{"id":12606,"date":"2025-03-30T15:42:15","date_gmt":"2025-03-30T12:42:15","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=12606"},"modified":"2025-03-30T15:46:39","modified_gmt":"2025-03-30T12:46:39","slug":"poetul-sincer-melancolic-in-fata-unei-realitati-dure","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=12606","title":{"rendered":"Poetul sincer & melancolic \u00een fa\u021ba unei realit\u0103\u021bi dure"},"content":{"rendered":"
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Iustin Butnariuc, z\u00e2mbim, radia\u021bia nu s-a stins<\/em>, Casa de Editur\u0103 Max Blecher, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n

Iustin Butnariuc (n. 1999), a\u0219 spune-o direct, vine, \u00een volumul lui de debut, z\u00e2mbim, radia\u021bia nu s-a stins<\/em> (Casa de Editur\u0103 Max Blecher, 2024), cu o poezie foarte pu\u021bin \u00eent\u00e2lnit\u0103 \u00een literatura t\u00e2n\u0103r\u0103 \u2013 mai precis a celor care au debutat dup\u0103 2020. M\u0103 intrig\u0103 de la \u00eenceput o anume precizie a termenilor, apoi pachetul candoare-luciditate, structura \u0219i scenariile poemelor. E un epic aspru \u0219i bine documentat. Descrie cu limba lui de medic (proasp\u0103t deta\u0219at \u00een provincie), cu un fir pre\u021bios \u00een care sunt \u00eempletite ironia, autoironia \u0219i umorul. Preia ce preia de la congeneri, dar se distan\u021beaz\u0103. Se distan\u021beaz\u0103 sur\u00e2z\u00e2nd, \u0219tie lec\u021bia. De exemplu, de autobiografismul abrupt \u0219i violent al genera\u021biei fracturiste. Un autobiografism care, prin calchiere \u2013 \u00eentre timp t\u00e2r\u00e2t, ajuns la congeneri \u2013, se auto-devoreaz\u0103.<\/p>\n\n\n\n

