{"id":11055,"date":"2024-07-25T15:51:29","date_gmt":"2024-07-25T12:51:29","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=11055"},"modified":"2024-07-25T19:17:08","modified_gmt":"2024-07-25T16:17:08","slug":"lirismul-vintage","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=11055","title":{"rendered":"Lirismul vintage<\/i>"},"content":{"rendered":"
\n
\"\"<\/figure>\n<\/div>\n\n\n

Nu toate tr\u00eembi\u021bele de pe facebook <\/em>anun\u021b\u0103 mari fapte de art\u0103, dar Vasile Dan avea dreptate s-o vesteasc\u0103 pe Violeta Pintea \u0219i debutul ei cu S\u0103 bat\u0103 tobele! <\/em>(Editura Neuma, Apahida, 2023) ca pe un eveniment. Era chiar nevoie de un tobo\u0219ar, c\u0103ci Violeta nu pare afiliat\u0103 niciunde \u0219i-n nici un caz nu \u0219i-a g\u0103sit locul printre ultimele valuri. Nu face biografism \u0219i nici nu tr\u0103ie\u0219te din biografisme imediate \u0219i scrise pe nemestecate. Ipoteza ei biografist\u0103 e doar o schi\u021b\u0103 de condi\u021bie traumatizat\u0103 folosit\u0103 ca fond de unde izbucnesc epifaniile angoaselor. Nu profeseaz\u0103 nici minimalismul nota\u021biilor, c\u0103ci presiunea dominant\u0103 vine dinspre imaginativul excitat de cinism \u0219i de entropie, \u00eentr-un fel de trans\u0103 asociativ\u0103 destructiv\u0103 \u0219i misogin\u0103, incitat\u0103 de ar\u021bag, de o iritare electric\u0103. Nu face nici boscoane de cotidian \u0219i nici nu compune din secven\u021be fragmentariste. Dac\u0103 e de c\u0103utat un loc potrivit pentru ea, acesta e mai degrab\u0103 printre tinerele optzeciste care se tr\u0103geau din Angela Marinescu \u0219i continuau vitriolarea tandre\u021bii. Cu ele seam\u0103n\u0103 Violeta at\u00eet \u00een detracarea eroticelor c\u00eet \u0219i-n violen\u021ba enun\u021burilor. De la Angela, direct sau indirect, par a se trage virulen\u021ba denun\u021burilor de idilice \u0219i ideale, precum \u0219i agresivitatea nota\u021biilor, toate av\u00eend un aer aproape amenin\u021b\u0103tor. Nu mai pu\u021bin desf\u0103\u0219urarea \u00een \u0219uvoi a anxiet\u0103\u021bilor, f\u0103r\u0103 delimit\u0103ri dec\u00eet accidentale, ca \u0219i cum ar fi vorba de un singur poem \u00eentins pe mai 200 de pagini (de\u0219i cutuma debuturilor ar fi pretins cel mult jum\u0103tate), \u00eentr-o avalan\u0219\u0103 de neoprit. Premeditat ori ba, aerul vintage<\/em> al poemelor reg\u0103se\u0219te trepida\u021bia angoasant\u0103 de pe vremuri \u0219i poetica repulsivit\u0103\u021bii, a denun\u021bului existen\u021bial. Ar\u021b\u0103goas\u0103, iritat\u0103, dar mai ales r\u0103nit\u0103, Violeta se r\u0103zbun\u0103 cultiv\u00eend imagina\u021bia sadic\u0103 \u0219i pict\u00eend lumea \u00een supliciale grote\u0219ti, f\u0103r\u0103 empatie \u0219i f\u0103r\u0103 \u00eendurare. Poemele ei s\u00eent scrise cu \u0219mirghel, \u00eentr-o sintax\u0103 iritat\u0103 \u0219i \u00eentr-un vocabular programatic agresiv. Nu se las\u0103 niciodat\u0103 \u00eenduio\u0219ate elegiac \u0219i nu fac liric\u0103 de victimaj. Dimpotriv\u0103, Violeta a\u021b\u00ee\u021b\u0103 c\u00eet poate registrul anti-compasional, declam\u00eend r\u0103ut\u0103\u021bi cu o fervoare aproape de voluptate, ca \u0219i cum extaza ar fi la cap\u0103tul ororii \u0219i din aceea\u0219i substan\u021b\u0103 cu ea. E o r\u0103p\u0103ial\u0103 continu\u0103 de angoase, declamat\u0103 \u00een enun\u021buri brutale, ostentativ cinice.<\/p>\n\n\n\n

