{"id":15937,"date":"2026-08-15T14:08:41","date_gmt":"2026-08-15T11:08:41","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15937"},"modified":"2026-08-15T14:08:47","modified_gmt":"2026-08-15T11:08:47","slug":"ultima-necat-despre-postumele-lui-ioan-moldovan","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15937","title":{"rendered":"Ultima necat (despre postumele lui Ioan Moldovan)"},"content":{"rendered":"
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Ce vanitate goal\u0103 e critica literar\u0103 se v\u0103de\u0219te acut c\u00eend e vorba de c\u0103r\u021bi precum cea l\u0103sat\u0103 pe birou de Ioan Moldovan (\u0219i din care Rare\u0219 \u0219i Vlad au ales cele de aici; \u201epostume\u201d e termenul uzual, dar mai corect ar fi \u201eultimele\u201d). E ca \u0219i cum te-ai apuca s\u0103 faci exegeza agoniei unui om care moare c\u00eete un pic zi de zi \u0219i care mai vorbe\u0219te doar cu moartea. E de-a dreptul inuman, nu doar lipsit de orice pietate, s\u0103 faci un raport despre autenticitatea \u0219i demnitatea cu care-\u0219i reprezint\u0103 cineva propria suferin\u021b\u0103. Moartea e \u00eentotdeauna un argument, vorba lui Graham Greene. Ioan Moldovan l-a folosit. A vorbi despre felul \u00een care l-a folosit presupune o insensibilitate de-a dreptul tic\u0103loas\u0103.<\/p>\n\n\n\n

Asta cu at\u00eet mai mult cu c\u00eet Moldovan \u0219i-a \u021binut deschis caietul de poeme p\u00een\u0103 \u00een ultima clip\u0103 \u00een care se mai putea \u0219i l-a folosit ca pe un paravan \u00een calea propriei suferin\u021be \u0219i a propriei mor\u021bi. Se vede c\u0103 n-a vrut s\u0103 le dea lor propriul glas \u0219i nici s\u0103 se lase cople\u0219it de ele. A vrut s\u0103 vorbeasc\u0103 cu toat\u0103 senin\u0103tatea, ca \u0219i cum ele nu c\u0103 n-ar fi fost aproape, ci ca \u0219i cum nici n-ar fi. Poemele r\u0103mase \u2013 multe neterminate, cu \u00eenceputul abia schi\u021bat sau relu\u00eend pasaje \u0219i \u00eencadr\u00eendu-le \u00een alt peisaj de angoase \u2013, par a fi avut o clar\u0103 inten\u021bie de a continua pe liniile pe care Moldovan a mai mers. Revin aici semnele unor cicluri transversale, care str\u0103bat volumele antume \u0219i se grupeaz\u0103 \u00een continuit\u0103\u021bi definitorii, at\u00eet cele numite colocvial \u201edrag\u0103\u201d, c\u00eet \u0219i cele caustice din \u201epoemele fiscale\u201d sau oniricele din \u201escurt\u0103 proz\u0103\u201d. Dar mai ales se continu\u0103 poetica nota\u021biilor cotidiene, a contempla\u021biilor melancolice \u0219i a psalmodierii nostalgice \u00een marginea agresivit\u0103\u021bii incidentului cotidian. \u0218i mai evident\u0103 e tenta terapeutic\u0103 \u00een poemele ludice, de inventivitate pur gratuit\u0103, ca-ntr-o joac\u0103 de frivolit\u0103\u021bi. Toate astea solu\u021bii, desigur, pentru eschiva din fa\u021ba iminen\u021bei. Dar cum ar fi putut un poet al c\u0103rui ochi descifra drama din orice insignifian\u021b\u0103 \u0219i care f\u0103cea din \u201eimpasibilitatea\u201d contemplativ\u0103 o participare sublimat\u0103 \u0219i transfera regulat peisajul de cotidiene m\u0103runte \u00een parabole cu voca\u021bie simbolic\u0103 s\u0103 nu simt\u0103 insinuarea mor\u021bii? \u0218i mai ales s\u0103 nu simt\u0103 cum teritoriul s\u0103u e cotropit de ea?<\/p>\n\n\n\n

