{"id":23440,"date":"2024-07-07T22:49:17","date_gmt":"2024-07-07T19:49:17","guid":{"rendered":"https:\/\/ziarulderimnic.ro\/?p=23440"},"modified":"2024-07-07T22:49:17","modified_gmt":"2024-07-07T19:49:17","slug":"literadura-nr-32-10","status":"publish","type":"post","link":"https:\/\/ziarulderimnic.ro\/?p=23440","title":{"rendered":"Literadura nr. 32 (10)"},"content":{"rendered":"

Adi G. SECAR\u0102<\/strong>
\n\"\"

\u00centre scoic\u0103, perl\u0103 \u0219i cormoran<\/strong><\/p>\n

Diana Trandafir, Diminea\u021ba viselor de h\u00e2rtie, Ed. Detectiv literar, Bucure\u0219ti, 2022<\/strong><\/p>\n

\u00cen acest volum cu un titlu trimi\u021b\u00e2nd c\u0103tre filme ori subtilit\u0103\u021bi nipone sau coreene, cea mai recent\u0103 carte de poezie a Dianei Trandafir, poate \u0219i spiritul Iuliei Hasdeu (de ani buni, dac\u0103 nu chiar \u201eaproape\u201d de o via\u021b\u0103, Diana T. tr\u0103ie\u0219te poezia la umbrele \u0219i luminile \u201ecastelului\u201d familiei Hasdeu), primul poem, \u201eHipnoz\u0103\u201d (din primul grupaj al c\u0103r\u021bii, \u201eC\u0103l\u0103torie c\u0103tre altceva\u201d, acest \u201ealtceva\u201d fiind cheia de fug\u0103 departe de cli\u0219ee) fiind\u2026 oarecum, ca o urmare, evident, exagerez amical, a unei \u0219edin\u021be de spiritism:
\n\u201e\u2026chem\u0103m pe nume o femeie nesigur\u0103\/ o fiin\u021b\u0103 oarecare\/ ce are\/ vr\u0103bii sub gene \u0219i\/ c\u00e2\u021biva nasturi descheia\u021bi sus\/ la bust\/\/ Deodat\u0103 cu diminea\u021ba zilei de m\u00e2ine\/ ea, \u00eenalt\u0103, se strecoar\u0103 pe poart\u0103\/ O strig\u0103m\/ \u0219i vedem cum se face palid\u0103,\/ tot mai palid\u0103\/\/ O urm\u0103rim a\u0219adar p\u00e2n\u0103 c\u00e2nd\/ podeaua pe care calc\u0103 se despic\u0103\/ \u0219i picioarele i se topesc\/ \u00een p\u0103m\u00e2nt\/\/ Dac\u0103 de\u0219ertul e ve\u0219nic\/ paloarea ei\/ va sem\u0103na din ce \u00een ce mai mult\/ cu o lumin\u0103 slab\u0103,\/ mai slab\u0103\u2026\u201d (pp.11-12)
\n Acel \u201eoarecare\u201d ne zdruncin\u0103 ipoteza, oniricul (chiar \u0219i de h\u00e2rtie.. de origami) fiind mai aproape de adev\u0103r, dar un oniric controlat de ra\u021biunea de a fi a\u2026 Poetului. Joan Didion avea\/ are un eseu intitulat \u201eDe ce scriem\u201d \u00een care r\u0103spunsul era\u2026 c\u0103 scriem \u0219i pentru a afla r\u0103spunsul la aceast\u0103 (posibil\u0103) \u00eentrebare (deoarece semnul \u00eentreb\u0103rii nu apare), de ce vis\u0103m\u2026 literar (de\u2026 h\u00e2rtie) ar putea fi interoga\u021bia Dianei Trandafir, \u00een \u201eaceast\u0103 s\u0103rb\u0103toare oniric\u0103\u201d (sintagma apare \u00een al doilea poem, \u201eUltima toamn\u0103\u201d, p.14) care este volumul, \u00een acel poem invoc\u00e2ndu-se ceremonia palimpsestului: \u201eM\u00e2ine o voi lua de la cap\u0103t\/ \u0219tiind bine\/ c\u0103 nu mai exi\u0219ti\/ Am dreptul la toate \u00eencerc\u0103rile\/ pe care le faci\/ pentru c\u0103 am programat de mult timp\/ aceast\u0103 s\u0103rb\u0103toare oniric\u0103\/ pe care numai eu am voie\/ s\u0103 o rescriu\u201d…