Oric\u00eet de dedicat\u0103 ar fi \u00eens\u0103 Violeta poeticii imprecative, parada aceasta de denun\u021buri se dovede\u0219te, din loc \u00een loc, fie c\u00eet de discret, o traum\u0103 a fragilit\u0103\u021bii \u0219i a candorii. Urmele doliului lor se v\u0103d chiar \u0219i la cap\u0103tul unui peisaj psihic desfigurat de agresivitate: \u201ecartea cu pove\u0219ti\/ un pumn de fulgi arunca\u021bi \u00een fereastr\u0103\/ privindu-m\u0103\/ privindu-i…\u201d. \u201eCordonul ombilical\u201d al acestei verve sadice e tot cel legat de inocen\u021ba strivit\u0103: \u201edeconectezi via\u021ba pentru un timp\/ \u00een care nimeni nu trebuie s\u0103 \u0219tie\/ c\u00eet de tare \u00ee\u021bi tremur\u0103 m\u00eeinile\/ c\u00eend te rupi de cordoanele ombilicale\/ ale p\u0103pu\u0219ilor\/ pe care le-ai purtat pe str\u0103zile mercenarilor\/ de iluzii.\/ sabotaj.\u201d Se poate chiar \u00eent\u00eempla ca frustrarea de compasiune, de tandre\u021be s\u0103 vorbeasc\u0103 direct: \u201ene fluierau\/ \u0219i nimeni,\/ nimeni nu ne \u021binea de m\u00een\u0103\u201d. Asta e suferin\u021ba sugrumat\u0103 de Violeta \u0219i \u00eentoars\u0103 \u00eentr-un lirism de r\u0103fuial\u0103 cu lumea. Dar cu c\u00eet ea se str\u0103vede mai rar, cu at\u00eet e mai intens\u0103. Violeta nu face tapaj cu aceast\u0103 traum\u0103, dar ea e decisiv\u0103 pentru tot lirismul ei de agresivitate \u00eentoars\u0103 asupra agresorului care e via\u021ba.<\/p>\n\n\n\n

Repugnan\u021ba fa\u021b\u0103 de idilice \u0219i sentimentale devine principiul poetic cel mai activ \u0219i mai productiv, lansat \u00eentr-o suit\u0103 de reverii entropice ale resentimentului. Peisajele grote\u0219ti, detracate, au o frecven\u021b\u0103 \u0219i o intensitate care tr\u0103deaz\u0103 nu doar voluptatea contur\u0103rii lor, ci \u0219i pasiunea pentru disforii accelerate \u0219i pentru desfigur\u0103ri \u0219i descalific\u0103ri abrupte. Pe r\u00eend cad victim\u0103 acestei patimi profanatoare fericirea (\u201efericirea-i o c\u00eerp\u0103 ieftin\u0103\/ u\u0219or de dus la buze\/ s\u0103-\u021bi \u0219tearg\u0103 aminul unui s\u0103rut\/ din necredin\u021ba c\u0103rnii\u201d), sentimentele ca atare (\u201efemeile \u00ee\u0219i pun sentimentele\/ \u00een borcane sterile, zah\u0103r, toamn\u0103,\/ o linguri\u021b\u0103 de foc, mult rom, mult rom,\/ dragostea se serve\u0219te cu ghea\u021b\u0103!