{"id":10254,"date":"2024-04-19T17:41:02","date_gmt":"2024-04-19T14:41:02","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=10254"},"modified":"2024-04-19T17:41:17","modified_gmt":"2024-04-19T14:41:17","slug":"crime-la-virsta-a-treia","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=10254","title":{"rendered":"Crime la v\u00eersta a treia"},"content":{"rendered":"
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Margaret Atwood, Salteaua de piatr\u0103<\/em>, Corint Fiction, Bucure\u0219ti, 2023, traducere de Mihai-Dan Pavelescu<\/figcaption><\/figure>\n<\/div>\n\n\n

Scriitoarea canadian\u0103 Margaret Atwood (n. 1939), a c\u0103rei proz\u0103 multipremiat\u0103 a fost adaptat\u0103 pentru oper\u0103 \u0219i radio, \u00een filme, seriale de televiziune \u0219i romane grafice, este cunoscut\u0103, cel pu\u021bin la noi, pentru romanele sale \u0219i mai pu\u021bin pentru proza scurt\u0103 (11 volume de povestiri) sau aproape deloc pentru poezia sa (peste o duzin\u0103 de c\u0103r\u021bi, f\u0103r\u0103 a socoti antologiile). Dup\u0103 volumul din 1977, Dansatoarele <\/em>(2002), Editura Corint a tradus anul trecut o a doua carte de povestiri din opera sa, Salteaua de piatr\u0103<\/em>, penultimul volum de proz\u0103 scurt\u0103 din cariera scriitoarei octogenare, fiind publicat \u00een 2014.<\/p>\n\n\n\n

Despre cele nou\u0103 povestiri ale c\u0103r\u021bii, Margaret Atwood vorbea undeva ca fiind inspirate de etosul fabulelor fantastice \u0219i al basmelor cu creaturi magice, aspect explicat, par\u021bial \u0219i \u00een\u0219el\u0103tor, mai \u00eent\u00eei prin c\u00eeteva personaje (unei femei malforme genetic i se \u00eensceneaz\u0103 moartea \u0219i, o vreme, aceasta tr\u0103ie\u0219te ascuns\u0103, doar pentru a fi descoperit\u0103 ulterior \u0219i, asociat\u0103 vampirilor, ucis\u0103 ritualic) sau re\u00eencarn\u0103rilor \u00een animale (o femeie se re\u00eentoarce, sau este perceput\u0103 ca atare, sub forma unui c\u00eeine pentru a-\u0219i pedepsi fostul iubit care o p\u0103r\u0103sise), apoi \u0219i prin construc\u021bia epic\u0103 ce converge spre diverse forme de r\u0103zbun\u0103ri \u00een cheie moral\u0103 (cvasifeminist\u0103).<\/p>\n\n\n\n

Dar constantele acestor crime stories<\/em>, care, de\u0219i par, nu au, de fapt, elemente fantastice, s\u00eent infidelitatea \u0219i b\u0103tr\u00eene\u021bea. Vechile traume din iubire asociate v\u00eerstei \u00eenaintate, marcate de diverse halucina\u021bii \u0219i forme de demen\u021b\u0103, creeaz\u0103 premisele unor percep\u021bii supranaturale. Majoritatea scenariilor par ni\u0219te tales from the edge of the crypt<\/em> \u00een care obsesia vindicativ\u0103 \u0219i violen\u021ba asociat\u0103 las\u0103 impresia unor confrunt\u0103ri \u00een cadre non-realiste. De fapt, violen\u021ba este efectul unor st\u0103ri mentale liminale \u0219i nu e nimic supra-realist \u00een aceste geronto-fabule feministe \u00een care femei aflate spre sf\u00eer\u0219itul vie\u021bii se r\u0103zbun\u0103 pe b\u0103rba\u021bii care le-au \u00een\u0219elat sau chiar abuzat \u00een tinere\u021be.<\/p>\n\n\n\n

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Constantele acestor crime stories<\/em> (\u2026) s\u00eent infidelitatea \u0219i b\u0103tr\u00eene\u021bea. Vechile traume din iubire asociate v\u00eerstei \u00eenaintate, marcate de diverse halucina\u021bii \u0219i forme de demen\u021b\u0103, creeaz\u0103 premisele unor percep\u021bii supranaturale.<\/p>\n<\/blockquote>\n\n\n\n

\u00cen tripticul format de primele proze ale c\u0103r\u021bii, \u201eAlphinland\u201d, \u201eRevenit din mor\u021bi\u201d \u0219i \u201eDoamna brun\u0103\u201d, \u00eent\u00eelnim un patrulater amoros. Constance, venerabila creatoare a unui \u021binut fantasy (numitul Alphinland), acum v\u0103duv\u0103, dar \u00een contact cu vocea proasp\u0103tului r\u0103posat so\u021b, se teme ca nu cumva acesta s\u0103 dispar\u0103 \u00een \u021binutul fantastic, creat de ea \u00eens\u0103\u0219i, unde c\u00eendva \u00eel \u201eexilase\u201d pe infidelul ei fost iubit, Gavin. Acesta este, la r\u00eendu-i, un poet b\u0103tr\u00een \u00eengrijit pe patul mor\u021bii de Reynolds, so\u021bia lui mult mai t\u00een\u0103r\u0103, de opera lui Gavin fiind interesat\u0103 o student\u0103, care are intui\u021bia leg\u0103turii ascunse dintre literaturile fo\u0219tilor iubi\u021bi (cui \u00eei \u00eenchinase Gavin versurile de dragoste din tinere\u021be \u0219i cine i-a inspirat lui Constance cutare personaj fabulos din \u021binutul fantastic?). \u00cen fine, Marjorie, femeia cu care Gavin o tr\u0103dase c\u00eendva pe Constance, este acum o b\u0103tr\u00eenic\u0103 avid\u0103 de necroloage, \u00eenmorm\u00eentarea lui Gavin fiind prilejul \u00eent\u00eelnirii nea\u0219teptate, dup\u0103 ani \u0219i ani, \u00eentre cele dou\u0103 femei care descoper\u0103 c\u0103, \u00een fapt, am\u00eendou\u0103 fuseser\u0103 am\u0103gite de Gavin, martora \u201erevela\u021biei\u201d fiind studenta.<\/p>\n\n\n\n