\n \u201eScrierea\u201d s\u0103 fie asemenea unui vis sau a unei reverii (vis\u0103ri)? Hilton Als, prefa\u021batorul c\u0103r\u021bii de eseuri a lui Joan Didion (\u201eUite cum st\u0103 treaba\u201d, Ed. Pandora M, 2023, \u00een traducerea Berthei Savu): \u201eA\u0219a cum \u0219tie orice scriitor, scrisul nu este inseparabil de corpul s\u0103u; scrisul e\u0219ti tu, tu e\u0219ti \u0219i c\u00e2nt\u0103re\u021bul \u0219i c\u00e2ntecul.\u201d (p.27, op.cit.) Sugestia Dianei Trandafir; triada, ca s\u0103 fie complet\u0103, con\u021bine \u0219i Visarea, care poate s\u0103 fie a G\u00e2ndirii. G\u00e2ndesc, visez, c\u00e2nt, deci exist-devin-m\u0103 transform. A\u0219adar, poate (toat\u0103) Poezia-Via\u021b\u0103 (poemul de la p.29 este\u2026 \u201eSor\u0103 via\u021b\u0103\u201d!) este \u201eMetanoia\u201d (titlul celui de-al treilea poem; este Realitatea, dac\u0103 tot scrie prefa\u021batorul Florin Dochia chiar de la \u00eenceput: \u201eRealul se revars\u0103 nest\u0103p\u00e2nit \u00een poezia Dianei Trandafir\u201d!…): \u201etimp pierdut\/ timp r\u0103mas\/ timp cer\u0219it\/ timp\/ ca o jum\u0103tate de moarte\/\/ \u00cenc\u0103pere cu un singur perete\/ de care\/ ciocne\u0219ti paharul cu p\u00e2ine\/\/ Dintre c\u0103r\u0103mizi\/ curge vin\u201d, p.15)
\nSau poate Poezie, perpetu\u0103 provocare, este (un) \u201eDrum(ul) ascuns\u201d (titlu de poem plec\u00e2nd de la\u2026 Hortensia Papadat Bengescu? Citarea de mai jos ne dirijeaz\u0103 spre\u2026 altceva), \u00eentr-o gr\u0103din\u0103 paradisiac\u0103, piranesian\/dantesc\u0103, dac\u0103 nu chiar borgesian\u0103 (a se vedea mai jos), unde Diana T. este un fel de z\u00e2n\u0103 (zei\u021b\u0103 a v\u00e2n\u0103torii de\u2026 v\u00e2n\u0103tori, \u00een \u201eFrica\u201d, p.71, \u201esoarele devine s\u0103geat\u0103\/ pentru v\u00e2n\u0103torul v\u00e2nat\u201d; \u201eo curs\u0103 a v\u00e2n\u0103torii\u201d apare \u00een \u201eMimetism\u201d, p.73 ) protectoare, lucid\u0103: \u201ete \u00eengropi \u00een somn, a fost, poate nu,\/ cine \u0219tie\/ \u00eenchizi iar\u0103\u0219i ochii \u0219i vezi cum\/ lunii \u00eei str\u0103lucesc p\u0103duri pe sub pleoape\/ Te ame\u021be\u0219te mireasma lemnului t\u00e2n\u0103r\/ prins\u0103 \u00een rev\u0103rsarea nebun\u0103 de frunze\/ \u0219i ape\/ S-au \u00eenmul\u021bit copacii iar tu\/ \u00eenc\u0103 mai por\u021bi pantofii \u00eencrusta\u021bi\/ cu solzi de la pe\u0219tii de-aram\u0103\/ o s\u0103 str\u0103ba\u021bi cu ei drumul somnului\/ la fel cum animalele p\u0103durii cad deseori\/ \u00een fantastica, neagr\u0103 capcan\u0103\/\/ Mai demult, departe, c\u00e2ndva\/ r\u0103s\u0103reau din p\u0103m\u00e2nt arbu\u0219ti multicolori\/ ca din vraj\u0103\/\/ De sub pat, ca-n pruncie\/ vin c\u0103tre mine voci amestecate, \u00eempletite\/ \u00een lic\u0103rul de ap\u0103 s\u0103lcie\u201d (p.17)…
