{"id":13680,"date":"2021-02-21T17:11:20","date_gmt":"2021-02-21T14:11:20","guid":{"rendered":"http:\/\/ziarulderimnic.ro\/?p=13680"},"modified":"2021-02-21T17:11:20","modified_gmt":"2021-02-21T14:11:20","slug":"literadura-nr-3-7","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=13680","title":{"rendered":"Literadura nr. 3 (7)"},"content":{"rendered":"

Poezie din Macedonia<\/strong><\/p>\n

Violeta TANCEVA-ZLATEVA<\/strong><\/p>\n

Acesta-i drumul care nu te duce nici-unde.
\nModernism sau decaden\u021b\u0103 \u2013
\n\u00cen \u0163ara Nesosind\u0103
\nFiecare \u00ee\u015fi croie\u015fte destinul.<\/p>\n

Da
\nCam sigur\u0103 sunt c\u0103 acesta e Drumul
\nCare se deschide prin p\u0103durea aurie a
\ntoamnei.
\nL-am v\u0103zut
\nDe cur\u00e2nd prin el Iepurele Alb a alergat.<\/p>\n

Aici e \u015fi ciuperca aia ro\u015fie.
\nNumai o f\u00e2r\u00e2m\u0103
\n\u015ei drumul singur se deschide.<\/p>\n

Nu-\u0163i d\u0103 r\u0103gaz s\u0103 te g\u00e2nde\u015fti
\n\u00cencotro s-o iei
\nPrin
\nCare
\nPotec\u0103
\nS\u0103-\u0163i \u00eencerci norocul.<\/p>\n


\nNoaptea c\u00e2t anul<\/strong><\/p>\n

Se mai lunge\u015fte noaptea
\nNev\u0103zute devin drumurile.
\nAh acea noapte c\u00e2t anul!<\/p>\n

Cea sor\u0103 ocrotitoare
\n\u00cen du\u015fman r\u0103u se preface.
\nAh acea noapte c\u00e2t anul!<\/p>\n

Unde a ascuns-o
\nDiminea\u0163a, rumena diminea\u0163\u0103
\nPe care de secole am a\u015fteptat-o?<\/p>\n

Dup\u0103 care mun\u0163i a izgonit-o
\nVara, vara care nu reu\u015fe\u015fte
\nS\u0103-mi \u00eenc\u0103lzeasc\u0103 sufletul?<\/p>\n

Ah acea noapte
\nNoaptea aceea c\u00e2t anul!<\/p>\n


\nLence MILO\u015eEVDCA<\/strong><\/p>\n

Alchimia pasiunii<\/strong><\/p>\n

Pasiune, c\u00e2teodat\u0103 dragoste
\nSau nebunie splendid\u0103 i se spune.
\nEa \u015fopte\u015fte:
\n,,Acesta e trupul meu, ia-l!\u201d
\nNu \u015ftie c\u00e2t de mult sufletul
\nVa rezista \u00een lava fierbinte.
\nTot timpul repet\u0103:
\n,,Ah, acesteia numai dragoste i se spune!\u201d<\/p>\n

S-a \u00eent\u00e2mplat,
\nDrumurile li se \u00eencruci\u015far\u0103 \u015fi
\n\u00centr-o lumin\u0103 pur\u0103 arser\u0103.
\nApoi se desp\u0103r\u0163ir\u0103.<\/p>\n

Dou\u0103 poteci paralele
\nNu se pot \u00eent\u00e2lni,
\nSe gr\u0103besc \u00eentr-un necunoscut permanent.<\/p>\n


\nLumina o colorez<\/strong><\/p>\n

Nu-l \u00eentrez\u0103resc
\nFirul sub\u0163ire
\nDintre dorin\u0163\u0103 \u015fi aievea,
\nVisurile le activez,
\n\u00cen nor m\u0103 transform.<\/p>\n

\u00cen loc s\u0103 m\u0103 cert cu oamenii,
\nEu cu cerurile stau \u00een disput\u0103.
\n\u00centr-o clip\u0103 agenda \u015fi norma
\nDispar din lumea aceasta.<\/p>\n