Scrie, s-ar spune, pe teme dou\u0103miiste, dar accentele cad altcumva. Rela\u021bia asta cu mo\u0219tenirea recent\u0103 o putem citi \u00eencruci\u0219at \u00een primele versuri: \u201ec\u00e2nd tata mi-a pus pu\u0219ca \u00een m\u00e2n\u0103\/ am crezut c\u0103 glume\u0219te\/ mi-a zis: \u00abFiule, doboar\u0103 aceast\u0103 pas\u0103re pentru mine\u00bb\/ am \u00eenc\u0103rcat, am ochit \u0219i am tras\/ acas\u0103 mama ne a\u0219tepta cu tort de mere\/ disperat\u0103, suna la toate neamurile s\u0103 le anun\u021be\/ era vorba despre o boal\u0103 \u0219i despre mine, dar nu \u0219tiam\/ c\u0103 \u00een tort se pun \u0219i astfel de ingrediente\u201d (65 Rose<\/em>, p. 5). Da, trimite la amintiri a\u0219 spune recurente, din via\u021ba domestic\u0103, fire\u0219te a apartamentului, copil\u0103ria (cu evenimente acute, tratate chirurgical, z\u00e2mbind), dramele t\u00e2n\u0103rului adult (fire\u0219te via\u021ba de student la medicin\u0103)\u00b8 apoi ora\u0219ul, patria, lumea, societatea (dezumanizat\u0103, alt epitet nu g\u0103sesc). Sun\u0103 cunoscute temele, dar le execut\u0103 \u00een alt mod. Un mod care indic\u0103 alt\u0103 genera\u021bie, cu o melancolie acceptat\u0103 infantil, ca-n proza lui Salinger. \u00cen mare, nu mai vrea mizerabilismul tehnic, ce garanta succes odat\u0103. Ca la Dan Sociu, cu patetism, cu aer de fapt divers de ziar de ziar din anii \u201990-2000, \u00een culori late, cu pregnan\u021ba celui nem\u00e2ntuit. Amintirea are c\u00e2te un clenci, o ram\u0103, cu baghet\u0103 de siliciu, de magneziu, cum numai Codrescu (\u201ecare m\u0103n\u00e2nc\u0103 hamburgheri \u0219i bea cafele diacritice\u201d) poate confec\u021biona. Dar e o ram\u0103 care-l suge imediat \u00een filtrele c\u00e2te unui pove\u0219ti. Bine construite. Nu evit\u0103 fixa\u021biile acelor st\u0103ri paranoide ale mai b\u0103tr\u00e2nilor lui prieteni, poe\u021bi geniali, dar el c\u00e2nd devine personal \u2013 \u0219i devine! \u2013 nu vrea s\u0103 comunice dec\u00e2t o stare, una filtrat\u0103 printr-un limbaj minuscul \u0219i contondent, calandrat de-un epic surprinz\u0103tor: \u201ec\u00e2nd eram mic\/ mama amenin\u021ba\/ c\u0103 \u00eentr-o zi \u00ee\u0219i va lega trompele \u2013\/ atunci \u00eemi imaginam\/ cum din p\u00e2ntecul ei\/ doi elefan\u021bi rozalii ies la suprafa\u021b\u0103\/ \u0219i cu o scurt\u0103 uvertur\u0103 elefantic\u0103\/ cei doi \u00ee\u0219i unesc trompele\/ \u00eentr-una singur\u0103\/ ca doi trandafiri prin\u0219i de o pergol\u0103:\/ eu \u2013 t\u00e2n\u0103r \u0219i mama b\u0103tr\u00e2n\u0103 de-acum\/ elefan\u021bii din burt\u0103 sunt gri,\/ iar trompele din burt\u0103 le-au devenit varice groase\/ pe gambele ei bolnave\/ de elefantiazis\u201d (libretto<\/em>, p. 11). Asta-l singularizeaz\u0103. Prinde bine acea trecere spre maturizare care nu vrea s\u0103 fie definitiv\u0103. Cu diformit\u0103\u021bile ei. Diformit\u0103\u021bi a c\u0103ror metafizic\u0103 au un tu\u0219eu naturalist. \u00cel ajut\u0103 limba de medic. Nici m\u0103car nu-i limba unui medic matur, h\u00e2r\u0219it \u00een cinismul lui. A\u0219 spune c\u0103 limba asta de medic, crud, t\u00e2n\u0103r \u0219i imberb, e tema poezii lui. Restul vine la pachet. Are cruzime, are stil, are palet\u0103. Fie \u0219i o palet\u0103 minuscul\u0103, de artist exotic care picteaz\u0103 pe o boab\u0103 de orez. Iat\u0103-l: \u201ela final r\u0103m\u00e2n acelea\u0219i imagini:\/ mama aleg\u00e2nd fasole\/ un ciorchine din care am smuls\/ direct cu gura\/ bobi\u021be de strugure\/ c\u00e2inele de pe acoperi\u0219 l\u0103tr\u00e2ndu-\u0219i coada\/ \u0219i singura fat\u0103 care \u00eemi z\u00e2mbea.\/ pleoapele acoperite de tu\u0219 auriu\/ se \u00eenchid \u0219i vin mor\u021bi subtile\/ iluzii? numai de bine\/ plaja din Salonic\/ p\u0103zit\u0103 de copacii gigan\u021bi\/ t\u0103lpile de marmur\u0103\/ pe care dorm melcii\/ deshidratarea \u2013 \/ m\u00e2inile orbec\u0103ind prin lichid\/ \u0219i un tren \u00eenc\u0103rcat\/ cu edi\u021bii princeps.\u201c (funda\u021bia<\/em>, p. 38)<\/p>\n\n\n\n

De altfel, candoarea, ca \u0219i aici, foarte expresiv\u0103 \u2013 \u0219i debutantul \u0219tie \u00een ce se bag\u0103! \u2013 nu poate fi \u00eenl\u0103turat\u0103. E-n lumina rampei, pe lamela de sub ochiul lung al unui microscop. Iustin Butnariuc e dublat de un aspirant la cercetarea de tip \u0219tiin\u021bific. Nu-i st\u0103 de loc r\u0103u aceast\u0103 aspira\u021bie. C\u0103ci chipul necru\u021b\u0103tor, cum ne indic\u0103 Svetlana C\u00e2rstean pe coperta a IV-a, e al celui inocent: \u201eO voce poetic\u0103 ferm\u0103, conving\u0103toare, curajoas\u0103, despre un copil care a \u00abdevenit adult la gr\u0103dini\u021b\u0103\u00bb \u201d. Nu sun\u0103 r\u0103u, dar imediat trebui s\u0103 aducem \u00een discu\u021bie accentele de luciditate, cele cu care-\u0219i cenzureaz\u0103 con\u0219tiin\u021ba. Da, \u00eemi place \u0219i ce spune Radu Andriescu, de\u0219i poate prea grav, c\u0103 umanitatea pe care o descrie Iustin Butnariuc, cu \u00eendem\u00e2nare, e cea a \u201eunei vulnerabilit\u0103\u021bi profund umane\u201d.<\/p>\n\n\n\n