\n Bref, poeta Diana T. parc\u0103 ar r\u0103spunde provoc\u0103rii de\u2026 a rescrie altfel Basmul etern\u2026 \u201ea tot ce-ar fi fost\u201d (p.18)… \u00cen ecua\u021bia (borgesian\u0103) nu putea lipsi Memoria: \u201eamintirea\/ a tot ce-ar fi fost\/ \u00eenmiresmat\u0103, ame\u021bitoare, amar\u0103\/ trecuse sub puterea Paznicului Orb\/ cum trec toate \u00eentr-o doar\u0103\u2026\u201d (p.18) \u00cen \u201eH\u0103\u021buri pentru cai f\u0103r\u0103 copite\u201d apare \u201elupta cu amintirile\u201d (\u201ecumva dulce\u201d) \u0219i tot acolo se scrie despre cum \u201enoi eram singurii\/ care inventam cu u\u0219urin\u021b\u0103 pove\u0219ti\u201d. Desigur, este destul de rar s\u0103 \u00eent\u00e2lne\u0219ti o poet\u0103\u2026 borgesian\u0103. Este\u2026 aproape un \u201eMiraj\u201d: \u201ecenu\u0219a a milioane de cuvinte\/ spuse \u0219optit la ore t\u00e2rzii\/ e scris\u0103\/ pe pielea m\u0103t\u0103soas\u0103\/ a tigrilor tineri\/\/ Secunda leag\u0103\/ punct l\u00e2ng\u0103 punct\/\/ Sunt urme\/ ce ar putea fi pip\u0103ite\/ prin perdelele timpului\/ Un fel de praf\/ \u0219erpuind negru pe linia vie\u021bii\/\/ Diminea\u021ba\/ \u00eemi \u0219terg m\u00e2inile \u00eennegrite\/ de obrajii\/ ca apa\u201d (p.62 – Aten\u021bie, poeta nu pune punct la finaluri!) Sau, \u00een \u201eSemin\u021be dulci, semin\u021be amare\u201d: \u201ede\u0219i port \u00een mine o inim\u0103 mare\/ capul mi s-a pietrificat\/ \u00eentr-un turn\/\/ Sunt o \u0219op\u00e2rl\u0103 a timpului\/ care viseaz\u0103 surprinz\u0103tor, colorat\/ locuri \u0219i lucruri ce\/ n-au existat\/\/ Simt propria carne\/ mai aproape de eter ca de spaime,\/ sanctuar al oaselor neadormite\/ visul coboar\u0103 \u00een sine\/ smerit\/\/ sunt multe comete str\u0103lucitoare\/ \u00een camera goal\u0103\/ \u00een care locuiesc de o vreme\/\/ raza de lun\u0103\/ pe care-o \u021bin \u00eentre degete\/ \u00eencepe s\u0103 doar\u0103\u201d (p.82)
\n Complexitatea poliedric\u0103 este asumat\u0103 (tensiunea conflictului ra\u021biune-sentiment este clar\u0103 \u00een poemul de mai sus), \u00een \u201esomnul poliedric\u201d (pp.83-84) onirismul suprarealist revendic\u00e2ndu-\u0219i istoria literar\u0103 (cu m\u0103sur\u0103): \u201eSemafoarele clipeau\/ ca ni\u0219te ochi de pisic\u0103\/ \u0219i \u00eentre timp visam c\u0103 pe planet\u0103\/ nu mai exist\u0103 ur\u0103 nici umbre nici fric\u0103\/\/ visam cartofi galbeni\/ ro\u021bi de floarea soarelui\/ mere \u0219i chiar ro\u0219ii visam\/ iar planeta se tot \u00eenv\u00e2rtea\/ ca \u00eentr-un carusel infernal\/ de la b\u00e2lciul de duminic\u0103\/\/(…)\/\/ \u00cens\u0103 de la un timp\/ miezul sferei muceg\u0103ia\/ se usca\/ \u0219i sporii se ridicau \u00een deriv\u0103\/ c\u0103ut\u00e2nd gravita\u021bia\/\/ Iar atunci \u00eencepeam s\u0103 ne scufund\u0103m\/ mai ad\u00e2nc\/ \u00een somnul cu iz de disperare\/ sub privirile elefan\u021bilor\/ \u0219i ale unor spectatori cu pleoapa ridat\u0103\u201d…
