{"id":16509,"date":"2021-11-24T09:42:26","date_gmt":"2021-11-24T06:42:26","guid":{"rendered":"https:\/\/ziarulderimnic.ro\/?p=16509"},"modified":"2021-11-24T09:42:26","modified_gmt":"2021-11-24T06:42:26","slug":"spatii-culturale-nr-47-10","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=16509","title":{"rendered":"Spa\u021bii culturale nr. 47 (10)"},"content":{"rendered":"<p><strong>C\u0102R\u021aI PREZENTATE DE:<\/strong><\/p>\n<p><strong>Petre ISACHI<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/isachi1-e1603794764670.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/isachi1-215x300.jpg\" alt=\"\" width=\"215\" height=\"300\" class=\"alignnone size-medium wp-image-11648 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 215px; --smush-placeholder-aspect-ratio: 215\/300;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2020\/10\/isachi1-215x300.jpg\" alt=\"\" width=\"215\" height=\"300\" class=\"alignnone size-medium wp-image-11648\" \/><\/noscript><\/a><\/p>\n<p><strong>ACEST GHEPARD CU POEME \u00ceN GHEARE<\/strong><br \/>\n<em>&#8211; eseu critic &#8211;<\/em><\/p>\n<p>\u00cen poezia liric\u0103  \u2013 spunea Hegel \u2013  \u201eobiectul este expresia sentimentelor interne ale poetului\u201c, expresie modelat\u0103 dup\u0103 poetica t\u0103cerii, impus\u0103 \u00een istoria poeziei rom\u00e2ne\u0219ti de c\u0103tre Lucian Blaga, din care \u0218tefan Dincescu selecteaz\u0103, drept motto al volumului Se sp\u00e2nzur\u0103 condeiul!, versurile: \u201eVai mie, Doamne, c\u0103 trebuie s\u0103 tac \/ c\u00e2nd m\u0103 despoi.\u201c (\u201eLot\u201c) Tr\u0103ind starea \u201ecititorului f\u0103\u021barnic\u201c, miza polemic\u0103 din volumul Se sp\u00e2nzur\u0103 condeiul! este evident\u0103, relev\u00e2ndu-se o profund\u0103 cunoa\u0219tere a poeziei actuale, dar \u0219i capacitatea acestui poet de a compatibiliza, de a sintetiza voci \u0219i idei lirice din Charles Baudelaire, Arthur Rimbaud, Paul Val\u00e9ry, St\u00e9phane Mallarm\u00e9, Guillaume Apollinaire, Fernando Pessoa etc. \u00eentr-un discurs ferm, direct, paradoxal, sarcastic, simbolic, livresc, oltenesc, \u00eembr\u0103c\u00e2nd forma pasional\u0103 a pledoariei pro domo sua. Conciziunea \u0219i imanen\u021ba, metodele lingvistice \u0219i semiotice, motiva\u021biile sociale, antropologice \u0219i politice, posibilit\u0103\u021bile de explicare a volumului Se sp\u00e2nzur\u0103 condeiul! prin conceptele de simbolism \u0219i de avangardism, de modernism \u0219i de postmodernism nu contrazic ideea c\u0103 poezia lui \u0218tefan Dincescu este una singur\u0103, unitar\u0103 \u0219i coerent\u0103 \u00een toat\u0103 marea ei diversitate, peste retorica aparent diferit\u0103 a celor 10 volume de versuri publicate de poet p\u00e2n\u0103 ast\u0103zi. \u00cen Verb zdr\u0103ng\u0103nind, autorul redimensioneaz\u0103 func\u021biile poeziei \u00een spirit macedonskiano-arghezian, asum\u00e2ndu-\u0219i dramatismul unui \u201eparadis linciurit \u00eentr-un horn de m\u0103gar\u201c; poezia nu \u00eenseamn\u0103 \u201eart\u0103 pentru art\u0103\u201c, nici \u201eautoreflexivitate\u201c, nici \u201emagie sonor\u0103\u201c, nici \u201epoezie pur\u0103\u201c, nici \u201egratuitate\u201c, ci o modalitate de luare \u00een posesie a unui spa\u021biu sodomizat, care \u0219i-a pierdut centrul, \u00een care omul \u00eensu\u0219i este o fiin\u021b\u0103 descentrat\u0103: \u201eZdup! t\u0103ri\u0219oara mea, coco\u021beaz\u0103-te-n pat! \/ Holbeaz\u0103-te la TV! Hai, clef\u0103ie\u0219te, h\u0103mesito, p\u0103sat! \/ M\u00e2ine, c\u0103\u021bea \u00een c\u0103lduri, furi\u0219eaz\u0103-te-n cl\u0103i \/ p\u00e2n\u0103 la pofticio\u0219ii, libidino\u0219ii, l\u0103\u021bo\u0219ii haid\u0103i!\u201c (\u201ePoem\u201c, 35) Consider\u00e2ndu-se \u0219i poetul lumii interlope, \u0218tefan Dincescu \u00eei ofer\u0103 cititorului un \u201eeu\u201c ipostaziat \u00eentr-o multitudine de \u201eeuri poetice\u201c, \u00een \u00eencercarea disperat\u0103 de a revela \u201em\u0103sura\u201c lumii \u00een care tr\u0103ie\u0219te: \u201eVeacuri ai scris, condeia\u0219ule, \u00een modest p\u0103tr\u0103\u021bel! \/ Gloria, rebegind prin tran\u0219ee, am fituit-o, m\u0103 tem. \/ La S\u0103rata, pe centura Bac\u0103ului, fost-am guru, totem \/ t\u00e2rcoavelor cu p\u0103p\u0103u vagin de o\u021bel.\u201c (\u201ePoem\u201c, 34) \u201eZei\u021bele dragostei\u201c de pe centura Bac\u0103ului pot avea semnifica\u021bia unei hierogamii. Aflate sub zodia eternit\u0103\u021bii, ele sunt acelea\u0219i femei desfr\u00e2nate de care se pomene\u0219te at\u00e2t \u00een Vechiul Testament, c\u00e2t \u0219i \u00een Noul Testament, ni\u0219te simboluri ale fecundit\u0103\u021bii, ale uniunii cu divinitatea. \u00centr-o lume din care a disp\u0103rut Dumnezeu, \u0218tefan Dincescu pune \u00eentr-o algebr\u0103 superioar\u0103 a spiritului cele trei mari crize ale omului contemporan: 1. \u201ecriza realit\u0103\u021bii\u201c  (\u201eMi-ai dat mieriul crin visat de-albine. \/ L-am deghizat \u00een clo\u021b\u0103, \u00een clovn, \u00een ori\u0219icine. \/ Vai, ce mi-ai dat: izvoare, cer sp\u0103lat, \/ le-am porc\u0103it! La ri\u0219c\u0103, Doamne, m-am jucat!