{"id":10294,"date":"2024-04-24T13:01:00","date_gmt":"2024-04-24T10:01:00","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=10294"},"modified":"2024-04-24T11:02:25","modified_gmt":"2024-04-24T08:02:25","slug":"des-in-tra-macula-joubertiana","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=10294","title":{"rendered":"Des-in-tra-macula joubertian\u0103"},"content":{"rendered":"
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Tiberiu Neac\u0219u, Sindromul Joubert<\/em>, Cartier, Chi\u0219in\u0103u, 2023<\/figcaption><\/figure>\n<\/div>\n\n\n

Cu Acrobat \u00een zece pa\u0219i<\/em>, Tiberiu Neac\u0219u a forfecat ni\u0219e nea\u0219teptate pentru genera\u021bia MM mai ales din punct de vedere stilistic. A torsionat limbajul urm\u00e2nd formula optzecist\u0103, dar a ad\u0103ugat con\u021binut brutal. O ie\u0219ire din ramura nou\u0103zeciului dominat fervent de st\u0103ri la fel de brutale ale simplului ad\u0103ugat poetic de un Cristian Popescu, dar mai \u00eenrudit cu Robert \u0218erban concitadinul prin tu\u0219a rapid\u0103 \u0219i ascu\u021bit\u0103, poliz\u00e2nd situa\u021bii poetice similare lui Daniel-Silvian Petre, prefer\u00e2nd imediatul, scurtimea \u0219i scurtcircuitul poetic ca p\u00e2rghii de livrare spre public. Desigur neavizat, nimeni nu a dat un curs poeziei lui Neac\u0219u pentru c\u0103 flow-<\/em>ul 2000 curgea mai aluvionar \u0219i mai puternic dec\u00e2t ceea ce fusese optzeciul bine dirijat de contraatacul la ideologie.<\/p>\n\n\n\n

\u00cen Sindromul Joubert<\/em>, a\u0219a-zis lunaticul din parabolele evanghelice, care nu se \u021bine pe picioare \u0219i cade \u00een foc \u0219i \u00een p\u00e2raie, care sufer\u0103 de toate complexele psiho moderne, Tiberiu Neac\u0219u creeaz\u0103 reflexia \u00een oglind\u0103 a unei st\u0103ri valabile unui stasis<\/em> al omului din post-umanitatea proxim\u0103. Asaltat de crescendoul de situa\u021bii sociale de platforme de comunicare, de inteligen\u021b\u0103 artificial\u0103, la care se adaug\u0103 un opus al func\u021bion\u0103rimii cu legi\/platforme\/articole\/zeci de formulare, omul lui Neac\u0219u este dep\u0103\u0219it de umanitate, este dep\u0103\u0219it \u0219i de formula robotic\u0103, trece visceral dincolo de sistemul fiarei risc\u00e2nd, prin \u00eens\u0103\u0219i lunatismul s\u0103u, s\u0103 r\u0103m\u00e2n\u0103 un uman bucuros de fiecare dintre experien\u021bele prin care, narativ, \u00eel putem urma \u00een fiece text poetic din Sindromul Joubert<\/em>. Acesta aparent \u0219i paradoxal fiind un soi de sc\u0103pare din contextul lucrurilor \u00een care toat\u0103 lumea ia \u00een serios posibilele scenarii apocaliptice de ultim\u0103 or\u0103.<\/p>\n\n\n\n