\n Dar aproape mai sigur (apropo de neo-modernism, subliniat de Dochia, care mai scrie despre \u201emal du si\u00e8cle, nepieritoare comoar\u0103 a romantismului, ennui, d\u00e9sillusion et m\u00e9lancolie\u201d, talent, intui\u021bie \u0219i \u0219tiin\u021ba construc\u021biei expresive, emo\u021bie!), alte referin\u021be ar fi mai sigure: un neo-rilkeanism care dicteaz\u0103 istorii f\u0103r\u0103 finaluri fericite (pp.19-20: \u201eFrigul e o pas\u0103re cu cioc ascu\u021bit\/ ce \u00eennebune\u0219te de singur\u0103tate\/ atunci c\u00e2nd se cioplesc cruci de lemn\/ \u00een lumea cuprins\u0103 de veselie\/ \u00een care aburii mor\u021bii se infiltreaz\u0103 ca laptele\/ m\u0103 \u00eentind, \u00eemi cuprind genunchii\/ apoi vreau s\u0103 casc\/\/ (…)\/\/ E o s\u0103rb\u0103toare permanent\u0103\/ \u00een ora\u0219ul cu oameni\/ c\u0103rora le iau locul manechine de aer\/\/ Str\u0103b\u0103t\u00e2nd str\u0103zile, z\u0103resc\/ dup\u0103 ferestrele f\u0103r\u0103 perdele\/ scaune goale ce m\u0103 a\u0219teapt\u0103\/ s\u0103 m\u0103 a\u0219ez\/\/ sub scoar\u021ba trupului viu\/ se foiesc g\u00e2ng\u0103niile harnice\/\/ Tremur\u201d) sau un rilkeanism anti-Rilke: \u201eAm\u0103gire – sufletul t\u0103u e o c\u0103mar\u0103\/ din care ai vrea s\u0103 \u00eenl\u0103turi\/ praful \u0219i urmele de plastic\/ rateurile\/\/ Crezi \u0219i nu crezi\/\/ Cum ar fi s\u0103 te ca\u021beri pe zid\/ dac\u0103 iluzia\/ nu st\u0103 \u00een picioare\/\/ Cu coatele pe genunchi\/ dezosezi trandafiri\u201d (p.67)
\nRecele \u0219i Singur\u0103tatea (dar \u0219i demonul Nimicului) au rolurile lor \u00een aceast\u0103 diminea\u021b\u0103 a Dianei T.: \u201eSingur\u0103tatea m\u0103 apas\u0103 ca o piatr\u0103 de moar\u0103\u2026\u201d (p.21, din \u201e\u00cen \u021bes\u0103tura nimicului\u201d). Se sugereaz\u0103 un fel de specializare \u00een aceast\u0103 \u021bes\u0103tur\u0103 (totu\u0219i moderat nihilist\u0103), unde aluziile culturale sunt la fel de lipsite de optimism. Dar exist\u0103 o Demnitate de la care poetul nu abdic\u0103, orice ar fi. A se vedea \u201eDespre ea\u201d (p.23) sau \u201eAutoportretul\u201d de la p.42: \u201enu sunt o fiin\u021b\u0103 indescifrabil\u0103\/ sunt chinuit\u0103 la fel ca \u0219i voi\/ at\u00e2t de fericirile cele dint\u00e2i\/ c\u00e2t \u0219i de h\u0103rm\u0103laia c\u00e2inilor mor\u021bii\/ sunt un om c\u0103ruia \u00eei dau frunzele\/ \u00eentr-o diminea\u021b\u0103 de februarie\/ dintr-o gar\u0103 pustie\/ pare greu\/ de \u00eentors clepsidra\/ la fiecare b\u0103taie de inim\u0103\/ nesocotim \u00eentunericul\/\/ sunt un trunchi\/ cu \u0219apte ferestre ovale\/ ce se deschid r\u00e2nd pe r\u00e2nd\/ c\u00e2nd inhalez aburii grei ai p\u0103m\u00e2ntului\/ sau c\u00e2nd m\u0103 s\u0103rut\u0103 gura uscat\u0103 a lunii\/\/ sunt\/ o insul\u0103 pe jum\u0103tate scufundat\u0103\u201d…
\n\u201eRecele\u201d apropie \u00eengerii, chiar \u0219i pe cei de \u201ecelofan\u201d, p.25.
\n Gheorghe Grigurcu scria de \u201emisterul posibilului\u201d din poezia Dianei T. Pentru acest Mare Posibil ar fi necesare acele \u201eh\u0103\u021buri pentru cai f\u0103r\u0103 copite\u201d…
\nRevenind la referin\u021be \u0219i izvoare lirice, pe Autostrada Poeziei la care se referea recent Horia G\u00e2rbea (Bucure\u0219ti-Bra\u0219ov, via Valea Regal\u0103 a Prahovei), \u201ePlumbul\u201d (fost bacovian) se reinventeaz\u0103. Emilian Marcu, pe coperta a IV-a, scrie despre \u201erezonan\u021be \u00een poezia bacovian\u0103, sau, \u0219i mai sigur, \u00een poezia pre-bacovian\u0103\u201d, poemul \u201ePlumb\u201d, p.30, invit\u00e2nd \u00een scen\u0103 \u201epas\u0103rea neagr\u0103\u201d a Nimicului: \u201ea \u00eemb\u0103tr\u00e2nit diminea\u021ba\/ zborul norilor\/ \u00eempr\u0103\u0219tie plumb peste noi\/\/ prelungim plictiseala\/ \u00een jocul unui atunci c\u00e2nd nu te gr\u0103be\u0219ti\/ Tu \u00eengenunchezi\/ \u00eenaintea p\u0103s\u0103rii negre\/ \u0219i \u00eenaintea acestei ve\u0219nice dimine\u021bi\/ deschiz\u00e2nd cartea ne vom citi mereu numele\/ – un fel de arm\u0103 letal\u0103 -\/ cu ea \u00eentinzi noroiul la gur\u0103\/ readuni pe ghem firul lung\/ \u00eencol\u0103cit printre ani\/\/ tricotajul cu miros de z\u0103pad\u0103\/ \u00ee\u021bi umfl\u0103 umerii ca pe ni\u0219te aripi de \u00eenger\u201d…
\n\u201eMotivul\u201d este reluat \u00een \u201ePlumbul din palme\u201d (p.87), corect\u00e2nd posibila eroare de interpretare a unei Ariadne\/ AriDiane: \u201ediminea\u021ba a \u00eemb\u0103tr\u00e2nit\/ dintr-o dat\u0103\/ zborul norilor \u00eempr\u0103\u0219tie plumb\/ peste noi\/\/ prelungim plictiseala\/ \u00een jocul unui atunci \u0219i acum\/ sau atunci c\u00e2nd nu te gr\u0103be\u0219ti \u0219i cobe\u0219ti\/ Tu \u00eengenunchezi\/ \u00eenaintea p\u0103s\u0103rii negre a ce a intrat\/ tiptil pe fereastr\u0103\/ Penelop\u0103 modern\u0103.\/ readun pe ghem firul lung\/ \u00eencol\u0103cit printre ani\u201d (p.87)
