{"id":15069,"date":"2026-03-17T14:44:24","date_gmt":"2026-03-17T11:44:24","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15069"},"modified":"2026-03-17T14:45:29","modified_gmt":"2026-03-17T11:45:29","slug":"stolul-2024-sentimente-antisentimentale","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15069","title":{"rendered":"Stolul 2024. Sentimente antisentimentale<\/i>"},"content":{"rendered":"
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Emma Mih\u0103escu, Fitiluri<\/em>, Charmides, 2024<\/figcaption><\/figure>\n<\/div>\n\n\n

Fitilurile<\/em> Emmei Mih\u0103escu (Charmides, 2024) s\u00eent puse la \u00eentreg depozitul sentimental, cu g\u00eend de a-l arunca \u00een aer ori m\u0103car de a face buc\u0103\u021bi \u0219i buc\u0103\u021bele tot materialul str\u00eens acolo (\u0219i care nu e pu\u021bin). Ideea poetic\u0103 de baz\u0103 const\u0103 \u00een a face din sentimente ceva \u00eempotriva lor, nu doar de a le \u00eentoarce pe dos ori de-a le trata cu o retoric\u0103 de vitrion englezesc, ci de-a le face agresive cu ele \u00eensele. Nu e vorba de sentimente convertite \u00een resentimente, ci de exersarea lor paroxistic\u0103 p\u00een\u0103 la desfigurare. Dar tocmai desfigurarea lor le reprezint\u0103 \u0219i triumful, de regul\u0103 proclamat \u00een finalul poemelor, folosit de Emma cu efecte transgresive dup\u0103 ce s-a str\u0103duit p\u00een\u0103 la el s\u0103-l fac\u0103 absolut improbabil. Finalurile acestor peripe\u021bii de tensionare \u0219i dramatizare, prelucrate cu un soi de cinism de sine, s\u00eent solu\u021bia catharctic\u0103 a mai fiec\u0103rei piese. Nu s\u00eent sentimente compromise prin caricaturizarea lor, dimpotriv\u0103, e vorba de sentimente dramatizate prin intensitatea lor autodevoratoare. La drept vorbind \u00eens\u0103, oric\u00eet de eroic\u0103 ar fi retorica ei sarcastic\u0103, Emma e o sentimental\u0103 aproape de pathos<\/em> \u0219i \u00eentreaga carte e lucrat\u0103 dintr-o fragilitate agresiv\u0103, nu doar agresat\u0103, \u0219i pe partituri strict sentimentale \u2013 preferen\u021bial erotice \u2013, dar toate exasperate de ele \u00eense\u0219i. Emma nici m\u0103car nu se fere\u0219te de toposurile sentimentale \u0219i nu sare peste odele familiale (materne, paterne, plus evocarea apoteotic\u0103 a bunicului), doar c\u0103 le deparaziteaz\u0103 de tandre\u021buri \u0219i dr\u0103g\u0103l\u0103\u0219enii, prefer\u00eend un impact abrupt. E \u0219i ea poet\u0103 cu trauma \u00eengropat\u0103 \u0219i chiar sub emblema traumei \u00ee\u0219i \u0219i \u00eencepe recitalul, evoc\u00eend \u201ecataclismul\u201d care a pus cap\u0103t inocen\u021bei \u0219i copil\u0103riei: \u201esoarta mea-i un motociclist cu gene lungi\/ l-am v\u0103zut prima dat\u0103 c\u00eend aveam cinci ani\/ plecam ca-n orice zi la gr\u0103dini\u021b\u0103\/ cu georgic\u0103 scumpul de el c\u00eeinele blocului\/ dar de fapt al meu \u0219tia toat\u0103 lumea\/ m\u0103 ducea \u0219i aducea de la trei str\u0103zi distan\u021b\u0103\/ adic\u0103 de la marginea tangibil\u0103 a universului\/ dincolo de care r\u00eeul se v\u0103rsa-n neant\/ \u0219i oamenii c\u0103deau ca o can\u0103 de pe mas\u0103 […] iar de atunci am \u00eenceput s\u0103 calc asfaltul\/ ca pe degetele unor criminali de r\u0103zboi\u201d (Gambit<\/em>). Trauma ca eveniment fondator reverbereaz\u0103 \u00een tot volumul \u0219i e mereu actualizat\u0103 de tensiunea \u0219i directe\u021bea brutal\u0103 a versurilor, cu psihisme contorsionate, str\u00eense \u00een oximoroane sentimentale \u00een care agresivitatea devine tandre\u021be iar tandre\u021bea, agresivitate. Declara\u021biile s\u00eent amenin\u021b\u0103toare, devo\u021biunile distructive, c\u0103ci Emma folose\u0219te vocabularul sentimental \u00een r\u0103sp\u0103r \u0219i efuziunile-s menite scoaterii din r\u0103bd\u0103ri, nu adula\u021biei sau dezmierd\u0103rii. Dar toate astea se \u00eent\u00eempl\u0103 din pricina electricit\u0103\u021bii sentimentale, datorit\u0103 implic\u0103rii patetice (\u201e…poate doar s\u0103-\u021bi scriu acum s\u0103 te enervez\/ scriu prost scriu foarte prost scriu din vene scriu din v\u00eertejuri\/ s\u0103 \u0219tii nu mai am filtru nu mai am fr\u00eene\u201d \u2013 Nimic<\/em>) \u0219i-n scriitur\u0103, \u0219i-n afect, ambele menite s\u0103 provoace ran\u0103, nu alinturi. Emma nu are gramatica nuan\u021belor, c\u0103ci la ea toate procedeaz\u0103 catastrofic \u0219i instantaneu, ca evenimente cople\u0219itoare \u00een cadre ostile: \u201eabia apoi o s\u0103 te-ntorci\/ amintindu-\u021bi cumva de mine\/ \u0219i-o s\u0103 danseze \u0219i pietrele\/ pe tunetul vocii tale\/ pe sc\u00eer\u021b\u00eeitul pa\u0219ilor t\u0103i\u201d (Decembrie<\/em>). <\/em>Sau: \u201e…\/ era s\u0103 ver\u0219i cafeaua pe mine s\u0103 m\u0103 d\u0103r\u00eemi \u0219i nici nu p\u0103rea c\u0103 \u0219tii\/ cine s\u00eent\/ ce dracu\u2019 faci ai strigat \u0219i u\u0219ile s-au \u00eenchis dup\u0103 tine\/ \u00eenghi\u021bindu-te\/ nu \u0219tiu ce dracu\u2019 f\u0103ceam \u0219tiu doar c\u0103\/ m-am \u00eendr\u0103gostit de tine iremediabil\u201d (Prima poezie pe care nu mi-ai scris-o<\/em>). Violen\u021ba e regimul pasional al Emmei (\u201ela un\u0219pe noaptea intru prin efrac\u021bie\/ dau tuturor babelor cu genunchiu-n geam\/ \u00eemi zdrobesc m\u00eeinile de to\u021bi zgrum\u021burii\/ orice doar s-ajung la tine\u201d, A treia poezie pe care nu mi-ai scris-o<\/em>), <\/em>iar proclama\u021biile finale sfideaz\u0103 (prin patetism) oralismele de \u00eentre\u021binere a textului: \u201eeu \u00ee\u021bi vorbesc de c\u00eend te \u0219tiu\/ \u0219i de-o s\u0103 mor o s\u0103-\u021bi vorbesc din moarte\u201d (idem). E un scenariu pasional cu o dialectic\u0103 vivace \u00eentre extatice \u0219i depresii, \u00eentre euforii \u0219i suferin\u021b\u0103 (un fel de euforii deprimante ele \u00eense\u0219i), \u00een care \u00eencap multe note de doliu amoros: \u201e\u0219i stau aici pl\u00eeng\u00eend\/ \u0219i nu-i durere mai mare\/ dec\u00eet s\u0103-mi m\u00eeng\u00eei p\u0103rul\/ o noapte el singur\u201d (Despre nimic<\/em>). Fire\u0219te c\u0103 paradigma de fond e ecua\u021bia eros-thanatos <\/em>(poate prea transparent\u0103), <\/em>cu tot ce poate fi recuperat din ea f\u0103r\u0103 retorismele aferente \u0219i, mai ales, tradus\u0103 \u00een limbaj colocvial \u0219i-n \u201etrivialit\u0103\u021bi\u201d cotidiene. Dar sub for\u021bele simultane ale ambelor tr\u0103ie\u0219te \u0219i Emma: \u201ece-\u021bi p\u0103sa c\u0103 m\u0103 d\u0103r\u00eem\/ \u0219i ce-\u0219i p\u0103sa m\u0103 c\u0103 m\u0103 transform \u00een c\u00eerpe\/\/ de unde era s\u0103 \u0219tiu atunci\/ \u2013 p\u0103rea acum o mie de ani \u2013\/ c\u0103 m-ai f\u0103cut la loc\/ s\u0103 m\u0103 distrugi tu mai bine\u201d (Limite<\/em>). Emma e o bacant\u0103 de care se tem to\u021bi \u201ebe\u021bivanii din Moghioro\u0219\u201d, toate \u201efetele de pe M\u0103t\u0103sari\u201d, to\u021bi \u201emafio\u021bii din Giule\u0219ti\u201d \u0219i \u201eb\u0103ie\u021bii buni din Floreasca \u0219i Pipera\u201d, \u0219i nu mai pu\u021bin \u201etrafican\u021bii de sub Podul Grant\u201d, dar care vegheaz\u0103 \u201el\u00eeng\u0103 visele tale\u201d \u0219i-\u201e\u021bi m\u00eeng\u00eei(e) p\u0103rul \u0219i r\u00eed la g\u00eendul c\u0103 n-ai nici o idee\u201d de un asemenea devotament (Orbec\u0103ire<\/em>). Miza Emmei e s\u0103 epuizeze tot poten\u021bialul romantic din \u201edragostea-ur\u0103\u201d (sau invers) \u0219i s\u0103 profeseze devo\u021biunea ca afect deopotriv\u0103 criminal \u0219i idolatru: \u201etu \u021bi-ai f\u0103cut casa aici\/ \u00een mijlocul urii mele\/ \u0219i cum s\u0103 pot oare s\u0103 te las pe str\u0103zi\u201d (O cas\u0103<\/em>). Un program sentimental care folose\u0219te sentimentele ca antisentimente \u00eentr-o poetic\u0103 de pasiune care se exaspereaz\u0103 din pricina propriei intensit\u0103\u021bi, cam la asta lucreaz\u0103 Emma. \u00a0\u00a0\u00a0\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":15070,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376,52],"tags":[82,375,2740,2726],"coauthors":[1120],"class_list":["post-15069","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","category-rubrici","tag-al-cistelecan","tag-carnete-critice","tag-emma-mihaescu","tag-nr-1-2026"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/03\/Fitiluri.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15069","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=15069"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15069\/revisions"}],"predecessor-version":[{"id":15072,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15069\/revisions\/15072"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15070"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15069"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}