Adev\u0103rat c\u0103 Moldovan nu vrea s\u0103 cedeze ini\u021biativa contemplativ\u0103 \u0219i c\u0103 se contempl\u0103 \u0219i pe sine cu deta\u0219area cu care contempl\u0103 micile scene banale ale zilei, dar insinuan\u021ba funest\u0103 sparge tot dispozitivul defensiv \u0219i irumpe cu flashuri violente \u00een plin regim de nostalgii decantate \u00een picturi realiste. De\u0219i nu i se concede o partitur\u0103 extins\u0103, dominant\u0103 e incanta\u021bia de stingere, poemul de adio: \u201eNimic nu-i al meu, nici m\u0103car zidul roz al fabricii de conserve\/ Norii pe cer, numai pe cer, alunec\u0103 \u00een zadar, f\u0103r\u0103 s\u0103-i v\u0103d,\/ F\u0103r\u0103 s\u0103 m\u0103 observe,\/ Toat\u0103 carnea mea, cu stupoarea-i trist\u0103, se-nsomnoreaz\u0103,\/ V\u0103d doar at\u00e2t: se \u00eensereaz\u0103, se \u00eensereaz\u0103, se \u00eensereaz\u0103, \u0219i via\u021ba mea-n vis,\/ Aventuroas\u0103, trece pe alte canale, \u00een alte atelaje.\/Aud \u00eempu\u0219c\u0103turile plutonului \u0219i-n \u0219arje detun\u0103turile plutoniului care\/ Dezintegreaz\u0103 \u0219i ultima Thule de sare.\u201d (ca despre convalescen\u021b\u0103)<\/em> Nu peisajele agoniei le consemneaz\u0103 Moldovan (poet at\u00eet de atent la detaliile cotidiene!), ci epifaniile ei brutale, violen\u021ba cu care n\u0103v\u0103le\u0219te \u00een plasma contempla\u021biei. Fulguran\u021ba acestor inser\u021bii e cu at\u00eet mai \u0219ocant\u0103 cu c\u00eet concizia lor de glon\u021b sparge lini\u0219tea lumii cu o incrusta\u021bie expresionist\u0103 a angoasei definitive:  <\/em>\u201eEstimp g\u00e2lg\u00e2ie timpul.\u201d. Nu-i nevoie de nici o retoric\u0103 \u0219i nici de spa\u021biu de evolu\u021bie pentru ca aceste trasoare funeste s\u0103 transforme tot peisajul \u00eentr-un frison atroce. Iar \u0219i mai atroce dec\u00eet aceste electriz\u0103ri ale angoasei e senin\u0103tatea cu care poetul \u201e\u00ee\u0219i a\u0219teapt\u0103 r\u00eendul\u201d (care-i vine \u201eimediat\u201d). Peisajele grote\u0219ti \u2013 unele ap\u0103sat grote\u0219ti \u2013 ale cotidianului ori desenele \u00een c\u0103rbune ale insignifian\u021belor se transfigureaz\u0103 subit \u00eentr-un sentiment \u2013 sau \u00eentr-o senza\u021bie \u2013 a stingerii, cu at\u00eet mai acute, oricare din ele, cu c\u00eet abia traverseaz\u0103 textele \u0219i ritualul contemplativ. S\u00eent, fire\u0219te, \u0219i poeme (dar nu multe, moartea are o poetic\u0103 foarte discret\u0103 la Moldovan) care st\u0103ruie asupra acestei st\u0103ri, poeme nu de sublimare fulgurant\u0103, ci de detaliere a lehamitei de via\u021b\u0103 \u0219i de concretizare a patologiei funebre:  \u201eDeschid caietul, \u00eemi pun capul \u00een deschiz\u0103tur\u0103\/ ca \u00eentre f\u0103lcile rechinului.\/ Dorm, speculez, mi-s ochii\/ du\u0219i \u00een lumi de s\u00e2nge\/ Apa curge s\u00e2s\u00e2itoare, s\u00e2c\u00e2itoare.\/ Nu-mi mai face mare pl\u0103cere.\/ Uneori mai visez\/ la un stil sub\u021bire, la o partitur\u0103 rafinat\u0103. Dar\/ m\u0103run\u021bi\u0219urile pe care nu le voi des\u0103v\u00e2r\u0219i niciodat\u0103 sunt\/ din\u021bi\u0219orii mor\u021bii, sunt sticula\u0219ii unei c\u0103m\u0103\u0219i\/ plutind pe-o mare obosit\u0103, cu valuri stinse\/ c\u0103reia doar iubirea ta \u00eei face un cer deasupra.