Literatura este \u0219i subiectul povestirii \u201eM\u00eena moart\u0103 te iube\u0219te\u201d, \u00een care un t\u00een\u0103r scriitor aspirant \u00ee\u0219i \u201e\u00eengroap\u0103\u201d iubita infidel\u0103 \u00eentr-un roman gotic de al c\u0103rui succes beneficiaz\u0103, printr-un mare noroc datorat unui contract redactat \u00een joac\u0103, chiar femeia, la mijloc fiind un complot juridic bazat pe o ne\u00een\u021belegere amoroas\u0103. \u00cen \u201eMirele liofilizat\u201d, un anticar de mobilier descoper\u0103, \u00eentr-un depozit achizi\u021bionat \u00een urma unei licita\u021bii \u00een orb, cadavrul unui mire, pentru care se vede constr\u00eens s\u0103 negocieze cu fosta mireas\u0103, posibila (\u0219i poten\u021bial\u0103) criminal\u0103. \u00cen \u201eSalteaua de piatr\u0103\u201d, o b\u0103tr\u00een\u0103, v\u0103duv\u0103 pentru a patra oar\u0103 \u0219i plecat\u0103 \u00een vacan\u021b\u0103 pe un vas de croazier\u0103, \u00eel recunoa\u0219te, f\u0103r\u0103 ca ea s\u0103 fie recunoscut\u0103, pe violatorul care c\u00eendva \u00eei furase deopotriv\u0103 virginitatea \u0219i tinere\u021bea, astfel c\u0103 decide s\u0103-l seduc\u0103 \u0219i s\u0103 se r\u0103zbune, preg\u0103tind minu\u021bios crima perfect\u0103.<\/p>\n\n\n\n

\u00cen fine, \u00een \u201eGhemotoace arse\u201d, o proz\u0103 cu aer de fabul\u0103 distopic\u0103 gerontofob\u0103, e vorba tot de r\u0103zbunare: o mi\u0219care extremist\u0103 a tinerilor pune la cale incendierea azilelor de b\u0103tr\u00eeni, ace\u0219tia fiind considera\u021bi principalii vinova\u021bi de degradarea climatic\u0103 \u0219i compromiterea posibilit\u0103\u021bii unei vie\u021bi echilibrate pentru genera\u021biile tinere. Un cuplu de b\u0103tr\u00eeni \u00eencearc\u0103 s\u0103 se salveze din azilul asediat, dar, cum spuneam \u0219i la \u00eenceput, nu e limpede dac\u0103 lucrurile se \u00eent\u00eempl\u0103 \u00eentocmai sau totul este doar efectul halucina\u021biilor b\u0103tr\u00eenei care, suferind de sindromul Charles Bonnet, vede ni\u0219te Pitico\u021bi (cum inspirat nume\u0219te persoanele imaginare traduc\u0103torul Mihai-Dan Pavelescu, care face o treab\u0103 minunat\u0103 de-a lungul \u00eentregii c\u0103r\u021bi, \u00eentre\u021bin\u00eend neao\u0219 efectele umoristice prin limbaj ale prozelor, altfel, \u00een\u021besate de referin\u021be \u0219i parafraze literare \u2013 din Shakespeare, Keats, Tennyson \u0219.a.).<\/p>\n\n\n\n

Asocierea dintre sexualitate, senectute \u0219i crim\u0103, totul pe fondul instinctelor primare \u0219i demen\u021bei, ofer\u0103 acestor povestiri deopotriv\u0103 perversitate, suspans \u0219i umor, cruzime, grotesc \u0219i poetic justice, adic\u0103 un farmec de gen erudit. Proiectul ecraniz\u0103rii a dou\u0103 povestiri din acest volum, \u00een regia lui Lynne Ramsay (We need to talk about Kevin<\/em>), este \u00een desf\u0103\u0219urare.<\/p>\n","protected":false},"excerpt":{"rendered":"

Flashbook de Marius Chivu<\/p>\n","protected":false},"author":9,"featured_media":10255,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[59,52],"tags":[88,2080,87,2077],"coauthors":[1242],"class_list":["post-10254","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flashbook","category-rubrici","tag-flashbook","tag-margaret-atwood","tag-marius-chivu","tag-nr-1-2024"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2024\/04\/33018790-1.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10254","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10254"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10254\/revisions"}],"predecessor-version":[{"id":10256,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10254\/revisions\/10256"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/10255"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10254"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10254"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10254"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=10254"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}