\u201c \u2013 33); 2. \u201ecriza eului\u201c (\u201eVerb zdr\u0103ng\u0103ne\u0219ti. Piseaz\u0103-\u021bi condeiul! \/ Bag\u0103-\u021bi resteul pe g\u00e2t! Expatriaz\u0103-\u021bi bocetul, col\u021bii! \/ Halucineaz\u0103 pe c\u00e2mpuri \u0219oldanii, hameiul. \/ C\u0103ptu\u0219e\u0219te-\u021bi cu fluturi tavanele sor\u021bii!\u201c \u2013 31); 3. \u201ecriza limbajului\u201c (\u201eDezbr\u0103ca-vei suflete sticloase, pl\u0103p\u00e2nde, \/ vame\u0219 f\u00e2\u0219ne\u021b, \u00een alcovul haitei fl\u0103m\u00e2nde? \/ Scuip\u0103-i ru\u0219fetul! Las-o dracului s\u0103 crape de foame! \/ Moartea cu stufoasele pleoape ne g\u00e2dil\u0103 vara pe clape.\u201c \u2013 32) \u00centoarcerea la metrica poeziei populare, dar \u0219i la tensiunea mioritic\u0103, transfigurarea motivelor clasice (\u201etat\u0103l\u201c, \u201efiul\u201c, \u201emama\u201c, \u201estrugurii\u201c, \u201evinul\u201c) tr\u0103deaz\u0103 aceea\u0219i criz\u0103 a limbajului de care poetul se elibereaz\u0103 cu gra\u021bie estetic\u0103 baladesc\u0103: \u2013 Fugi \u00een rai, m\u0103icu\u021b\u0103? Ce-ai \u00een boccelu\u021b\u0103? \/ \u2013 Urciora\u0219 cu ap\u0103, struguri, franzelu\u021b\u0103. \/ Fiule, zore\u0219te! \u2013 Z\u0103bovesc de-un chin. \/ Sp\u0103l frigide veacuri \u00eentr-un strop de vin. (\u201ePoem\u201c, 30) Interoga\u021biile \u0219i exclama\u021biile retorice poten\u021beaz\u0103 tensiunea liric\u0103 a eului mistic deghizat \u00een \u201eori\u0219icine\u201c oferindu-i lectorului c\u00e2nd identit\u0103\u021bi alternative, c\u00e2nd o reprezentare simbolic\u0103. Dincolo de perceperea intuitiv\u0103, hermeneutica simbolurilor reprezint\u0103 o abscons\u0103 penetrare \u00een lumea semnelor eterne. Structurate fiind \u00eentr-o complex\u0103 \u0219i hieratic\u0103 heraldic\u0103 a vizualului, simbolurile din Verb zdr\u0103ng\u0103nind (\u201ea zdr\u0103ng\u0103ni\u201c, la gerunziu \u2013 mod al aspectului continuu, sugereaz\u0103 tonalitatea amuzical\u0103 a Lumii) comport\u0103 semnifica\u021bii multiple \u2013 de ordin filosofic, magic, religios, psihologic, moral, istoric, poetic \u2013 \u0219i asocia\u021bii dintre cele mai inedite. Selectez din Verb zdr\u0103ng\u0103nind c\u00e2teva simboluri s\u0103 v\u0103 face\u021bi o idee despre puterea g\u00e2ndului \u0219i for\u021ba semiotic\u0103 de penetrare atemporal\u0103: \u0218eherezada, Ahile, Lot, M\u0103icu\u021ba Lot, \u00eengerii, Manole, Ana, corabia, chitul, b\u0103ia\u0219ul, condeiul, pe\u0219tera, privighetoarea, lupanul, ghepardul, leb\u0103da, c\u0103prioara, coco\u0219ul, \u0219oldanii, smirna, aurul, rachiul, vinul, curvele, steaua, Craiovi\u021ba; tr\u0103itor \u00eentr-o cetate care \u201emenstrueaz\u0103 scrum \u00een lumin\u0103\u201c, Dincescu provoac\u0103 sentimentul excentricit\u0103\u021bii, disociindu-se programatic de colegii de genera\u021bie (Florin Iaru, Alexandru Mu\u0219ina, Ion Bogdan Lefter) printr-o \u201einginerie textual\u0103\u201c atipic\u0103, din care se exclude voca\u021bia ludic\u0103, parodic\u0103, teatralizant\u0103 a optzeci\u0219tilor: \u201eNu b\u0103lte\u0219te, frate, soare! Veac nu bate. \/ Din plo\u0219tile \u0218eherezadei vinete c\u00e2ntece storc. \/ Se sp\u00e2nzur\u0103 condeiul! \u00cen rubaiate boldeiul se zbate. \/ \u00cen pl\u0103m\u00e2nii verii expectoreaz\u0103 o sf\u00e2rl\u0103 de porc.\u201c (\u201ePoem\u201c, 1) Efectul \u201eOmar Khayy\u00e3m\u201c asupra eului poetic este evident; spiritul rubaiatului \u00eei impune formele unei paradigme specifice poeziei senten\u021bioase din care este exclus\u0103 monorima din ra\u021biuni de comunicare. Lectorul descoper\u0103 coordonatele altei mentalit\u0103\u021bi literare \u00eentr-o paradigm\u0103 poetic\u0103 dezinhibat\u0103, relativizatoare, eliberat\u0103 de ceremonial, de metafizic\u0103, explor\u00e2nd \u00eentr-o atitudine insurgent\u0103: \u201eMi-a slobozit Dumnezeu t\u0103ioase unghii \u00een g\u00e2t: \/ \u00abE\u0219ti gol\u0103ne\u021b, prostovane, pilangiu, inutil \u0219i ur\u00e2t!\u00bb \/ Privighetorile mele, vituper\u00e2nd, s-au o\u021betit. \/ L-am isc\u0103lit pe r\u00e2nz\u0103 cu z\u00e2mbet de cu\u021bit.\u201c (\u201ePoem\u201c, 7) Poemul, isc\u0103lit cu \u201ez\u00e2mbet de cu\u021bit\u201c reitereaz\u0103, \u201evituper\u00e2nd\u201c, singur\u0103tatea creatorului al c\u0103rui c\u00e2ntec se r\u0103sfr\u00e2nge, ca \u0219i la privighetoare, numai c\u0103tre sine. Fuga de \/ din cuvinte  revel\u0103 o labirintic\u0103 \u0219i teribil\u0103 geometrie a sufletului enigmatic, \u00eensingurat (\u201elupan singuratic\u201c sau \u201eghepard cu poeme \u00een gheare\u201c), autoexilat \u201esub retevei, sub cu\u021bit\u201c. Principiul de construc\u021bie al poemelor lui \u0218tefan Dincescu, r\u0103zboindu-se cu zeii \u201eclamoro\u0219i, prost\u0103naci\u201c, nu este similaritatea, un sens care trimite paradigmatic la alt sens, ci contiguitatea, un sens care se leag\u0103 sintagmatic la alt sens. Mi\u0219carea prin care poemul se instituie se caracterizeaz\u0103 prin decro\u0219\u0103ri, extinderi, varia\u021bii ale sensului. Poemele metonimice sunt lipsite de centru \u0219i de limite. Ele elibereaz\u0103 o energie simbolic\u0103 sublimat\u0103 \u00een scriitur\u0103 de \u201eeul de h\u00e2rtie\u201c: \u201e\u0218i Vou\u0103, Sfinte Petre, V\u0103 declar pe \u0219leau: \/ \u00abCurvoi mi-am fost, grozav mai beau!