulberate se<br \/>\ndesf\u0103\u015foar\u0103 \u00een romanul Anetei Pioar\u0103, povestea<br \/>\nAntoanetei Petrescu, o copil\u0103 care \u201ejudeca<br \/>\noamenii dup\u0103 ea, credea vicleniile c\u0103 sunt<br \/>\nspecifice animalelor de prad\u0103\u201d. Eroina<br \/>\nromanului face parte din r\u00e2ndul celor care<br \/>\nviseaz\u0103 frumos \u015fi caut\u0103 norocul la prima<br \/>\nr\u0103sp\u00e2ntie din via\u0163\u0103, dar, din nefericire, visul ei<br \/>\nnu este dec\u00e2t o inutil\u0103 \u00eencercare de a-\u015fi c\u0103uta<br \/>\nfericirea. Tehnica povestirii \u00een povestire (ca \u00een<br \/>\nDecameronul), pentru cititor, este o adresare<br \/>\nexplicit\u0103 a naratoarei \u00een scopul atragerii lui \u00een<br \/>\npoveste, dac\u0103 vre\u0163i, este o vorbire c\u0103tre cineva<br \/>\ncu calitate de spectator, sau martor avizat la<br \/>\ndrama care planeaz\u0103 \u00een ac\u0163iunea narat\u0103.<br \/>\nDragostea ei sincer\u0103 \u015fi p\u0103tima\u015f\u0103, pentru cel pe<br \/>\ncare \u00eel credea demn de iubirea ei, perfidul<br \/>\nNistor, se dovede\u015fte de consisten\u0163a himerei.<\/p>\n<p><strong><br \/>\nDaniel LUCA<\/strong><\/p>\n<p><strong>Laborator de lucru<\/strong><\/p>\n<p>Volumul de proz\u0103 Copacul cu icoan\u0103<br \/>\n(Editura eCreator, colec\u021bia Proza,<br \/>\nBaia Mare, 2018) introduce cititorul<br \/>\n\u00een laboratorul de lucru al lui Ion Toma<br \/>\nIonescu, \u00een intimitatea sa creatoare, lucru mai<br \/>\npu\u021bin \u00eent\u00e2lnit.<br \/>\nPentru c\u0103, pe l\u00e2ng\u0103 tablete \u0219i alte proze<br \/>\nscurte, se afl\u0103 aici \u0219i \u015fase schi\u021be, p\u0103r\u0163i ale unui<br \/>\nroman \u00een devenire, nenumit, dar cu elemente<br \/>\nautobiografice, av\u00e2ndu-l \u00een centru pe Titi, un<br \/>\npersonaj complex cu experien\u0163e \u015fi \u00eencerc\u0103ri<br \/>\nale vie\u0163ii care p\u0103reau s\u0103-l piard\u0103, dar din care<br \/>\na \u015ftiut s\u0103 se ridice puternic \u015fi m\u00e2ndru ca un<br \/>\nstejar. Doar moartea nep\u0103rtinitoare l-a<br \/>\ndobor\u00e2t.<br \/>\nC\u0103s\u0103torit de trei ori cu acte, dar av\u00e2nd \u015fi o a<br \/>\npatra tentativ\u0103 anterioar\u0103 \u00een teritoriul inamic,<br \/>\nconform moralei personale \u015fi legilor<br \/>\ncre\u0219tine\u0219ti, \u00eentr-o ultim\u0103 \u00eencercare zadarnic\u0103<br \/>\nde a-\u0219i aduce iubita \u0219i fiica acas\u0103, dincolo de<br \/>\nlinia frontului, este declarat dezertor \u0219i cade \u00een<br \/>\nprizonierat la ru\u0219i. Via\u0163a personajului s-ar<br \/>\nputea confunda u\u015for cu a unui aventurier<br \/>\n(pun\u00e2nd \u00een aplicare \u00eenv\u0103\u021b\u0103turile dob\u00e2ndite la<br \/>\nCrucea de piatr\u0103), dar ar fi o gre\u015feal\u0103.<br \/>\nPendul\u00e2nd \u00eentre Victo (cea de pe urm\u0103 so\u021bie)<br \/>\n\u0219i amanta Zinca, a c\u0103ror du\u0219m\u0103nie se va stinge<br \/>\ndoar odat\u0103 cu moartea acestuia, Titi se poart\u0103<br \/>\nfrumos cu am\u00e2ndou\u0103 \u00een modul lui cinstit,<br \/>\nrespect\u00e2ndu-le \u015fi iubindu-le \u00een aceea\u015fi<br \/>\nm\u0103sur\u0103.<br \/>\nSchi\u021bele de roman se completeaz\u0103 \u00een<br \/>\ntimp cu tabletele \u0219i prozele incluse \u00een carte,<br \/>\nfiind surprinse paralel evenimente din al<br \/>\ndoilea r\u0103zboi mondial, perioada<br \/>\ncomunismului dar \u0219i de dup\u0103 1989, toate&#8230;<br \/>\ntulburi.<br \/>\nDesigur, o mai mare importan\u021b\u0103 se<br \/>\nacord\u0103 epocii comuniste, \u00eencep\u00e2nd cu<br \/>\ncolectivizarea (Oan\u021ba fiind un exemplu de<br \/>\numanitate) \u00een lumea satului. Este evident\u0103<br \/>\nexperien\u021ba personal\u0103 (autentic\u0103) a autorului \u00een<br \/>\ncele (de)scrise. De unde \u0219i realismul,<br \/>\npalpabilitatea \u0219i exemplaritatea personajelor.