            Cu Sindromul Joubert<\/em>, Tiberiu Neac\u0219u sare c\u00e2teva niveluri mai sus, p\u0103str\u00e2ndu-\u0219i \u00een acela\u0219i timp \u0219i firul narativ al structurii poemelor, \u0219i \u00eenchiderea discursului narativ \u00een poetic: \u201eCalc\u0103 peste omul care cere p\u00e2ine,\/ (\u2026)\/ E at\u00e2ta lini\u0219te \u00eenc\u00e2t po\u021bi adormi oric\u00e2nd\/ Urc\u0103-te pe umerii mei, uite:\/ am \u0219i eu o ciuperc\u0103\/ am \u0219i eu o bomb\u0103 atomic\u0103\u201d (trei camere<\/em>) sau apoftegme-un vers (one-liner): \u201eSingur\u0103tatea e urm\u0103toarea bomb\u0103 atomic\u0103\u201d (idem<\/em>). La fel, exist\u0103 pasaje \u00een care discursul poetic, \u00een mai multe variante chiar, se intersecteaz\u0103 cu acela al lui Cristian Popescu: \u201ecu tine ar vorbi la mas\u0103\/ ar vorbi despre el \u0219i soarele ar curge ca o miere \u00eencins\u0103\/ ia un om \u0219i spune-i c\u0103 urmeaz\u0103 \u0219i el dup\u0103 Virginia\/ \u0219i Adrian Nicu\u0219or, c\u0103 nici pe el n-o s\u0103-l ierte\/ nimeni cum niciodat\u0103 nu se iart\u0103 aici (…)\/ ia un om \u0219i arat\u0103-i dezastrul ca pe o juc\u0103rie\/\/ apoi str\u00e2nsul \u00een bra\u021be\u201d (ia un om<\/em>). Inclusiv c\u0103 poetul mai recurge la o tehnic\u0103, \u0219i anume aceea a insuportabilului poetic care presupune stare dup\u0103 stare exprimat\u0103 poetic, vers dup\u0103 vers nel\u0103s\u00e2nd loc de respiro lectorului, dar p\u00e2n\u0103 la urm\u0103, hei, se caut\u0103 ie\u0219iri care \u00eenlocuiesc realitatea aproape complet. Toat\u0103 lumea fuge dup\u0103 asta de la Neuralink p\u00e2n\u0103 la Meta: \u201e\u00ce\u021bi scriu din ma\u021bele unei balene albastre. Mici\/ c\u00e2mpii verzi apuc\u0103 lumina \u0219i-ntorc oceanul\/ pe dos. Cai ne\u00eembl\u00e2nzi\u021bi alearg\u0103 prin iarb\u0103\/\/ \u0219i arunc\u0103 din copite praf de p\u0103p\u0103dii peste c\u00e2mp.\/ Mai \u00eencolo, pe c\u0103rare, copiii bat mingea, p\u0103rin\u021bii\/ fac paharele s\u0103 ciocneasc\u0103 disperat\/\/ (…)\/\/ Libelule, transparente\/ \u0219i lucide, viseaz\u0103 c\u0103 sunt altceva care se viseaz\u0103\/ libelule. Un crin r\u0103sare de sub p\u0103m\u00e2ntul negru\/\/ incandescent. Aici \u0219i acolo, pe iarba proasp\u0103t\u0103\/ c\u0103pu\u0219e \u0219i buburuze apuc\u0103 \u021b\u0103r\u00e2na \u0219i fac \u021b\u0103nd\u0103ri\/ soarele. Melcii se ascund cu \u00eentunericul\/\/ de sub pleoape. R\u00e2mele adun\u0103 cercuri de corpuri\/ cafenii, \u0219op\u00e2rle \u00eenghea\u021b\u0103, se-nc\u0103lzesc \u0219i-\u0219i\/ pierd cozile \u0219i echilibrul pentru un timp\u201d (Darul<\/em>). O epifanie ar fi recursul la lumea mic\u0103, insectele cu trimitere spre universul animat al copil\u0103riei, dar nu mai pu\u021bin co\u0219maresc al realit\u0103\u021bii naturale; o alta ar fi trecerea spre regnul diafan libelule, fluturi \u0219i Lao-Tze ca \u00eenso\u021bire ideatic\u0103, o alta ar fi aluzia la universul \u00een univers \u0219i Iona auto-reflectat prin \u00eensu\u0219i actul scrisului, neuit\u00e2nd s\u0103 fie la fel de necru\u021b\u0103tor poetic \u0219i \u00een conchiderea poemului: \u201e\u00ce\u021bi aduc acest plancton s\u0103-l p\u0103strezi \u00een palme \u2013 \/ un glob \u0219i at\u00e2\u021bia ani irosi\u021bi\u201d (idem<\/em>). \u00cencruci\u0219area regnurilor cu lumina \u0219i elementele, dintr-o r\u0103suflare, pare s\u0103 fie firul ro\u0219u care leag\u0103 discursul poetic. Omul apare mereu cufundat, pe r\u00e2nd, \u00een contempl\u0103rile de acest tip, intervine cu observa\u021bia \u0219i re-creeaz\u0103 lumea unei ordini perceptive nea\u0219teptate.<\/p>\n\n\n\n

Scrisoare de pe Jabel Hafiz<\/em> \u2013 o pies\u0103 de for\u021b\u0103 cu trimiteri livre\u0219ti, din care am s\u0103 speculez nu sursa real\u0103, c\u00e2t pe Hunter S. Thompson \u0219i scena cadillacului roz, \u0219i nu pe Mo cu Mustangul ro\u0219u, culori tari, parfumuri, adieri \u00een colectivul poetic de Alhambr\u0103, de c\u0103lduri generatoare de fata morgana, poate un pic exagerat, dar \u00een siajul concluziei pe care Cristina Ispas o trage \u00een Observator Cultural<\/em>, \u0219i anume c\u0103 \u201eTiberiu Neac\u0219u blureaz\u0103 grani\u021ba dintre vis \u0219i realitate\u201d, la care a\u0219 ad\u0103uga halucina\u021bie, simptom, stare de \u2013 p\u00e2n\u0103 la urm\u0103 \u2013 dez\u00eentremare, a\u0219a cum ea \u00eenseamn\u0103 etimologic provenient\u0103 din latinescul in-tra-macula (plas\u0103 cu ochiuri \u00eennodate de trei ori) tocmai pentru a nu sc\u0103pa nici pe\u0219tii cei mai mici, adic\u0103 in the tripple drag net<\/em>,care \u00een limba englez\u0103 a dat verbul to trammel<\/em>,care \u00eenseamn\u0103 \u201ea se \u00eempiedica\u201d, iar \u00een limba rom\u00e2n\u0103 a dat verbul \u201ea se \u00eentrema\u201d, cu antonimul s\u0103u \u201edez\u00eentremare\u201d. Iat\u0103 o direc\u021bie pe care o putem \u00eengloba, spre o re\u00eentregire semantic\u0103, poeticii Sindromului lui Joubert, tel quel<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 literar\u0103 de Mihai Vieru<\/p>\n","protected":false},"author":309,"featured_media":10296,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[106,1560,2077],"coauthors":[2015],"class_list":["post-10294","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-cronica-literara","tag-mihai-vieru","tag-nr-1-2024"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2024\/04\/coperta.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10294","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\/309"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10294"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10294\/revisions"}],"predecessor-version":[{"id":10297,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/10294\/revisions\/10297"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/10296"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10294"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10294"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10294"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=10294"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}