\u00bb \/ S\u0103 z\u0103bovesc la por\u021bi? S\u0103 m\u0103 proptesc \u00een clan\u021b\u0103? \/ O noatin\u0103 se pi\u0219\u0103 \u00een balan\u021b\u0103.\u201c (\u201ePoem\u201c, 24); \u201eMor\u021bii goarn\u0103 i-ai fost, suveic\u0103, decembrie, frate! \/ \u00cen u\u0219a bodegii, An\u0103, de urcioare te ciup! \/ \u021a\u00e2ng\u0103ii s-au meli\u021bat pentru o can\u0103 de libertate. \/ V\u0103danei Lot cu greieri gu\u0219a i-astup.\u201c (\u201ePoem\u201c, 18) \u00cen modelul analogic prezentat \u00een Verb zdr\u0103ng\u0103nind, poemul, adic\u0103 lumea, reprezint\u0103 un element care se ofer\u0103 unui eu perceptiv \/ cititorul, care se comport\u0103 ca un \u201eeu \u2013 p\u00e2lnie\u201c, ca un simplu spa\u021biu de manifestare, de curgere a textului. Volens-nolens, eul celui ce cite\u0219te se las\u0103 produs de textul \/ de poemul imaginat nu ca un mecanism cu o gramatic\u0103, ci ca o geografie cu o consisten\u021b\u0103 empiric\u0103. Spa\u021biul non-frastic poten\u021bat de poetica t\u0103cerii este principiul generativ al poemelor din volumul recent Se sp\u00e2nzur\u0103 condeiul!, construc\u021bie aprioric\u0103 pe care lectura nu o poate modifica. Cititorul joac\u0103 \/ interpreteaz\u0103 poemul \/ textul; scriitura se apropie de condi\u021bia muzicii \u00een care \u201einterpretul\u201c este coautor al partiturii reproduse f\u0103r\u0103 constr\u00e2ngeri, ierarhii, finalitate: \u201eMi-a intrat \u00een tezaur o leb\u0103d\u0103 cu rochii de aur. \/ Se cl\u0103buce\u0219te \u00een veghe. Iute m\u0103 dojene\u0219te: \/ \u00abVai, tot lupan singuratic ai r\u0103mas \u00eentr-un plaur, \/ s\u00e2nger\u00e2nd, dormit\u00e2nd, fiule, printre h\u00e2rtii, iepure\u0219te?\u00bb\u201c (\u201ePoem\u201c, 9) Transparen\u021ba \u0219i opacitatea men\u021bin ambiguitatea poemelor din cartea Se sp\u00e2nzur\u0103 condeiul!; sub \u201eleb\u0103da cu rochii de aur\u201c (\u201ePoem\u201c, 9), at\u00e2t simbol al purit\u0103\u021bii, al singur\u0103t\u0103\u021bii \u0219i curajului, c\u00e2t \u0219i simbol al eleva\u021biei spirituale \u0219i al poeziei, cel ce \u201est\u0103 la taclale\u201c cu Omar Khayy\u0101m ascunde o grea\u021b\u0103 sartreian\u0103 \u00eempotriva eternului mesager \u201ecu 30 de argin\u021bi\u201c. Pe\u0219tera, simbolul unei existen\u021be deformate, al incon\u0219tientului, dar \u0219i arhetip al sufletului magic opus apolinicului sau fausticului occidental, constituie, \u00een viziunea poetului \u0218tefan Dincescu, altceva dec\u00e2t paradigma simbolurilor claustrofobe: \u201e\u00cen pe\u0219tera mea sferic \u00eentuneric muceg\u0103ie\u0219te. \/ T\u0103tucul din ceruri s\u0103rut\u0103 brazdele, melesteul, aratul. \/ Bor\u021boasele r\u00e2g\u00e2ie. \u0218ipotul \u021b\u00e2\u021bei duhne\u0219te. \/ \u00cen ro\u0219ii fagurii z\u0103pezii supureaz\u0103 galben p\u0103catul.\u201c (\u201ePoem\u201c, 4) \u00cen C\u00e2ntecele Ioanei Olaru, \u201escrib\u0103re\u021bul\u201c, care cultiv\u0103 \u201el\u0103ptuci \u00eentr-o istorie literar\u0103 str\u0103veche\u201c, devine tandru, c\u00e2nt\u0103 dintr-o \u201epetal\u0103 de crin\u201c o dragoste pierdut\u0103 \/ c\u00e2\u0219tigat\u0103 pentru  o Ioan\u0103 sacralizat\u0103 prin iubire, cu toate c\u0103 \u201ei\u0219licarii cu viitorul n\u0103ruit pe chituci\u201c o vedeau fie japi\u021b\u0103 ro\u0219covan\u0103, \u021bolin\u0103, doan\u021b\u0103, vamp\u0103, oloag\u0103 minciun\u0103 b\u0103laie, fie pufoas\u0103 floare de lotus, raz\u0103 de c\u00e2ntec sub\u021bire, fie pu\u0219toaic\u0103, puiandr\u0103, pl\u0103p\u00e2nd\u0103, livid\u0103, m\u00e2hnit\u0103. Cele 12 poeme din C\u00e2ntecele Ioanei Olaru formeaz\u0103 un spa\u021biu nu doar al motiv\u0103rii, al literalit\u0103\u021bii (Ioana Olaru, agresiv\u0103 frumuse\u021be din tinere\u021bea poetului de azi, arz\u00e2nd \u201et\u0103m\u00e2ie pe clan\u021b\u0103\u201c firfirigilor care iubeau \u201eflorile de mucigai\u201c ale Craiovi\u021bei Vechi, din B\u0103nie, unde \u0218tefan Dincescu a tr\u0103it \u00eentre anii 1968 \u2013 1981), ci \u0219i unul al conota\u021biei, al ambiguit\u0103\u021bii, al obscurit\u0103\u021bii semantice: \u201e\u021ai-am cusut nu o fust\u0103, ci o poveste \u00eenflorat\u0103 \u0219i scurt\u0103 \/ din lebede, nuferi \u0219i ghioluri cu luceferi sub pleoap\u0103. \/ Tu, japi\u021b\u0103 ro\u0219covan\u0103, domestici-vei \u00een iurt\u0103 \/ amurguri p\u0103scute viclean de-o melancolie mioap\u0103.\u201c (\u201ePoem\u201c, 6) Muz\u0103 \u0219i ispit\u0103 fiind (\u201eM-am distilat, prin \u00eengerii t\u0103i, \u00eentr-o v\u0103ioag\u0103 din mit \/ \u0219i-am cosit haiku-uri, t\u0103m\u00e2ioar\u0103, rubaiate \u0219i maci. \/ Ast\u0103zi odr\u0103slesc \u00een juv\u0103\u021b, sub cu\u021bit, \/ troheii s\u0103raci, c\u00e2rlanii, ro\u0219covanele vaci.