Apoi,
\n\u00centr-o capcan\u0103
\nNesim\u021bit\u0103 de mine m\u0103 prind.
\nDevin umbra trupului meu.<\/p>\n

Selec\u021bie \u0219i traducere<\/strong>: Dina Cuvata<\/strong>
\nStilizare<\/em>: Florentina Loredana Dalian<\/strong><\/p>\n


\nDina CUVATA (DIMO NAUN
\nDIMCEV)<\/strong>
\n\"\"

A nipotslor l\u0103-al\u0103sam…<\/strong><\/p>\n

Ushili di-acas\u00e3 di totna n\u00e3 eara dishcljisi:
\nYinea oaminji sh-n\u00e3 c\u00e3lca, n\u00e3 stulcina!
\nBrats\u00e3li totna n\u00e3 eara teasi ti oaspitslji:
\nYinea oaspitslji sh-n\u00e3 li fr\u00e3ndzea!
\nInima di totna n\u00e3 eara largu dishcljis\u00e3:
\nYinea corghilji shi-\u00f9 m\u00e3ca,
\nTi noi nu-avea tsiva!
\nOcljilji-a noshts\u00e3 videa sh-ti noi shi ti-alants\u00e3:
\nYinea ieshts\u00e3lji shi n\u00e3-lji bea,
\nShi tora-armasim cu cafcali goali!
\nAz\u00e3 ushili-a noasti suntu-ncljisi,
\nM\u00e3njli-a noasti suntu ligati,
\nInima n\u00e3 si featsi scrum.
\nOclji nu ved ma largu di noi.
\nEhts\u00e3rlji sh-fac chefea-a lor,
\nEhts\u00e3rlji sh-c\u00e3nt\u00e3 c\u00e3ntitsli-a lor,
\nEhts\u00e3rlji sh-tindu inima-a lor,
\nEhts\u00e3rlji n\u00e3-lji ts\u00e3n ocljilji \u00e3ncljishi,
\nEhts\u00e3rlji-\u00f9 puvilescu inima-a noast\u00e3…<\/p>\n

A nipotslor l\u00e3-al\u00e3s\u00e0m mash mirmints\u00e3
\np\u00e3ryisiti,
\nC\u00e3ntits amuts\u00e3ti cu n\u00e3dii bl\u00e3stimati shf\u00e3rm\u00e3coasi!<\/p>\n

Scopie 1989<\/em><\/p>\n


\n Chiardirea<\/strong><\/p>\n

Caim\u00f3 cu caim\u00f3 –
\nC\u00e3h\u00e3ri.
\nLac\u00e3rm\u00e3 di lac\u00e3rm\u00e3 –
\nPl\u00e3ngu.
\nOh cu oh –
\nOftic\u00e3.
\nGail\u00e9 pristi gail\u00e9 –
\nGhigor.
\nNoapti cu noapti –
\nScutidi.
\nDzu\u00f9\u00e3 di dzu\u00f9\u00e3 –
\nCheardiri.<\/p>\n

C\u00e3h\u00e3rea,
\nPl\u00e3ngul,
\nOftica,
\nGhigorlu,
\nScutidea:
\nCheardirea…<\/p>\n


\nBat c\u0103mbanjli<\/strong><\/p>\n

Yisili, shcreti s-li ved, mi vat\u00e3m\u00e3,
\nInima nji-u l\u00e3escu, nji-u usuc\u00e3.
\nCu cafi \u2018n\u00e3 h\u00e3ryii putearea n\u00e3 si bea,
\nCu cafi \u2018n\u00e3 dzu\u00f9\u00e3 gljemlu n\u00e3 si-adun\u00e3.<\/p>\n

O, Arm\u00e3njlji-a melji, ia stats!
\nIu v\u00e3-aflats nu v\u00e3 minduits \u2018n\u00e3 oar\u00e3?
\nBl\u00e3steamili greali-a n\u00e3 m\u00e3c\u00e3
\nShi, canda nu-avdz\u00e3ts c\u00e0 mirmints\u00e3lji grescu?<\/p>\n