\u201d), iubirea (\u201eboala aceea numit\u0103 iubire pe care o despachetau\/ ca pe-o gustare din \u0219erve\u021belul cu antet\/ de bodeg\u0103 rural\u0103\u201d), emo\u021biile \u0219i tot ce \u021bine de repertoriul pozitiv al afectelor. Orice adiere de afectivitate st\u00eerne\u0219te subit o ricanare sarcastic\u0103, ca \u0219i cum ar provoca o alergie imediat\u0103. \u0218i \u00eenc\u0103 o alergie at\u00eet de radical\u0103 \u00eenc\u00eet Violeta trece de la imaginarul sadic la cel masochist, duc\u00eend trauma \u00een expresionism crudel \u0219i denun\u021bul \u00een autodenun\u021b: \u201epe mine m-am avortat\/ \u00eentr-o m\u0103cel\u0103rie cu draperii de m\u0103tase\u201d; sau duc\u00eend suplicialele \u00een jertfa ca garant nu al autenticit\u0103\u021bii, ci, tocmai dimpotriv\u0103, al falsit\u0103\u021bii: \u201evoi bea din s\u00eengele meu\/ \u0219i m\u0103 voi preface fericit\u0103\u201d. Oroarea de falsul afectiv \u0219i de cultura simulacrelor relev\u0103 \u0219i ea o nostalgie dureroas\u0103 dup\u0103 autenticitatea existen\u021bial\u0103. Imaginile acestor delabr\u0103ri existen\u021biale s\u00eent violent concretizate, p\u00een\u0103 aproape de naturalism, \u0219i mereu stimulate de predispozi\u021bia materializant\u0103 a imagina\u021biei. Violeta pune metodic abstrac\u021biile \u00een ipostaze materiale, de regul\u0103 compromi\u021b\u0103toare, declas\u00eendu-le sistematic, \u00eentr-un program al denigr\u0103rii. \u201eNoaptea\u201d devine \u201eo femeie\/ \u00eentr-o sp\u0103l\u0103torie unde lipe\u0219te linoleum peste\/ pl\u0103cile din marmur\u0103 de Carrara\u201d, \u201enebunia\u201d \u201ese prelinge dincolo de buza paharului\u201d etc. etc. Din p\u0103cate, devenit\u0103 rutin\u0103, aceast\u0103 materializare \u2013 sau antropomofizare \u2013 duce adesea la e\u0219ecuri eclatante, de genul \u201edou\u0103zeci\u0219itrei de pahare cu ap\u0103\/ cu limbile scoase\u201d, \u201et\u0103cerea care a cobor\u00eet din pat\/ \u0219i s-a aruncat pe fereastr\u0103\u201d etc. O virtute, aceasta a concretiz\u0103rilor violente, \u00een care Violeta are prea mare \u00eencredere. \u0218i care, ca \u0219i alte tentative de iluzionare, o tr\u0103deaz\u0103.<\/p>\n\n\n\n

Altminteri Violeta e o artist\u0103 a nucleelor \u00een care angoasa se densific\u0103 paroxistic \u0219i \u00eempr\u0103\u0219tie peste tot astfel de grenade: \u201ec\u00eend am t\u0103cut\/ era o lini\u0219te rece ca \u00eentr-o c\u0103ma\u0219\u0103 de for\u021b\u0103\/ scoas\u0103 din uz\u201d. S\u00eent concentra\u021bii de st\u0103ri pe care poeta le supune apoi unui tratament epic prin extensia lor \u00eentr-un scenariu de nota\u021bii centrifugale, mi\u0219cate parc\u0103 de o mori\u0219c\u0103. Nucleele expresioniste s\u00eent astfel \u00eempinse \u00eentr-o simulare suprarealist\u0103, pentru a le putea prinde \u00eentr-un epos contorsionat, de parc\u0103 fulguran\u021bele ar avea nevoie de fabul\u0103. Ce-i drept, adesea au, c\u0103ci repertoriul principal al Violetei const\u0103 \u00een cultura panicii existen\u021biale \u0219i a fragilit\u0103\u021bii mereu agresate: \u201etresar, tresar \u0219i v\u0103-ntreb\/ de ce pentru via\u021ba asta\/ \u00ee\u021bi trebuie\/ permis de port-arm\u0103?