\u201c \u2013 \u201ePoem\u201c, 2), Ioana Olaru reprezint\u0103 \/ simbolizeaz\u0103 sensibilitatea fiin\u021bei umane \u0219i latura ei ira\u021bional\u0103. \u201eV\u0103ioaga\u201c din mitul \u201eAdam \u0219i Eva\u201c ne vorbe\u0219te nu doar despre spirit \u0219i suflet, ci \u0219i despre inteligen\u021b\u0103 \u0219i afectivitate, despre cunoa\u0219tere, iubire \u0219i crea\u021bie. F\u0103r\u0103 Eva \/ Ioana, poetul odr\u0103sle\u0219te \u201e\u00een juv\u0103\u021b, sub cu\u021bit\u201c, \u201eroiul de n\u0103luci\u201c fiind posibil doar exilat \u00een \u201esih\u0103strii\u201c, doar op\u0103rit \u00een \u201ep\u0103catele ochilor\u201c ei \/ Eva \/ Beatrice \/ Ioana \/ femeia \/ carnea \/ desfr\u00e2ul. Rela\u021bia sublim \/ abject \u00ee\u0219i afl\u0103 r\u0103d\u0103cinile c\u00e2nd \u00een Florile r\u0103ului (Charles Baudelaire), c\u00e2nd \u00een Flori de mucigai (Tudor Arghezi): \u201ePleoapele tale mi se \u00een\u021belinir\u0103 \u0219i-n vis \/ \u0219i-mi zdren\u021buir\u0103 dorul de la metereze p\u00e2n\u0103 la glezn\u0103. \/ \u00cen palmele \u0219timelor testamentul mi-am scris \/ c\u00e2nd \u021b\u00e2\u021bele tale se giugiuleau cu iepuroii \u00een bezn\u0103.\u201c (\u201ePoem\u201c, 5) Etern-Femininul din C\u00e2ntecele Ioanei Olaru (cuvinte din Faust de Goethe, desemn\u00e2nd dorin\u021ba omului spre o transcenden\u021b\u0103: \u201eAici genuinul nerostibil \/ s-a spus; \/ Etern \u2013 Femininul ne \/ trage \u00een sus.\u201c) \u00eenal\u021b\u0103 prin atrac\u021bia prezen\u021bei universale, prin conota\u021biile multiple. Ioana Olaru \u2013 izvorul oric\u0103rui poten\u021bial \u2013 r\u0103m\u00e2ne personificarea tendin\u021belor psihologice ale sufletului poetului: sentimentele \u0219i st\u0103rile vagi, intui\u021biile profetice, sensibilitatea la ira\u021bional, capacitatea de a iubi, sentimentul naturii, rela\u021biile cu incon\u0219tientul, visul himeric de fericire, tendin\u021ba de a produce remarci veninoase, efeminate, devaloriz\u00e2nd totul: \u201eVino, puiandro, vino, pl\u0103p\u00e2ndo, ast\u0103zi s\u0103 te \u00eenv\u0103\u021b \/ cum s\u0103 vopse\u0219ti l\u0103vicerele dezm\u0103\u021bului t\u0103u; \/ lun\u0103 \u0219i soare cucurig\u00e2nd \u2013 s\u0103 se dea hu\u021ba-n juv\u0103\u021b \/ ca mistre\u021bii buimaci, pe z\u0103puc, \u00een v\u0103l\u0103u.\u201c (\u201ePoem\u201c, 7) Pierre Teilhard de Chardin vedea \u00een etern-feminin numele iubirii, for\u021ba cosmic\u0103 asigur\u00e2nd \u00eent\u00e2lnirea dintre aspira\u021bia uman\u0103 spre transcendent \u0219i acel instinct unde se manifest\u0103  o energie eminamente apt\u0103 de a spiritualiza lumea, de a deveni izvorul oric\u0103rui poten\u021bial: \u201e\u00cembrac\u0103-te-n fluturi, pu\u0219toaico, m\u00e2ine s\u0103-mi fii \/ pufoas\u0103 floare de lotus dans\u00e2nd \u00een piei de v\u0103paie! \/ Hai, uit\u0103 c\u0103 ai putea \u00eentr-un amurg s\u0103-mi devii \/ bor\u0219it\u0103, oloag\u0103 minciun\u0103 b\u0103laie!\u201c (\u201ePoem\u201c, 9) Sublimat\u0103 \u00een poeme, aceast\u0103 Beatrice \u2013 bizar\u0103 licean\u0103 sinucig\u00e2ndu-se din dragoste \u00een Craiovi\u021ba liceanului \/ boemului  Dincescu \u2013 reprezint\u0103 posesia simultan\u0103 \u0219i perfect\u0103 a unei existen\u021be nesf\u00e2r\u0219ite, aidoma Poeziei; eternizat\u0103 \u0219i sacralizat\u0103 prin iubire baudelairean\u0103, Ioana Olaru simbolizeaz\u0103 seduc\u021bia erosului. Sciziunea \u00eentre atrac\u021bia volupt\u0103\u021bilor malefice, a viciilor, a p\u0103catelor \u0219i corespondentul lor sacru, celest determin\u0103 \u00een catrenele C\u00e2ntecele Ioanei Olaru ideea eleva\u021biei absolute, ideea transgres\u0103rii spre spa\u021biile de pur\u0103 luminozitate \u0219i de spiritualitate: \u201eMi-e team\u0103, scrib\u0103re\u021bule, de buhai, de malaci!\u00bb \/ \u201eVai, tandr\u0103 puiandr\u0103, raz\u0103 de c\u00e2ntec sub\u021bire, \/ pe visuri te pup, te ling pe \u021b\u00e2\u021be, pe craci, \/ \u00eembr\u0103ca-te-a\u0219 \u00een polen de psaltire!\u201c (\u201ePoem\u201c, 11) Ideea c\u0103 adev\u0103rata literatur\u0103 este transna\u021bional\u0103 r\u0103zbate din cea de-a treia parte a vol. Se sp\u00e2nzur\u0103 condeiul! \u2013 Poeme pe dou\u0103 clape, unde Dincescu argumenteaz\u0103 poetic motto-ul din Lucian Blaga: \u201eNu v\u0103 mira\u021bi. Poe\u021bii, to\u021bi poe\u021bii sunt \/ Un singur, ne-mp\u0103r\u021bit, ne\u00eentrerupt popor.\u201c (\u201ePoe\u021bii\u201c) Dup\u0103 modelul mentorului s\u0103u Baudelaire, rege al poe\u021bilor, blestematul, adev\u0103ratul vizionar, Dincescu implic\u0103 \u00een alchimia poemelor sale \u0219i \u201emenajeria n\u0103ravurilor rele\u201c (Baudelaire), de care cititorul, fiind instan\u021b\u0103 a comunic\u0103rii lirice, este p\u0103truns \u00een mod fatal. Firea predestinat\u0103 justific\u0103 psihologia \u201eghepardului\u201c, dar \u0219i dandysmul lui \u0218tefan Dincescu, \u00eenver\u0219unarea lui contra opresiunii mediocrit\u0103\u021bii, \u00eempotriva \u201eomului \u2013 mas\u0103\u201c (Jos\u00e9 Ortega y Gasset), omul ros de ur\u00e2tul existen\u021bial, stors de orgoliu creator, de orice ideal. Este greu s\u0103 traduci muzica \u201ene\u00eemp\u0103r\u021bitului \u0219i ne\u00eentreruptului popor de poe\u021bi\u201c \u00een care \u201eVel \u0218tefan Dincescu\u201c se include f\u0103r\u0103 complexe, astfel \u00eenc\u00e2t \u00een \u201ePoeme pe dou\u0103 clape\u201c citim \/ auzim \u0219i o simfonie a destinului semenului, fratelui, \u201ecititorul f\u0103\u021barnic\u201c, cum \u00eel traduce Alexandru Philippide din \u201ePrefa\u021ba\u201c c\u0103r\u021bii Florile r\u0103ului (Baudelaire); iat\u0103 sublimat \u00eentr-o muzic\u0103 nou\u0103 \u201eur\u00e2tul\u201c: \u201eUr\u00e2tul e! \u2013 Cu lacrimi \u00een sil\u0103 rev\u0103rsate, \/ Viseaz\u0103 e\u0219afoduri fum\u00e2nd nep\u0103s\u0103tor. \/ Pe monstru-acesta ginga\u0219 tu-l \u0219tii, o! cititor, \/ \u2013 O! cititor f\u0103\u021barnic, \u2013 tu, semenul meu, \u2013 frate!