\n Aluziile culturale sunt, \u00een general, discrete sau subtile, deloc obositoare, comentatorul put\u00e2nd for\u021ba identificarea unei Euridice aproape \u00een r\u0103sp\u0103r (apropo de Orfeu), \u00een \u201eTrepte\u201d (vor apare din nou \u201esomnul\u201d, \u201evisul\u201d): \u201evoi cobor\u00ee treptele p\u00e2n\u0103 ce\/ nimeni nu-mi va mai r\u0103spunde privirilor\/ c\u00e2t e somnul de lung\/ voi visa margini\/ ce vibreaz\u0103 dac\u0103-mi \u00eent\u00e2lnesc spaimele\/ iart\u0103-m\u0103 dac\u0103 nu faci parte din vis\/ uneori\/ a\u0219tept\u0103rile pot deveni \u021bipete oprite \u00een piept\/ ai lipsit\/ pe vremea c\u00e2nd \u00eenfiam animale orfane\/ acum degetele \u00een\u0103bu\u0219\u0103 toat\u0103 lumina\/ iar negrul m\u0103 sperie\u201d (p.50)
\n Surprinz\u0103toare este trecerea c\u0103tre Spa\u021biul maritim (ca s\u0103 nu spunem Cimitir marin\u2026 zbur\u0103tor \u0219i plutitor!), \u00eencep\u00e2nd cu finalul primului grupaj \u0219i al doilea, intitulat chiar \u201eAlge muzicale\u201d (\u00een partea a treia avem un poem \u201eFarul\u201d, ceva decor \u00een \u201eZiua cea mai lung\u0103\u201d \u0219i o presupunere insular\u0103 \u00een \u201ePreviziune\u201d), nucleul marin \u0219i ultramarin fiind \u201eperla\u201d Adev\u0103rului liric al Dianei T (amintind oarecum de tensiunea din volumul \u201e\u00c0 Deauville\u201d de Stela Iorga; \u201ePe c\u00e2nd eram palid\u0103, albastr\u0103, micu\u021b\u0103,\/ \u00eenghesuit\u0103-n g\u0103oace,\/ marea se retr\u0103gea \u00een v\u00e2ltori\/ fr\u0103m\u00e2nt\u00e2ndu-se cu vuiet imens\/ printre stridii, pietre \u0219i alge.\/\/ \u0218i din aproape nimic, dintr-un fir de nisip\/ \u00eemi cosea pe loc\/ un v\u0103l transparent\/ ce reu\u0219ea s\u0103 m\u0103-mbrace\u2026\u201d, p.45): \u201enimic nu are mai pu\u021bin adev\u0103r\/ dec\u00e2t oboseala -\/ face ca o ghiulea de plumb sufletul\/ Lumina ars\u0103 a decojit de tot luna\/ \u0219i marea adormit\u0103 \u00een propriile bra\u021be\u2026\/\/ Acum pesc\u0103ru\u0219ii fostelor stafii\/ fostelor renun\u021b\u0103ri fostei vie\u021bi\/ m\u00e2na\u021bi de foame toac\u0103-n mine carnea dulce\/ de scoic\u0103\/ \u00eemi ating gleznele ca pe lujerele unei plante\/ \u00eenfiat\u0103 de ap\u0103\u201d (p.31)
\n Urcat\u0103 pe o \u201ePunte interogativ\u0103\u201d, \u201eC\u0103pitanul\u201d (de pira\u021bi; spune personajul Borges din romanul-memoir al lui Parini: \u201eScriitorii sunt mereu pira\u021bi, prad\u0103-n st\u00e2nga \u0219i-n dreapta, iau tot ce le place de la ceilal\u021bi, dup\u0103 care modeleaz\u0103 ce-au furat, \u00een func\u021bie de scopurile lor. Scriitorii se hr\u0103nesc din cadavrele celor care au tr\u0103it mai \u00eenainte, din precursorii lor. pe de alt\u0103 parte, \u00eei \u0219i inventeaz\u0103 pe acei precursori. \u00cei recreeaz\u0103 dup\u0103 chipul \u0219i-asem\u0103narea lor, a\u0219a cum a procedat Dumnezeu cu primul om.\u201d, p.123, op.cit., Borges \u0219i eu: o \u00eent\u00e2lnire\u201d, Humanitas Fiction, 2023) Diana T. \u00ee\u0219i ap\u0103r\u0103 demnitatea, puritatea \u0219i poate \u0219i iluziile.