Nu videts c\u00e0 oasili s-mutar\u00e3?
\nNu fudzits, fratslji-a melji, ashtiptats!
\nNiorlji s\u00e3ndz\u00e3nats,
\nAr\u00e3urli di l\u00e0c\u00e3rnji n\u00e3-\u00f9 da
\nUmutea dit soni-a noast\u00e3.<\/p>\n

Bl\u00e3stemlu-a p\u00e3p\u00e3njlor nu n\u00e3-alas\u00e3,
\nNu tradzi m\u00e3n\u00e3 di noi!
\nArm\u00e3njlji-a melji, nu mi-al\u00e3sats singur:
\nBat c\u00e3mb\u00e0njli-a ban\u00e3ljei
\nNu-a moartiljei!<\/p>\n


\nLIVIU OFILEANU<\/strong><\/p>\n

Dialectica a\u0219tept\u0103rii<\/strong>
\n\"\"

Dup\u0103 volumul Gringo (Ed. Casa de Pariuri
\nLiterare, 2012, carte nominalizat\u0103 la
\npremiul Mihai Eminescu, Opera Prima
\n2013), t\u00e2n\u0103rul Radu Ni\u021bescu revine editorial cu
\nDialectica ur\u0219ilor, Ed. Max Blecher, 2016.
\nTitulatura de \u201egringo\u201d e specific\u0103 americanului
\nintrat \u00eentr-un bar mexican, pentru poet ar fi
\nipostaza celui str\u0103in la el acas\u0103; cea de \u201eurs\u201d ne
\npoate aminti de c\u0103r\u021bile dou\u0103mii\u0219tilor, Marius
\nIanu\u0219 cu Ursul din container, sau Ileana
\nM\u0103l\u0103ncioiu care a scris un poem formidabil
\ndespre magia ursului \u0219i simbolistica aferent\u0103.
\nCe s-a putut remarca \u00eenc\u0103 de la prima carte
\nau fost elegan\u021ba discursului, metoda construc\u021biei
\n\u0219i con\u0219tiin\u021ba unei noi genera\u021bii: \u201ea\u0219 vrea s\u0103 merg
\n\u00een new york cu poetul alexandru v\u0103sie\u0219\/ c\u0103pitanul
\namerica al genera\u021biei mele\/ s\u0103 ne schilodim
\nsim\u021burile pe capul libert\u0103\u021bii\/ umbrele noastre s\u0103
\naib\u0103 picioarele \u00een ap\u0103\u201d, (vol. Gringo, p. 8). Al
\ndoilea volum continu\u0103 linia celui precedent,
\nanume amestecul de melancolie \u0219i ironie devine
\nmarc\u0103 \u00eenregistrat\u0103: me\u0219te\u0219ugul \u00eenscen\u0103rii
\ndiverselor st\u0103ri pe evantaiul cotidianului, fiorul
\npierdut \u0219i reg\u0103sit al lecturii subliniat prin c\u00e2teva
\nreferin\u021be livre\u0219ti, f\u0103r\u0103 a ocoli expresii licen\u021bioase
\nori eufemismele acestora, totul se pune \u00een slujba
\naventurii lirice \u0219i a nevoii de alt colorit semantic:
\n\u201e\u00ce\u021bi citesc \u0219i at\u00eet de frumos, ca un fard glossy,\/ \u00ee\u021bi
\nsclipe\u0219te la ochi nebunia. A trecut vara,\/ ca lanul
\nde porumb v\u0103zut din ma\u0219in\u0103,\/ a trecut ziua, ca
\nmusca ame\u021bit\u0103 de soare,\/\/ un somn de l\u0103cust\u0103,
\ndroguril din Haga\/ \u00een penarul-v\u0103cu\u021b\u0103,
\ntelecomanda,\/ antologia poe\u021bilor din Insulele
\nCanare (…) ce treab\u0103 \u0219i asta, s\u0103 cre\u0219ti \u00eendes\u00eend\/ \u00een
\npl\u0103m\u00een \u0219i \u00een inim\u0103, s\u0103 descopri c\u0103\/ \u00eencape mai
\nmult ca-ntr-un 747\/ &\/ ce treab\u0103 e asta, s\u0103 nu \u0219tii
\ndac\u0103 cea\u021ba\/ vine din Londra sau din\u0103untru,\/ s\u0103-\u021bi
\n\u00eentrebi vecinul, nea Petric\u0103,\/ spune-mi \u0219i mie,