\u201d. Pentru c\u0103 Violeta tr\u0103ie\u0219te \u00eentr-o lume agresiv\u0103, unde \u201etipografiile cer carne\u201d \u0219i unde poemele de dragoste se scriu \u201ecu borma\u0219ina la t\u00eempl\u0103\u201d. \u0218i pentru c\u0103-n \u201erealitatea\u201d ei \u201enu exist\u0103 dragoste\u201d, iar dac\u0103 exist\u0103, aceasta e un amestec de iubire \u0219i ur\u0103. Sau chiar o pur\u0103 repulsie: \u201esc\u00eerba, sc\u00eerba c\u0103 te vei trezi\/ \u00een patul altuia\/ printre ambalaje de gum\u0103\/ \u0219i sticle ieftine de alcool\u201d. Spa\u021biul de locuit al Violetei e \u00eentre panica visceral\u0103, dezgustul total (de ideale falsificate \u0219i de comer\u021bul cu ele) \u0219i iritarea visceralizat\u0103 \u0219i ea. Nimeni \u0219i nimic bun\/binef\u0103c\u0103tor nu trece prin poeziile sale; p\u00een\u0103 \u0219i angelologia e \u00een misiune thanatic\u0103. C\u00eet despre mitologia salv\u0103rii, ea a ajuns la extaza grotesc\u0103 a dec\u0103derii: \u201ela vatican papa st\u0103 pe-un ou putred\/ \u00eel coboar\u0103 pe iisus de pe cruce\/ \u0219i-l face femeie.\/ ne scobim \u00een nas de mirare \u0219i parc\u0103\/ ne-ar da s\u00eengele pe ochi\/ \u0219i parc\u0103 nu este \u00eenc\u0103 momentul s\u0103 \u00eenghi\u021bim\/ l\u0103turile noului amin.\/ – s\u0103ri! \u021bip\u0103 cei de jos sodomiz\u00eend \u00eengerul\u201d. Asemenea afronturi nu pot ie\u0219i \u00eens\u0103 dec\u00eet dintr-o disperare prelucrat\u0103.<\/p>\n\n\n\n

Un flux continuu, f\u0103r\u0103 momente de reflux, de angoase desf\u0103\u0219urate pe fondul unui psihism convulsiv ar duce poezia de replic\u0103 a Violetei spre patetismul exorciz\u0103rii \u2013 de sine \u0219i de r\u0103ul lumii. Dar cu tot pathosul <\/em>resentimentelor ca sentimente strivite, Violeta mai g\u0103se\u0219te \u0219i timp de joac\u0103, parodiind engambamentul, \u00een genul: \u201e\u0219i to\u021bi prietenii imaginari c\/ are-\u021bi f\u0103ceau nop\u021bile bl\u00eende\u201d. E, desigur, irelevant pentru tensiunea arcului \u00eentins din care \u021b\u00ee\u0219ne\u0219te un \u201e\u021bip\u0103t\u201d existen\u021bial autentificat.<\/p>\n","protected":false},"excerpt":{"rendered":"

Carnete critice de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":11056,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376],"tags":[82,375,2206],"coauthors":[1120],"class_list":["post-11055","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","tag-al-cistelecan","tag-carnete-critice","tag-nr-4-5-2024"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2024\/07\/35685517-1.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11055","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\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11055"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11055\/revisions"}],"predecessor-version":[{"id":11061,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/11055\/revisions\/11061"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/11056"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11055"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=11055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}