\u201d (\u00een lumi de s\u00e2nge<\/em>) Nu lipsesc poemele \u00een care trauma e tratat\u0103 \u00een u\u0219ure, cu o autoironie terapeutic\u0103, \u00een care adierea tragic\u0103 pare de-a binelea clandestin\u0103: \u201eVa veni Dumneaei, iar domniile lor\/ vor schimba doar locul somnului lor\u201d. Dar toat\u0103 aceast\u0103 infanterie u\u0219oar\u0103 dispare c\u00eend poetul abordeaz\u0103 direct starea pre-final\u0103 pe care o parcurge: \u201eV\u0103d prin mine ca printr-un val\/ Nu tocmai bl\u00e2nd\/ Un val v\u0103lurit de boarea mor\u021bii\u201d. De c\u00eete ori face conspectul concret al ipostazei \u00een care se afl\u0103, Moldovan reactiveaz\u0103 valen\u021ba expresionist\u0103 a voca\u021biei sale, una pe care a supus-o continuu unui regim de abstinen\u021b\u0103 spre a face loc scriiturii de lehamite contemplativ\u0103. Dar exerci\u021biile lui de austeritate expresiv\u0103 \u0219i de scepticism reflexiv iau din loc \u00een loc foc \u0219i versurile devin atunci ni\u0219te grenade de anxietate concentrat\u0103. E o fire nest\u0103p\u00eenit\u0103, insurgent\u0103, \u00een imagina\u021bia lui Moldovan, c\u0103reia \u00eens\u0103 poetul \u00eei pune fr\u00eeul stoicismului, al unei imperturbabilit\u0103\u021bi dramatice: \u201eMai bine n-a\u0219 fi, de la o vreme mor \u00eencet-\u00eencet \u00een acest aranjament floral\u201d. Ca un stoic absolut trece el prin propria agonie, chiar dac\u0103 \u2013 sau tocmai pentru c\u0103 \u2013 \u201eAcum, […] to\u021bi timpii au o singur\u0103 fa\u021b\u0103\/ De mort\u201d. Fenomenologia acestui timp o reconstituie Moldovan \u00een ultimele<\/em> lui.<\/p>\n\n\n\n

S\u0103 nu scrii dec\u00eet atunci c\u00eend sim\u021bi c\u0103 mori dac\u0103 n-o faci, \u0219i-a sf\u0103tuit Rilke discipolii. Dar \u0219i atunci c\u00eend \u0219tii c\u0103 mori scriind, c\u00eend scrii murind \u2013 e lec\u021bia lui Moldovan c\u0103tre discipolii lui. P\u00een\u0103 ajungi la \u201eultima liter\u0103 \u2013 care omoar\u0103\u201d.  Ultima necat, <\/em>\u00eentr-adev\u0103r. Iar Moldovan a scris-o \u0219i pe aceea.<\/p>\n\n\n\n

Asta e, \u00een cap \u0219i \u00een carne \u0219i-n oase numai pe d\u00e2nsa o am
\u0219i nop\u021bile \u00eemi sunt frumoase
\u0219i nu mai termin\u0103 a lumina din lune
\u0219i a m\u0103 \u00eencurca \u00een socoteli<\/pre>\n","protected":false},"excerpt":{"rendered":"
Carnete critice de Al. Cistelecan<\/p>\n","protected":false},"author":7,"featured_media":15938,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[376,52],"tags":[82,375,8,2866],"coauthors":[1120],"class_list":["post-15937","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-carnete-critice","category-rubrici","tag-al-cistelecan","tag-carnete-critice","tag-ioan-moldovan","tag-nr-5-2026"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/O-parte.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15937","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=15937"}],"version-history":[{"count":2,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15937\/revisions"}],"predecessor-version":[{"id":15942,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15937\/revisions\/15942"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15938"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15937"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15937"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15937"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15937"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}