\nafar\u0103 e cea\u021b\u0103?\/ \u0218i dac\u0103 e, s\u0103 te bucuri,\/ \u0219i dac\u0103 nu,
\ns\u0103 te bucuri mai tare.\u201d (mic\u0103 nebun\u0103, p. 5).
\nRadu Ni\u021bescu simte nevoia de a crea o
\nmitologie personal\u0103, un spa\u021biu tu\u0219at, u\u0219or
\nrecognoscibil, iar pentru aceasta adaug\u0103
\ndescrierilor de spa\u021bii exterioare (strada, blocul,
\nliftul etc.) o seam\u0103 de personaje mai mult sau mai
\npu\u021bin contondente: taximetristul, tipul bere de pe
\nbordur\u0103, nea Sandu de la parter, bozonul Higgs,
\nMircea, Maria, Mihnea \u0219i D\u0103nu\u021b, un \u021bigan, \u0219i nu
\nneap\u0103rat la urm\u0103 serotonina, sevraj care-l
\nconduce c\u0103tre persiflarea omniscien\u021bei lui Arsenie
\nBoca (poezie bucurie, p. 39). Fiecare poet caut\u0103
\ns\u0103 produc\u0103 alte fisuri \u00een blocul concretului,
\n\u00eencearc\u0103 s\u0103-\u0219i stabileasc\u0103 un cort de campanie
\n\u00eenafara ora\u0219ului (\u00eenafara scriiturilor deja
\ncunoscute), la fel este \u0219i cazul lui Ni\u021bescu \u0219i al
\naltor poe\u021bi lansa\u021bi \u00een ultimii cinci-\u0219ase ani. \u00cens\u0103,
\ndatul cu tifla, cinismul nesus\u021binut de p\u00e2rghii pe
\nm\u0103sur\u0103 nu va produce nimic notabil, iar Ni\u021bescu
\npare s\u0103 \u0219tie acest lucru, astfel c\u0103 se rezum\u0103 numai
\nla c\u00e2teva ie\u0219iri \u00een decor, tocmai pentru a nu se
\ndistan\u021ba prea mult de tonul celor admira\u021bi.
\nInfluen\u021bele sunt vizibile (chiar \u0219i din spa\u021biile
\noptzeciste \u00eencoace), se folose\u0219te \u00eenc\u0103 rima
\n\u00eent\u00e2mpl\u0103toare, diminutivele (gen Ion Mure\u0219an
\nsau Virgil Mazilescu), asta chiar dac\u0103 suntem \u00eentr-o
\ngra\u021bioas\u0103 halucina\u021bie a software-ului, \u00een fapt, un
\nscurtcircuit pasager al con\u0219tiin\u021bei, a\u0219adar un
\nr\u0103sbel al imperativelor: \u201e\u00cenger-\u00eengera\u0219ul meu, ar
\ntrebui s\u0103-\u021bi stea mintea\/ la licen\u021b\u0103 \u0219i job\/ \u0219i tu o
\narzi ca un bou toat\u0103 ziua.\/ (…) Uite, ast\u0103zi, prima
\ndat\u0103, un robo\u021bel a aterizat\/ pe comet\u0103.\u201d (\u00cenger-\u00eengera\u0219ul,
\np. 21).
\nSeria lucrurilor bizare \u0219i perfide se
\nintersecteaz\u0103 cu etalarea fragilit\u0103\u021bii pierdute \u0219i
\nreg\u0103site sub diverse forme: \u201eStelu\u021be argintii pe
\ntavan \u0219i semi\u00eentuneric,\/ c\u00ee\u021biva tipi se car\u0103 de la
\n\u00eenceput.\/ Credeam c\u0103 am mai mult\u0103 r\u0103bdare, zice
\nunul, \u0219i zboar\u0103\/ tot grupul.\/ Kiss, Andy Warhol,
\n1963, 12 cupluri se s\u0103rut\u0103\/ c\u00eete 3 minute \u0219i
\njum\u0103tate. B\u0103rba\u021bi cu femei,\/ femei cu femei,
\nb\u0103rba\u021bi cu b\u0103rba\u021bi, Gerard Malanga pe r\u00eend, cu o
\nfemeie \u0219i cu un b\u0103rbat, Ed Sanders \u0219i al\u021bii. Un
\nsingur\/ actor e negru, dar asta nu-l face ur\u00e2t.\u201d