<br \/>\nDe pild\u0103, Oan\u0163a (din proza cu acela\u0219i nume) \u0219i<br \/>\nIon Chioru (Stejarul cu icoan\u0103), r\u0103zvr\u0103ti\u021bi \u00een<br \/>\ncalea destinului necru\u021b\u0103tor ce poart\u0103<br \/>\ndenumirea de \u201ecolectivizare\u201d; Dona (din<br \/>\nschi\u021bele de roman) refuz\u0103 \u00eent\u00e2lnirea cu Gela,<br \/>\nmama sa natural\u0103, consider\u00e2nd c\u0103 o rochie nu<br \/>\npoate suplini anii \u00een care nu s-au cunoscut.<br \/>\nEste prezent \u0219i un picur de aforism,<br \/>\nprecum posibilitatea ca libertatea s\u0103 fie un<br \/>\ncuv\u00e2nt sinonim pentru moarte (Puiul de<br \/>\nveveri\u021b\u0103), existen\u021ba unei tendin\u021be de a g\u0103si<br \/>\nmereu un acar P\u0103un (Tablet\u0103 2), dar \u0219i a unei<br \/>\nstr\u00e2nse leg\u0103turi \u00eentre via\u021b\u0103 \u0219i pictur\u0103 (Vernisaj<br \/>\nla Mogo\u0219oaia), iar so\u021bia \u00eentotdeauna este o<br \/>\nso\u021bie \u0219i nu o div\u0103 (Avocat de succes).<br \/>\nAutorul folose\u0219te ironia, sarcasmul \u0219i<br \/>\numorul negru, izbutind s\u0103 creeze imagini de<br \/>\nmare efect [\u201eSc\u0103pa\u021bi de cu\u021bit, dar f\u0103r\u0103 capital<br \/>\n(porcii \u2013 n.n.), \u0219i-au oferit politicienilor<br \/>\norganele \u0219i \u0219oriciul, cu inten\u021bia v\u0103dit\u0103 s\u0103-\u0219i<br \/>\najusteze tr\u0103s\u0103turile, viciul \u0219i apuc\u0103turile,<br \/>\nchirurgical. \u0218i s\u0103-\u0219i dezvolte anvergura<br \/>\npolitic\u0103. Moda cu schimbarea de sex a ap\u0103rut<br \/>\nmai t\u00e2rziu\u201d &#8211; Scara blocului]. \u00cens\u0103 autorul nu<br \/>\nse sfie\u0219te nici s\u0103 introduc\u0103 poezia \u00een proz\u0103<br \/>\n(\u201eNoaptea a urcat pe munte lu\u00e2nd cu sine roua<br \/>\ncuvintelor\u201d &#8211; Tablet\u0103 2).<br \/>\nRela\u021bia b\u0103rbat-femeie poate deveni \u0219i<br \/>\nb\u0103rbat-femei, erotismul fiind la el acas\u0103 [\u201eA\u0219<br \/>\nfi stat acolo dus o s\u0103pt\u0103m\u00e2n\u0103, lunec\u00e2nd pe<br \/>\npulpele ei fine, pe patine. Sim\u021beam c\u0103 se<br \/>\n\u00eentunec\u0103 ceva \u00een mine&#8230;\u201d &#8211; Avocat de succes).<br \/>\nC\u00e2teodat\u0103, \u0219i violen\u021ba (\u201eDiminea\u021b\u0103, pr\u00e2nz \u0219i<br \/>\nsear\u0103 \u00eei dai peste gur\u0103!&#8230; Altfel o ia pe<br \/>\nar\u0103tur\u0103\u201d &#8211; Scara blocului).<br \/>\n\u00cen Tablet\u0103 5 autorul se m\u0103rturise\u0219te \u00een<br \/>\nceea ce prive\u0219te scrisul: \u201eScrisura mea \u00een<br \/>\nproz\u0103 e ca lucr\u0103tura bunicii cu andrelele.<br \/>\nBunica P\u0103una \u00eempletea ochiurile, unu pe fa\u021b\u0103<br \/>\ndou\u0103 pe dos, sau trei pe fa\u021b\u0103 \u0219i unul aiurea<br \/>\ncum \u00eei dicta imagina\u021bia. Niciodat\u0103 dup\u0103 vreun<br \/>\nmodel anume\u201d.<br \/>\nDe\u0219i sunt prezente \u0219i unele proze mai<br \/>\nterne (Opera\u021biunea caloriferul, Sanda, Tableta<br \/>\n6, Flambart), de fiecare dat\u0103 Ion Toma<br \/>\nIonescu atac\u0103 prin \u00eenv\u0103luire. Poart\u0103 cititorul<br \/>\npe c\u0103r\u0103ri numai de el \u0219tiute, oferindu-i c\u00e2teva<br \/>\nindicii, apoi l\u0103s\u00e2ndu-l singur spre a descoperi<br \/>\nmesajul transmis.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tudor CICU Cartea cu femei Parc\u0103 vr\u00e2nd a da vuiet \u00een cetate, Nicolae Pogonaru scrie p\u0103tima\u015f poezia radicalizat\u0103 de social<\/p>\n","protected":false},"author":17,"featured_media":11981,"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":[7,329],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/12077"}],"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\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12077"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/12077\/revisions"}],"predecessor-version":[{"id":12079,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/12077\/revisions\/12079"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/11981"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12077"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12077"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12077"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}