\u201c (\u201ePrefa\u021b\u0103\u201c) Din triada \u201eCharles Baudelaire (1) \u2013 \u0218tefan Dincescu (2) \u2013 Cititorul f\u0103\u021barnic (3)\u201c, Dincescu schimb\u0103 nr. 1 \u0219i p\u0103streaz\u0103 f\u0103\u021b\u0103rnicia de tip Cain-Abel dintre \u201eAutor\u201c \u0219i \u201eCititor\u201c, continuitatea \u201epoporului de poe\u021bi\u201c fiind evident\u0103: \u201eUrcior m-ai b\u0103tut, Doamne, \u00eentre z\u0103vozi \u0219i bucate! \/ Cu rou\u0103 m-ai umplut, cu privighetori, cu lumin\u0103. \/ \u00abO, cititor v\u00e2scos, f\u0103\u021barnicul meu frate, \/ \u00eenfiptu-mi-ai cu\u021bit \u00een r\u0103d\u0103cin\u0103!\u00bb\u201c (\u201ePoem\u201c, 2) Aser\u021biunea eminescian\u0103 \u201eToate-s vechi \u0219i nou\u0103 toate.\u201c (\u201eGloss\u0103\u201c) este (re) descoperit\u0103 de c\u0103tre \u201ecititorul v\u00e2scos \/ criticul v\u00e2scos\u201c \u00een \u201eaceea\u0219i gam\u0103\u201c: gama golului, a pr\u0103pastiei \u0219i abisului, a absurdului, a disper\u0103rii \u0219i c\u0103derii, deci simfonia destinului omului \u201eam\u0103git at\u00e2t de-adese\u201c (Eminescu). Care ar fi secretul acestui \u201eghepard\u201c al liricii contemporane? Pe l\u00e2ng\u0103 comunicarea polemic\u0103, interogativ\u0103, exclamativ\u0103, sarcastic\u0103, orgolioas\u0103, c\u00e2nd sublim\u0103, c\u00e2nd abject\u0103, elegiac\u0103, tragic\u0103, cu \u201epoporul de poe\u021bi\u201c, cu \u201ev\u00e2scosul cititor\u201c, Dincescu a \u00een\u021beles ce \u00eenseamn\u0103 s\u0103 suceasc\u0103 \u201eg\u00e2tul elocin\u021bei\u201c, ce \u00eenseamn\u0103 \u201eDe la musique encore et toujours!\u201c; iat\u0103 actualizat dincescian versul \u201ePrens l\u2019\u00e9loquence et tords-lui son cou!\u201c (Paul Verlaine, \u201eArt\u0103 poetic\u0103\u201c) \u00eentr-o rim\u0103 \u00een \u201echingi severe\u201c, rim\u0103 eliberat\u0103 de sclavia \u201enesocotin\u021bei\u201c: \u201e\u00cenha\u021b\u0103 elocven\u021ba! Hai, r\u0103suce\u0219te-i g\u00e2tul, \/ pal papagal sculpt\u00e2nd schilozii pe\u0219ti! \/ Hai, remaiaz\u0103-\u021bi anii c\u00e2nt\u00e2nd pe la fere\u0219ti! \/ St\u00e2rpe\u0219te elocven\u021ba! Cin\u0103tuie\u0219te-i r\u00e2tul!\u201c (\u201ePoem\u201c, 1) Nevoia acut\u0103 de absolut \u0219i c\u0103utarea unei ie\u0219iri din condi\u021bia existen\u021bial\u0103 tragic\u0103 \u00eei amintesc acestui \u201eFiu al Maicii Lot\u201c de biblicul Iona, transfigurat de dramaturgul Marin Sorescu \u00een tragedia Iona; r\u0103m\u00e2ne \u0219i \u00een \u201ePoem\u201c, 4 (\u201eAi e\u0219uat, b\u0103di\u021b\u0103! Hai, schilode\u0219te-\u021bi g\u00e2tul! \/ Orb hoin\u0103ri\u0219i h\u0103\u021bi\u0219ul acelor bur\u021bi de pe\u0219ti. \/ Nu Dumnezeu, ci Dracul se uit\u0103 prin fere\u0219ti! \/ Nu faima te m\u00e2le\u0219te, ci grea\u021ba, ci ur\u00e2tul!\u201c) problema \u201edac\u0103 mai reu\u0219e\u0219ti s\u0103 ie\u0219i din ceva odat\u0103 ce te-ai n\u0103scut\u201c (Marin Sorescu); din aceast\u0103 \u201enesf\u00e2r\u0219it\u0103 cuprindere de pe\u0219ti\u201c, \u0218tefan Dincescu poten\u021beaz\u0103 singur\u0103tatea omului care descoper\u0103 c\u0103 \u201eTotul e invers.\u201c (Marin Sorescu, Iona), c\u0103 \u201eNu Dumnezeu, ci Dracul se uit\u0103 prin fere\u0219ti! \/ Nu faima te m\u00e2le\u0219te, ci grea\u021ba, ci ur\u00e2tul!\u201c (\u201ePoem\u201c, 4) Este evident efortul poetului b\u00e2ntuit de \u201emahalalele\u201c Craiovi\u021bei de a evada din limitele unui discurs poetic univoc, \u00eenc\u00e2t cititorului v\u00e2scos i se cere aten\u021bie la conota\u021biile cuvintelor, la for\u021ba sugestiv\u0103 a textului, la muzicalitatea verlaineano-bacovian\u0103, la dominantele semantice ale pulsa\u021biilor semiotice din spa\u021bialitatea metapoemului, la coresponden\u021bele subtile, la \u201epoporul de poe\u021bi\u201c considera\u021bi tot at\u00e2tea proiec\u021bii ale eului liric. Rimbaud \u00eei \u00eemprumut\u0103, probabil, lui \u0218tefan Dincescu (printr-o mi\u0219care intrapsihic\u0103 la nivel colectiv) revolta. Care mare poet nu este un revoltat? S\u0103 r\u0103m\u00e2nem, totu\u0219i, la mitul lui Arthur Rimbaud (vizionarul, vagabondul etc.) despre care se scria: \u201eEu cred c\u0103 exist\u0103 mul\u021bi Rimbaud \u00een aceast\u0103 lume \u0219i c\u0103 num\u0103rul lor se va augmenta mereu. Cred c\u0103, \u00een viitor, tipul Rimbaud va \u00eenlocui tipul Hamlet \u0219i tipul Faust. P\u00e2n\u0103 ce lumea veche va fi disp\u0103rut complet, individul \u00abanormal\u00bb va tinde din ce \u00een ce s\u0103 devin\u0103 norm\u0103.