\n(Dialectica ur\u0219ilor, p. 31).
\nSau acest fragment \u00een care tot de promiscuitate e
\nvorba: \u201eScutul de chinin\u0103 opre\u0219te musca s\u0103-\u0219i
\n\u00eempr\u0103\u0219tie\/ toracele pe pere\u021bi \u0219i la lumin\u0103 se-nv\u00e2rt
\ntrei fluturi\/ mari, p\u0103mp\u0103l\u0103i, numai buni de l\u0103sat \u00een
\npace,\/ dar ea vrea s\u0103-i prind\u0103 c-un borcan gol de
\nmur\u0103turi,\/ s\u0103-i scoat\u0103 afar\u0103, s\u0103 le dea libertate.\u201d
\n(To\u021bi avem o inim\u0103 pornhub, p. 30).
\nPoate c\u0103 unele piese par adesea nu \u00eendeajuns de
\nelaborate, dar insisten\u021ba pe miniaturi \u0219i resorturi
\npsihice \u021bin \u00eenc\u0103 de formarea scriiturii (\u0219i a omului)
\nchiar sub ochii no\u0219tri, \u0219i totu\u0219i, originalitatea lui
\nRadu Ni\u021bescu e vizibil\u0103. Se vede de la o po\u0219t\u0103 c\u0103
\nunele lucruri clarificatoare sunt omise \u00een mod
\ninten\u021bionat, anume pentru a pune la lucru mintea
\ncititorului, semn al inteligen\u021bei constructive \u0219i al
\nfuziunii temporare \u00een cli\u0219eistica dispre\u021bului, cea \u00een
\ncare au evoluat la unison protagoni\u0219tii
\ndou\u0103miismului. Tot ceea ce sun\u0103 cool \u0219i mi\u0219to,
\nanume teritoriul lingvistic personalizat \u0219i \u00een\u021beles
\nnumai de ini\u021bia\u021bii grupului (cu o gr\u0103mad\u0103 de
\nlumini \u0219i umbre, lecturi \u0219i dezinteres fa\u021b\u0103 de
\naltele) \u021bine hangul noului venit. Cei dinainte sunt
\n\u00eentodeauna \u201evulturii b\u0103tr\u00e2ni \u0219i prostu\u021bi\u201d: \u201eC\u00eend
\neram mic \u0219i m\u0103 uitam la desene am pl\u00eens\/ \u0219i eu
\ncrez\u00e2nd c\u0103 tigrul l-a omor\u00eet pe ursul teribil\/ baloo,
\ndar am pl\u00eens \u0219i a doua \u0219i a treia oar\u0103\/ c\u00e2nd am
\nv\u0103zut chiar dac\u0103 \u0219tiam c\u0103 nu,\/\/ c\u0103 n-are nimic, c\u0103-\u0219i
\nrevine, era\/ cadrul \u0103la ploiois \u0219i trist cu vulturi
\nb\u0103tr\u00eeni \u0219i prostu\u021bi\/ \u0219i nu puteam s\u0103 rezist, \u0103la era\/
\nadev\u0103ratul sf\u00eer\u0219it pentru mine,\/\/ mowgli sc\u0103pat \u0219i
\njele\u0219te ursul mare \u0219i mort\/ car se r\u0103ce\u0219te, mi se
\np\u0103rea de-atunci\/ prosteal\u0103 pe fa\u021b\u0103 ursul \u00eenviat \u0219i
\npuiul de om\/ care se-ntoarce \u00een sat \u0219i se-apuc\u0103 de
\nvia\u021b\u0103.\u201d (C\u00eend eram mic \u0219i m\u0103 uitam la desene am
\npl\u00eens, p.49).
\nIat\u0103 \u0219i un poem simplu, de aceast\u0103 dat\u0103 pe tema
\ndragostei, de\u0219i poetul e amator de \u0219ah, lego \u0219i nu
\nmai \u0219tiu ce jocuri electronice al c\u0103ror scop
\nr\u0103m\u00e2ne, \u00eentr-un final, legat de un cod al epat\u0103rii
\ncititorului: \u201eLumini\u021bele din ochi,\/ sper c\u0103 le mai
\nare \u0219i-acum.\/\/ Era c-un an mai mic\u0103, nu mai \u0219tiu
\nla ce\/ clas\u0103, le\u0219inat\u0103 dup\u0103 Borges, a\u0219a c-am\/ ras