\n Probabil n-ar putea avea vreodat\u0103 ferocitatea Agustinei Bazterrica de a pune degetul pe r\u0103nile\u2026 condi\u021biei umane, de\u0219i le observ\u0103: \u201epelerina galben\u0103\/ ce te ap\u0103r\u0103 de sentimentalismele vagi\/ \u0219i de ploile neprev\u0103zute\/ m\u0103 f\u0103cea \u00eentr-un fel invizibil\u0103 (…) Ghilotina sur\u00e2sului meu, c\u0103zut\u0103 undeva\/ \u00eentre dou\u0103 coline\/ – basorelief din fragmente de scalp -\/ a retezat \u00eendelung culcu\u0219ul \u00een care\/ adormea \u021bip\u0103tul unui pesc\u0103ru\u0219\/ iubitor de \u021binuturi polare\u201d (p.37-38); \u201e\u2026 doar sunt o plant\u0103 ag\u0103\u021b\u0103toare\/ iar trupurile lor lichide exist\u0103 doar pentru\/ a-mi hr\u0103ni r\u0103d\u0103cinile\u201d, p.49; sau, poate mai ales, \u00een \u201eRepeti\u021bie general\u0103\u201d (Istoria ar fi o astfel de repeti\u021bie continu\u0103): \u201ereiei \u00een minte oarecum cronologic\/ evul mediu \u0219i toate r\u0103zboaiele a\u0219a-zis mondiale\/ faci o plec\u0103ciune occidentului\/ o alta rusiei\/ p\u00e2n\u0103 ajungi la bordura \u0219tirb\u0103 din fa\u021ba casei\u2026\u201d \u0219.a.m.d. p\u00e2n\u0103 ce \u201epe plita \u00eencins\u0103\/ se coc g\u00e2ndurile\u201d (p.56).
\n Poemul \u201eFapte\u201d este o hermeneutic\u0103 a genezelor, \u201eaceea\u0219i zi\u201d a unei inedite cosmogonii este tratat\u0103 inedit, invoc\u00e2ndu-se \u201euitarea tuturor numelor\u201d (p.51), la urma urmelor, f\u0103r\u0103 striden\u021be, Iubirea rena\u0219te, se \u00eentrevede, se strecoar\u0103 \u00een universul liric reflect\u00e2nd o anume realitate, care poate ajunge, \u00een jocurile sale secunde, s\u0103 supureze imagini: \u201eG\u00e2ndul de\u0219ira numai noduri\/ printre frunzele nem\u0103turate\/ singura zi posibil\u0103 devenea aur calp\/ Te \u00eemputernicea\/ alb sau negru\/ f\u0103r\u0103 s\u0103 te ademeneasc\u0103 pe c\u0103r\u0103ri \u0219erpuite\/\/ \u0218i pentru c\u0103 la cap\u0103tul drumului\/ nu era niciun pod\/ realitatea\/ a \u00eenceput s\u0103 supureze imagini\u201d – din sau de pe \u201ePunte interogativ\u0103\u201d (p.34)
\n Bref, demonstra\u021bia voit\u0103 sau nu a Dianei Trandafir, este aceea c\u0103 Frumuse\u021bea nu este numai a oamenilor, \u0219i c\u0103 ea ar putea salva Lumile, chiar dac\u0103 toate acestea nu vor mai fi \u0219i ale oamenilor: \u201estau \u00een v\u00e2rful patului\/ \u00eenconjurat\u0103 de pesc\u0103ru\u0219i\/ cu aripi de o transparen\u021b\u0103 ciudat\u0103\/ casa mea se afl\u0103 aproape de mare\/ de aceea ea apune\/ apare\/ dispare\/ dup\u0103 cum salt\u0103 luna\/\/ picioarele sunt blocate\/ nimic nu s-a clintit\/ nimic nu s-a schimbat\/ de c\u00e2nd m-am ag\u0103\u021bat de balonul cu heliu\/ \u00een care oamenii respir\u0103 f\u0103r\u0103 efort\/\/ pe fereastr\u0103 pot vedea\/ c\u00e2mpurile aurii ale valurilor\/ for\u021ba v\u00e2ntului\/ tr\u00e2nte\u0219te cu zgomot larg u\u0219ile\/\/ atunci c\u00e2nd adorm\/ casa mea e o arc\u0103\/\/ \u00een pere\u021bii ei\/ oasele celor vii\/ se topesc\u201d (\u201eCasa\u201d, pp.35-36)