\u201c (Henry Miller). Intui\u021bia \u0219i profetismul lui Miller s-au adeverit. Revolta este esen\u021ba tipului Rimbaud \u00een care \u201eEU este altcineva\u201c (Arthur Rimbaud), poetul este \u201eg\u00e2ndit\u201c (\u00eel las pe \u201ef\u0103\u021barnicul cititor\u201c s\u0103 g\u0103seasc\u0103 \/ s\u0103 inventeze subiectul logic), obsedat fiind de ra\u021bionala \u201edereglare a tuturor sim\u021burilor\u201c (Rimbaud); \u00een \u201epalavrele haitei\u201c, \u00een ritmul fantast din \u201eCorabia beat\u0103\u201c, \u0218tefan Dincescu este fascinat de adev\u0103rul din \u201elucrurile neauzite \u0219i indicibile\u201c (Rimbaud), \u00eenc\u00e2t la ora satisfac\u021biei esen\u021biale \u00ee\u0219i dore\u0219te s\u0103 devin\u0103 fiin\u021b\u0103 din fiin\u021ba c\u00e2ntecului: \u201eO, sparge-mi-s-ar fiin\u021ba \u00een c\u00e2ntec s\u0103 m\u0103-nec!\u201c<br \/>\nS\u0103 remarc\u0103m c\u0103 \u00een Poeme pe dou\u0103 clape din volumul Se sp\u00e2nzur\u0103 condeiul! se poten\u021beaz\u0103 versul-tem\u0103, versul-pretext: \u201eO, sparge-mi-s-ar trunchiul! \u00cen mare s\u0103 m-afund!\u201c (\u201eCorabia beat\u0103\u201c) Dincescu, accentu\u00e2nd gradul de poeticitate a limbajului, \u00ee\u0219i urm\u0103re\u0219te cu perseveren\u021b\u0103 sisific\u0103 raportul cu \u201ecel\u0103lalt\u201c: fie Arthur Rimbaud, Charles Baudelaire, Fran\u00e7ois Villon, Paul Verlaine, Serghei Esenin, Dante Alighieri, Georg Trakl, fie Mihai Eminescu, Tudor Arghezi, Lucian Blaga, Nichita St\u0103nescu, George Bacovia, \u0218tefan Aug. Doina\u0219, Mircea Dinescu, Ion Pillat, Nicolae Labi\u0219, Ana Blandiana, Grigore Vieru, Zaharia Stancu, Radu Gyr, M.R. Paraschivescu, Marin Sorescu, Mircea Ciobanu, cotonogindu-\u0219i permanent \u201eversul strident \u0219i l\u0103b\u0103r\u021bat \/ ca urdini\u0219ul de muiere\u201c (\u201ePoem\u201c, 13). \u00censcriindu-se \u0219i insinu\u00e2ndu-se \u00een sistemul poetic al acestor scriitori, autorul poemelor \u201epe dou\u0103 clape\u201c folose\u0219te un limbaj dublu, orientat spre conota\u021bie \u0219i denota\u021bie, spre simbol, spre obiectul concret, spre sugestie \u0219i ambiguitate, spre comunicare tranzitiv\u0103: \u201e\u0218i c\u0103prioarei, \u0219i lupoaicei, m-am v\u0103itat: \/ \u00abM-a strivit, f\u00e2r\u021belor, pas\u0103rea cu destin de rubin!\u00bb \/ Pe ogoare nu zeii, ci hoitarii mi s-au g\u0103in\u0103\u021bat! \/ M\u0103icu\u021bei Lot cu \u0219apte de\u0219te, \u00een for, m\u0103 \u00eenchin.\u201c (\u201ePoem\u201c, 20) Cartea Se sp\u00e2nzur\u0103 condeiul! exprim\u0103 decisiv, \u00een ansamblul s\u0103u, cele dou\u0103 mari tendin\u021be ale poeziei contemporane \u2013 tranzitiv\u0103 \u0219i reflexiv\u0103 \u2013 \u00een spiritul succintei parabole intitulate \u201ePoezia\u201c: \u201eDin zorii secolului se discut\u0103 \/ dac\u0103 poezia este \u00een\u0103untru sau afar\u0103. \/ La \u00eenceput a \u00eenvins \u00een\u0103untrul, apoi a contraatacat violent \/ afar\u0103 \u0219i dup\u0103 ani s-a ajuns la un forfait \/ ce nu va putea dura pentru c\u0103 afar\u0103 \/ e \u00eenarmat\u0103 p\u00e2n\u0103-n din\u021bi.\u201c (Eugenio Montale) C\u0103utarea poeziei \u00een \u201eafar\u0103\u201c \u2013 adic\u0103 \u00een individualitatea obiectiv\u0103, \u00een valorile denotative ale limbajului, dar \u00een acela\u0219i timp \u0219i \u00een \u201e\u00een\u0103untru\u201c \u2013 adic\u0103 \u00een ireductibilitatea eului, \u00een straturile sale cele mai incontrolabile, mai obscene, impune \u00een poezia lui \u0218tefan Dincescu paradoxul semanticii sale polimorfe. Iat\u0103 aceast\u0103 semantic\u0103 polimorf\u0103 \u00een \u201eduetul\u201c cu Nichita St\u0103nescu: \u201eMi-am strigat, bosumflat, ogarii din mit. \/ La poart\u0103, d\u00e2nd iama, Sf\u00e2ntul P\u0103tru m-a h\u0103cuit: \/ \u00abCine ai fost? Ce ai fost? Maestre, gr\u0103ie\u0219te!\u00bb \/ \u00abMi-s pat\u0103 de s\u00e2nge care pre voi \u00eel vorbe\u0219te.\u00bb\u201c (\u201ePoem\u201c, 21) Cititorul \u00ee\u0219i aminte\u0219te \u201eAutoportret\u201c: \u201eEu nu sunt altceva dec\u00e2t \/ o pat\u0103 de s\u00e2nge \/ care vorbe\u0219te.\u201c (Nichita St\u0103nescu, Epica magna) Cititorul \u201ef\u0103\u021barnic\u201c observ\u0103 noua fizionomie a limbajului poetic, poezia fiind teritoriu at\u00e2t al sensurilor figurate, c\u00e2t \u0219i al sensurilor proprii. Iat\u0103 cum arat\u0103 inser\u021bia celebrului vers \u201eToate drumurile duc \u00een negru putregai\u201c (Trakl), transpunerea lui \u00een planul ambiguu, opac \u0219i obscur al figurii \u0219i al simbolului: \u201eToate drumurile, cet\u0103\u021beni, hoin\u0103resc spre minune! \/ Toate drumurile se \u00eenchid \u00een neagr\u0103 putreziciune! \/ Coco\u021ba\u021bi \u00een ale cailor \u0219ei, rezema\u021bi \u00een condei, \/ adormi-vom diafani holtei rotofei.\u201c (\u201e23\u201c) Lirismul dincescian poten\u021beaz\u0103 at\u00e2t rom\u00e2nismul lui Grigore Vieru, c\u00e2t \u0219i interferen\u021ba atipic\u0103 \u00eentre izbucnirea imagina\u021biei primare \u0219i momentele de travaliu, de nonpoezie, \u00eenc\u00e2t versurile \u201eMie \/ un fulger s\u0103-mi da\u021bi \/ de care \/ s\u0103-mi ag\u0103\u021b p\u0103l\u0103ria \/ atunci c\u00e2nd \/ cu pumnii \u00eent\u0103r\u00e2ta\u021bi \/ \u00eemi scriu \/ pe cer \/ poezia.