\n\u00eentr-un weekend tot ce aveam pe acas\u0103,\/ \u0219i acum
\nstau \u0219i m\u0103 \u00eentreb dac\u0103 \u0219tie\/\/ c\u0103 \u00eencercam o
\nvr\u0103jitorie, c\u0103 b\u0103team\/ c\u00eempii la \u021bigar\u0103 despre
\nEvaristo Carriego\/ calcul\u00e2nd cum s\u0103 a\u0219ez
\nurm\u0103toarea\/ pies\u0103 la lego, \u0219i timpul devenise
\n\u00eencet\/\/ \u00eencet circular, o s-o s\u0103rut m\u00eeine \u0219i\/ iar \u0219i iar
\n\u0219i iar visam ochii ei\/ de c\u0103rbune \u0219i m\u00e2ncam singur
\nbomboanele\/ de ciocolat\u0103 cu alune pe care numi\/\/
\nf\u0103ceam curaj s\u0103 i le dau, dar tu nu \u0219tii\/ ce
\nf\u0103ceau lumini\u021bele alea, sper c\u0103\/ au r\u0103mas cum
\nerau.\u201d (Lumini\u021bele din ochi, p. 33).
\nA\u0219 putea demostra, lu\u00e2nd fiecare termen \u00een
\nparte, cum poetul \u00ee\u0219i ademene\u0219te cititorul cu
\nanumite \u201ec\u00e2rlige\u201d afective din via\u0163a personajului
\n(senza\u0163ii, \u00eendoieli, prevestiri, vise, discu\u0163ii), cum
\naerise\u0219te locul \u0219i descrie imaginea, dialogheaz\u0103 \u00een
\ndoi peri \u0219i are un joc de registre ce provoac\u0103
\nmemoria cultural\u0103. Iar asta e bine vreau s\u0103 spun,
\nadic\u0103 autorul cunoa\u0219te jocul cu mingea
\nsemnifican\u021bilor. Una peste alta, cu dou\u0103 c\u0103r\u021bi la
\nactiv \u0219i cu o vizibilitate constant\u0103 \u00een spa\u021biul
\nrevuistic \u2013 Dialectica ur\u0219ilor propune o poezie a
\nsincerit\u0103\u021bii f\u0103\u021bi\u0219e \u0219i a particularit\u0103\u021bilor
\ncontrastante; pe de o parte, scriitura include
\ngena erotismului \u0219i autodispre\u021bului dou\u0103miist, pe
\nde alta le respinge cu dezinvoltura
\ndescoperitorului de noi p\u0103m\u00e2nturi \u2013 o
\ndescoperire redescoperit\u0103, \u00een fond, candoarea \u0219i
\nging\u0103\u0219ia unor texte, sub\u021birimea altora prisose\u0219te
\ncu v\u00e2rf \u0219i \u00eendesat. De re\u021binut, p\u00e2n\u0103 una alta: Radu
\nNi\u021bescu, Dialectica ur\u0219ilor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Poezie din Macedonia Violeta TANCEVA-ZLATEVA Acesta-i drumul care nu te duce nici-unde. Modernism sau decaden\u021b\u0103 \u2013 \u00cen \u0163ara Nesosind\u0103 Fiecare<\/p>\n","protected":false},"author":17,"featured_media":13596,"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\/13680"}],"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=13680"}],"version-history":[{"count":2,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/13680\/revisions"}],"predecessor-version":[{"id":13688,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/13680\/revisions\/13688"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/13596"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13680"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13680"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13680"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}