\n \u0218i pentru c\u0103 \u00een titlul cronicii de \u00eent\u00e2mpinare apare \u0219i un cormoran, ne \u00eentoarcem la \u201eFapte\u201d (lirice, nu\u2026 vorbe!), albatrosului baudelairean d\u00e2ndu-i-se o replic\u0103 ornitologic\u0103 antologic\u0103: \u201evei cloci vei na\u0219te vei ecloza\/ lu\u00e2nd toate formele spa\u021biului\/\/ vei sta la u\u0219a nefolositoare a \u00een\u021belesurilor\/ cer\u0219ind compasiune \u0219i \u00eengrijorare\/\/ \u00ce\u021bi vei face planuri f\u0103r\u0103 nicio inten\u021bie\/ Vei da r\u0103spunsuri la \u00eentreb\u0103ri\/ ce nu s-au pus \u00eenc\u0103\/\/ Vei da decora pietricele deja colorate sau,\/ \u00een lips\u0103 de sprijin,\/ te vei ridica pe v\u00e2rfuri s\u0103 vezi umbra lunii\/\/ mai t\u00e2rziu vei plonja ca un cormoran strivit\/ \u00eentre bra\u021bele fluviului\/ \u00eencerc\u00e2nd s\u0103 respiri puterea \u00een\u0103l\u021bimilor\/ \u0219i mireasma ad\u00e2ncurilor\/\/ vei merge vei c\u0103l\u0103tori vei ajunge\/ vei alerga\/ vei visa\/ te vei dezbr\u0103ca de al\u021bii cum al\u021bii de tine,\/ vei fi c\u00e2nd o ghilotin\u0103 c\u0103z\u00e2nd peste glie,\/ c\u00e2nd privighetoarea din t\u0103riile cerului\u201d (p.47)
\n \u00cen replic\u0103, parc\u0103 a\u0219 mai cita \u0219i \u201eGalben infinit\u201d, \u00een care se dezvolt\u0103 un inedit dialog \u00eentre\u2026 van Gogh \u0219i Vermeer!<\/p>\n","protected":false},"excerpt":{"rendered":"

Adi G. SECAR\u0102 \u00centre scoic\u0103, perl\u0103 \u0219i cormoran Diana Trandafir, Diminea\u021ba viselor de h\u00e2rtie, Ed. Detectiv literar, Bucure\u0219ti, 2022 \u00cen<\/p>\n","protected":false},"author":17,"featured_media":23365,"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\/23440"}],"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=23440"}],"version-history":[{"count":1,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/23440\/revisions"}],"predecessor-version":[{"id":23441,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/posts\/23440\/revisions\/23441"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=\/wp\/v2\/media\/23365"}],"wp:attachment":[{"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23440"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=23440"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ziarulderimnic.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=23440"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}