\u201c din poemul \u201eMaiakovski\u201c, inclus de Grigore Vieru \u00een cartea \u201eR\u0103d\u0103cina de foc\u201c (Editura Univers, 1988), au devenit, sub condeiul dincescian, stare de revolt\u0103: \u201eMi-am fost m\u00e2nzoc. Mi-am r\u00e2s de temenele \/ \u0219i de buiestru vitreg. Roua de pe stele \/ am lins-o, z\u0103u, stropindu-mi pomii, glia. \/ \u00abV-am scris pe cer cu \u0219i\u0219uri poezia.\u00bb\u201c (\u201ePoem\u201c, 29) Scriind o poezie care \u00ee\u0219i caut\u0103 esen\u021ba at\u00e2t \u00een \u201eadev\u0103r\u201c, c\u00e2t \u0219i \u00een retorica unor poe\u021bi de referin\u021b\u0103 ai Europei, autorul volumului Se sp\u00e2nzur\u0103 condeiul! a \u00eenv\u0103\u021bat c\u0103 \u201eMinunile se fac cu cheltuial\u0103.\u201c (Doina\u0219, \u201eEpitaf\u201c), c\u0103 trebuie s\u0103 lupte cu sentimentul z\u0103d\u0103rniciei care este constitutiv naturii umane, perisabil\u0103 \u0219i precar\u0103 ea \u00eens\u0103\u0219i, prin defini\u021bie. Exclama\u021bia retoric\u0103 din titlu, Se sp\u00e2nzur\u0103 condeiul!, confirm\u0103 mai cur\u00e2nd ideea c\u0103 sensibilitatea uman\u0103 fa\u021b\u0103 de real este inepuizabil\u0103 \u0219i irepetabil\u0103, c\u0103 al zecelea volum de versuri al \u201eghepardului cu poeme \u00een gheare\u201c reprezint\u0103 o reu\u0219it\u0103 \u00eencercare de a se vindeca, \u201e\u021bip\u00e2nd\u201c, de z\u0103d\u0103rnicia gre\u021boaselor, imundelor lucruri omene\u0219ti. Dac\u0103, \u00een viitor, tr\u0103irile poetului Dincescu se vor potrivi cu st\u0103rile tr\u0103ite de \u201ecititorul v\u00e2scos\u201c, poemele sale vor r\u0103m\u00e2ne \u201eadev\u0103rate\u201c, c\u0103ci valorizarea experien\u021bei celui ce scrie \/ cite\u0219te \u021bine at\u00e2t de imediatul, c\u00e2t \u0219i de eternul ei. \u00cen cartea Se sp\u00e2nzur\u0103 condeiul! \u0218tefan Dincescu mizeaz\u0103 pe ideea blagian\u0103 c\u0103 \u201emut t\u0103lm\u0103ce\u0219ti toate semnele\u201c, pe colaborarea cu \u201epoporul de poe\u021bi\u201c, pe credin\u021ba c\u0103 versurile sale nu vor deveni \u201emincinoase\u201c prin pierderea motiva\u021biilor ini\u021biale. Dac\u0103 \u201ePoem\u201c, 48 (\u201eCe-mi v\u00e2ndu\u0219i tu mie, vag\u0103 Rom\u00e2nie? \/ Cocolo\u0219 de patimi fripte-n viitor, \/ landrele nervoase, foame, s\u0103r\u0103cie, \/ c\u00e2l\u0103 Rom\u00e2nie, zgaib\u0103 tuturor!\u201c) s-ar afla la un moment dat sub semnul gratuit\u0103\u021bii, nimeni nu s-ar sup\u0103ra, nici m\u0103car \u201evinovatul\u201c Vel \u0218tefan  Dincescu.<\/p>\n<p><strong><br \/>\nDiana VRABIE<\/strong><br \/>\n<a href=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/05\/diana_vrabie-e1622187400908.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img loading=\"lazy\" decoding=\"async\" data-src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/05\/diana_vrabie-233x300.jpg\" alt=\"\" width=\"233\" height=\"300\" class=\"alignnone size-medium wp-image-14752 lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==\" style=\"--smush-placeholder-width: 233px; --smush-placeholder-aspect-ratio: 233\/300;\" \/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/ziarulderimnic.ro\/wp-content\/uploads\/2021\/05\/diana_vrabie-233x300.jpg\" alt=\"\" width=\"233\" height=\"300\" class=\"alignnone size-medium wp-image-14752\" \/><\/noscript><\/a><\/p>\n<p><strong>VASILE IFTIME SAU DE LA PETRU CITIRE <\/strong><\/p>\n<p>Dup\u0103 ce debuteaz\u0103 editorial la v\u00e2rsta de 34 de ani, \u00een 2005, cu placheta Umbre ap\u0103rut\u0103 la Editura Geea, poetul Vasile Iftime \u00ee\u0219i men\u021bine un ritm sus\u021binut, oferind an de an volume inedite de poezie \u00een care ingredientele se edific\u0103 oarecum oximoronic din ludic \u0219i gravitate, din nespus \u0219i rumoare, din \u0219oapt\u0103 \u0219i strig\u0103t, din beatitudine \u0219i disperare, totul \u00eentr-un amestec candid \u0219i plutitor. A\u0219a se face c\u0103, la aproximativ un an diferen\u021b\u0103, poetul \u00ee\u0219i concretizeaz\u0103 reflec\u021biile poetice \u00een c\u00e2te un nou volum (Un tot relativ (2006); Jum\u0103tate liliac (2007); Claustrofobii sentimentale (2008), Alte poeme, alte femei (2010); Poeme cu toate femeile lumii (2011); O frontier\u0103 c\u00e2t toate iernile noastre (2012), Poeme din s\u0103rb\u0103toarea Nebunului (2013)), desprins din mantia unui \u201eexpresionism temperat prin ging\u0103\u0219ie, nuan\u021bat printr-un ludic discret, aprofundat prin simboluri religioase abia sesizabile \u00bb (Paul Aretzu). Cert este c\u0103 de la un volum la altul se \u00eenregistreaz\u0103 o evolu\u021bie \u00een privin\u021ba limbajului artistic, a substan\u021bei poetice, a vitalit\u0103\u021bii lirice \u0219i a registrului tematic ce reune\u0219te iubiri vinovate, dorin\u021be polare, \u00eengeri r\u0103t\u0103ci\u021bi \u00een Eden.