Limba-i are particularit\u0103\u021bi medicale dar, \u00een felul cum este instrumentat\u0103, deschide aceste papile metalice ce prind cu din\u021bi\u0219ori materia rar\u0103 a vulnerabilit\u0103\u021bii. Te tai \u00een lamelele puse sub microscop, la care cercet\u0103torul acesta t\u00e2n\u0103r face experimente. O natur\u0103 cu o corporalitate primar\u0103, superflu\u0103 \u00een fluidul poetic. O aduce cu bisturiul la standardele sociale. E o \u00eentreag\u0103 lume \u00een c\u0103rticica asta. De la p\u0103surile eului, prin Boto\u0219ani, la cele ale pelerinului, ce popose\u0219te des \u00een America.<\/p>\n\n\n\n

Acest \u201estr\u0103nepot de plugari\u201d are pl\u0103ceri \u0219i de estet \u00eenvechit \u00een rele. Iat\u0103 cum utilizeaz\u0103 abil pauza sau parantezele, \u00eentr-o geometrie str\u00e2ns\u0103 a textului, unde ritmul, cum ar spune criticul \u0219colit, c\u0103 e bine strunit, cu eufonii asumate, frust, neconcesiv. Poetul, l\u00e2ng\u0103 el, nu-\u0219i poate \u00eenfr\u00e2na dorin\u021ba de-a oferi \u00eentr-o manier\u0103 direct\u0103 un comentariu ironic. Semnul de punctua\u021bie este deci o supap\u0103 ce permite a-l \u021bine treaz pe cititor (sau ar constitui elementul de contact, ca \u00een schema comunic\u0103rii a lui Jakobson): \u201eca doi trandafiri prin\u0219i de pergol\u0103:\/ eu \u2013 t\u00e2n\u0103r \u0219i mama b\u0103tr\u00e2n\u0103 de-acum\u201d (libretto<\/em>) sau \u201ecele de care am nevoie\/ nu se pot cump\u0103ra (dac\u0103 se putea ar fi fost\/ prea scumpe)\u201d (Maneki-neko<\/em>, p. 77).<\/p>\n\n\n\n

Dac\u0103 ar fi s\u0103 semnalez ceva din aventura existen\u021bialistului, ar trebui s\u0103  aduc \u00een discu\u021bie descrierea aventurii sensibilit\u0103\u021bii. Un imatur pus s\u0103 noteze dislocarea utopiilor, a heterotopiilor cum ar spune Foucault, deconstructivistul. Dormitorul mamei, cu aura lui stranie, \u00eentors pe dos. Evocarea lor, a heterotopiilor, \u00eei \u00eencarc\u0103 plasticitatea, o armeaz\u0103, ca s\u0103 descrie c\u00e2t mai crud \u0219i plastic spectacolul fragilit\u0103\u021bii. Are aici deta\u0219are ca s\u0103 surprind\u0103 perspectiva, c\u00e2t o fi pe bobul lui de orez, dar are \u0219i dramatism. Asta impune poetul debutant. Limbajul lui particular face corp comun cu corporalitatea st\u0103rilor. Impresioneaz\u0103 aceast\u0103 al\u0103turare care nu-i proces de  tip chimie. Ci de tip plastic.<\/p>\n\n\n\n

Poezia lui Iustin Butnariuc convinge prin tehnica asta bine \u00eensu\u0219it\u0103. Se aventureaz\u0103 deja spre o direc\u021bie a lirismului autohton pu\u021bin cunoscut\u0103 la noi. Debutantul, outsider<\/em>-ul, prive\u0219te lumea cum se desf\u0103\u0219oar\u0103 f\u0103r\u0103 a interveni. Nu apeleaz\u0103 la material de construc\u021bie \u0219tiut. La discursul s\u0103 zicem al poe\u021bilor optzeci\u0219ti-nou\u0103zeci\u0219ti (care nu sunt de altfel foarte mul\u021bi), ce-\u0219i asum\u0103 decoruri, dar \u0219i identit\u0103\u021bi de blestema\u021bi. Ia distan\u021b\u0103, cu ingeniozitate \u0219i aten\u021bie. Abia a\u0219tept s\u0103 v\u0103d ce viitor are acest discurs.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 literar\u0103 de Daniil Iftime<\/p>\n","protected":false},"author":397,"featured_media":12607,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[106,2390,2391,2384],"coauthors":[2389],"class_list":["post-12606","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-cronica-literara","tag-daniil-iftime","tag-iustin-butnariuc","tag-nr-1-2025"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2025\/03\/Butnariuc.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12606","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\/397"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12606"}],"version-history":[{"count":4,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12606\/revisions"}],"predecessor-version":[{"id":12612,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/12606\/revisions\/12612"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/12607"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12606"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12606"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12606"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=12606"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}