<br \/>\nDup\u0103 mai bine de zece ani de ostenire \u00een albia poeziei, scriitorul \u00ee\u0219i ia o binemeritat\u0103 pauz\u0103 \u00een vederea transgres\u0103rii pe t\u0103r\u00e2mul proteic al romanului. A\u0219a se face c\u0103, \u00een anul 2016, apare la editura Junimea, \u00een colec\u021bia Epica, romanul De la Petru citire, care perpetueaz\u0103 din registrul liric acea u\u0219oar\u0103 \u201escr\u00e2nteal\u0103 simpatic\u0103 \u00bb, de care vorbea Horia G\u00e2rbea. Dac\u0103 \u00een materie de poezie \u00eens\u0103 aceast\u0103 stare \u00eel ajut\u0103 s\u0103 mearg\u0103 \u00eenainte, eventual pe s\u00e2rm\u0103, \u00een incon\u0219tien\u021ba sublim\u0103 de somnambul, \u00een roman ambasadorul autorului, Petru, se \u00eenc\u0103p\u0103\u021b\u00e2neaz\u0103 s\u0103 sar\u0103 \u0219otronul cu ochii \u00eenchi\u0219i pe lumina cerului. Este sublim\u0103, \u00een cazul lui Vasile Iftime, aceast\u0103 alimentare a epicului cu liricul intuitiv, cu valen\u021bele unei st\u0103ri poetice dezinvolte, fire\u0219ti, consumate la hotarul dintre reverie \u0219i realitate.<br \/>\nConceput \u00een registre stilistice extrem de variate, de la cele poetico-cumin\u021bi p\u00e2n\u0103 la unele convertite \u00een mici atentate la pudoarea, ce nu se prea poart\u0103 azi, romanul De la Petru citire constituie epopeea unui acas\u0103 universal, \u00eentruc\u00e2t, a\u0219a cum sugereaz\u0103 naratorul, (a)cas\u0103 este: locul unde e\u0219ti a\u0219teptat; locul \u00een care \u00ee\u021bi imaginezi c\u0103 cineva a fost trimis s\u0103 te a\u0219tepte; locul care te \u00eencape cu tot cu vise\u2026<br \/>\nRoman al form\u0103rii \u0219i al deform\u0103rii \u00een acela\u0219i timp, De la Petru citire relev\u0103 jocul nostru de-a \/ cu via\u021ba, \u00eentr-o perpetu\u0103 h\u00e2rjoneal\u0103 cu hazardul, \u00eentr-o proverbial\u0103 tatonare a fatalit\u0103\u021bii, fiind vorba \u00een fond despre \u201ejocul vie\u021bii, unde p\u0103tr\u0103\u021belele vizate \/ visate pot reprezenta via\u021ba unui dezr\u0103d\u0103cinat \u0219i inadaptat\u201d (Vasile Spiridon).<br \/>\nDincolo de trama antrenant\u0103 \u0219i de poietica elegant\u0103, romanul are un \u021besut viu olfactiv, \u00een care aburii, adierile, aromele \u0219i izurile se lanseaz\u0103 \u00een competi\u021bii la fel de diferite ca \u0219i registrele \u00eentregului roman: \u201eMirosul, poate cea mai r\u0103zb\u0103t\u0103toare provocare: ie\u0219i naibii din putreziciune \u0219i adulmec\u0103 c\u00e2mpiile! Ele nu se descompun nici m\u0103car iarna, ele dorm c\u00e2teva nop\u021bi \u00een r\u0103d\u0103cini \u0219i o iau de la cap\u0103t. Ie\u0219i \u0219i adulmec\u0103 prim\u0103vara p\u0103p\u0103diilor coapte, prim\u0103vara melcilor \u00eenseta\u021bi\u201d  (p. 12).<br \/>\nNu este nici pe departe o scriitur\u0103 spontan\u0103, scris\u0103 sub imperiul exclusiv al nervului, stilistica \u0219i semantica textului este supravegheat\u0103 cu acribie \u0219i orientat\u0103 \u00een albia metaforicului \u0219i a alegoriei subtile. Tehnica laborioas\u0103 a contrapunctului solicit\u0103 o maturitate a expresiei, de care prozatorul d\u0103 dovad\u0103 \u00een mod indiscutabil. Jocul planurilor narative paralele, \u00een care d\u0103n\u021buiesc personajele pitore\u0219ti, imaginile suculente, coresponden\u021bele cele mai insolite, ce dezvolt\u0103 \u00een\u021belesuri proprii, converg, finalmente spre a forma un tot unitar.<br \/>\nEste un roman epidermic, care declan\u0219eaz\u0103 fluxul amintirilor naratorului prin intermediul jocurilor olfactive \u0219i ale celor tactile: \u201eLa 16 ani, orice m\u00e2ng\u00e2iere este un amestec \u00eentre epiderma stejarului \u0219i palmele b\u0103t\u0103torite dup\u0103 o lun\u0103 de coas\u0103. Cele mai catifelate chipuri \u00een icoan\u0103\u201d (p. 47). Festinul sinestezic e cel preferat de naratorul care vede olfactiv \u0219i aude tactil.<br \/>\nProzatorul Vasile Iftime nu renun\u021b\u0103 la poetul Vasile Iftime, ba dimpotriv\u0103 \u0219i-l face un bun aliat,  mandat\u00e2ndu-l s\u0103-i duc\u0103 poezia \u00een inima romanului. Ce altceva dac\u0103 nu mici poeme \u00een proz\u0103 sunt fragmentele: \u201eNoaptea, uleiul mirosea a aripi arse, z\u0103pada \u2013 a rochie de mireas\u0103, cenu\u0219a \u2013 a muguri de cruce. Mun\u021bii \u2013 proptele pentru o burt\u0103 de cer plin\u0103 cu stele coapte\u201d (p. 112).<br \/>\nExperiment\u00e2nd poetic \u00een mod inspirat, \u00eentr-o tentativ\u0103 de a reda jocul vie\u021bii, cu inflexiunile \u0219i scr\u00e2ntelile sale, \u00eentr-o manier\u0103 inocent\u0103 \u0219i direct\u0103, scriitorul Vasile Iftime d\u0103 dovad\u0103 de o viziune complex\u0103 asupra lumii \u0219i de un stil metaforico-stihial, ce \u00eei confer\u0103 o cert\u0103 identitate scriitoriceasc\u0103.<\/p>\n<p><strong>Vasile Iftime<\/strong>, <em>De la Petru citire<\/em>, Ia\u0219i, Junimea, 2016<\/p>\n","protected":false},"excerpt":{"rendered":"<p>C\u0102R\u021aI PREZENTATE DE: Petre ISACHI ACEST GHEPARD CU POEME \u00ceN GHEARE &#8211; eseu critic &#8211; \u00cen poezia liric\u0103 \u2013 spunea<\/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\/16509"}],"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=16509"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/16509\/revisions"}],"predecessor-version":[{"id":16510,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/16509\/revisions\/16510"}],"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=16509"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16509"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16509"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}