{"id":15975,"date":"2026-08-17T17:18:29","date_gmt":"2026-08-17T14:18:29","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=15975"},"modified":"2026-08-17T17:18:35","modified_gmt":"2026-08-17T14:18:35","slug":"a-fost-o-zi-frumoasa","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=15975","title":{"rendered":"A fost o zi frumoas\u0103"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"780\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/nut-si-feder.png\" alt=\"\" class=\"wp-image-15976\" style=\"width:500px\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/nut-si-feder.png 600w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/nut-si-feder-231x300.png 231w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/nut-si-feder-480x624.png 480w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\">Tudor Haschke-Marinescu, <em>Nut \u0219i feder<\/em>, Charmides, Bistri\u021ba, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n<pre class=\"wp-block-verse has-text-align-right has-background\" style=\"background-color:#f3f3f3;font-size:17px\">\u00cencerc s\u0103 scriu<br>Ca \u0219i cum a\u0219 picta.<\/pre>\n\n\n\n<p>Dac\u0103 data trecut\u0103 am discutat c\u0103r\u021bulia unui regizor, acum e timpul s-o discut\u0103m pe cea a unui pictor. Tudor Haschke-Marinescu. Pictor \u0219i poet. Poet \u0219i pictor. C\u00e2nd nu pictor, poet. C\u00e2nd nu poet, pictor. C\u00e2nd pictor, \u0219i poet. Odat\u0103 cu <em>Nut \u0219i feder <\/em>(Editura Charmides, 2022), adev\u0103rata imagine a lui Haschke-Marinescu se \u00eentrege\u0219te \u2013 de fapt, urm\u00e2nd logica subliminal\u0103 a \u00eentregului volum, trebuie s\u0103 spunem altfel: cele dou\u0103 imagini ale lui Haschke-Marinescu ies simultan la iveal\u0103 \u0219i se \u00eembin\u0103 \u00eentr-una. Cartea p\u0103r\u0103se\u0219te, \u00een sf\u00e2r\u0219it, sertarul; imaginea devine complet\u0103.<\/p>\n\n\n\n<p>Poemele din <em>Nut \u0219i feder <\/em>se unesc cu fragmentele a dou\u0103 jurnale \u2013 jurnalul de copil (din 1981) \u0219i jurnalul de pictor (din 2021). Ceea ce avem \u00een fa\u021b\u0103 e un soi de triptic, triptic care las\u0103 \u00een urma lui semnele unui mesaj (\u00eendemn? adev\u0103r?) care sper\u0103 s\u0103 fie decriptat: autorul \u2013 at\u00e2t din pielea copilului, c\u00e2t \u0219i din cea a pictorului adult \u2013 nu (de)scrie experien\u021ba <em>lui <\/em>cu lumea, felul \u00een care <em>el <\/em>o vede \u0219i o simte \u0219i o interpreteaz\u0103 (deci motivele pentru care o vede \u0219i o simte \u0219i o interpreteaz\u0103 <em>a\u0219a <\/em>\u0219i nu \u00een alt fel), ci \u00eencearc\u0103, dizolv\u00e2ndu-\u0219i \u00eensu\u0219irile \u0219i sustr\u0103g\u00e2ndu-\u0219i din joc sentimentele, s\u0103 arate lumea <em>cum e ea<\/em>, indiferent \u0219i independent de numele celui care o experimenteaz\u0103. A\u0219adar, asist\u0103m de-a lungul celor 80 de pagini la nota\u021biile lui Haschke-Marinescu despre lume, unde aceasta apare, de fiecare dat\u0103, lini\u0219tit\u0103, ordonat\u0103, <em>la locul ei<\/em>, a\u0219a cum \u00eei \u0219ade bine dintotdeauna. C\u00e2nd poetul nu g\u0103se\u0219te cuvintele potrivite (\u201eC\u0103utam literele.\/ Al\u0103turi, \u00een scrumiera unor g\u00e2nduri stinse\/ \u021bigara fumega confuz\u201d) ori c\u00e2nd pictorul \u00ee\u0219i rateaz\u0103 tabloul (\u201eOra 18,30: rateul s-a produs! Am f\u0103cut o lucrare slab\u0103 care trebuia \u0219tears\u0103\u201d), nu afl\u0103m c\u0103 lumea, fiindc\u0103-i rea, declan\u0219eaz\u0103 ceva r\u0103u \u00een pictorul-poet astfel \u00eenc\u00e2t el \u00ee\u0219i tr\u0103deaz\u0103, obligat, scopul; nu afl\u0103m c\u0103 lumea e vinovat\u0103 \u0219i c\u0103 trebuie schimbat\u0103, afl\u0103m doar c\u0103 pictorul-poet se va str\u0103dui mai mult a doua zi \u0219i-\u0219i va exersa mai bine ambele piei. La fel ca-n \u00eensemn\u0103rile copilului, la finalul fiec\u0103rei nota\u021bii ale adultului exist\u0103 un \u201eA fost o zi frumoas\u0103\u201d, doar c\u0103 mut; el trebuie rostit \u00een g\u00e2nd.<\/p>\n\n\n\n<p>Intersec\u021bia fragmentelor din jurnalul de copil cu restul textelor din <em>Nut \u0219i feder <\/em>nu e nicidecum o intersec\u021bie nostalgic\u0103, Haschke-Marinescu nu t\u00e2nje\u0219te dup\u0103 copil\u0103rie, ci creeaz\u0103 o triad\u0103 a \u2013 poate \u2013 celor mai limpezi privitori: copilul, pictorul \u0219i poetul. Despre privire e vorba aici (c\u0103ci despre ce altceva s\u0103 \u0219i fie \u00een cartea unui pictor?) \u2013 pe de-o parte, privirea copilului care, neperturbat\u0103, vede ce e de v\u0103zut, f\u0103r\u0103 dorin\u021ba de a interveni asupra vizibilului, f\u0103r\u0103 nevoia de <em>a<\/em> <em>intra <\/em>\u00een el, pe de alta, cea a pictorului-poet care, suficient de \u00een\u021beleapt\u0103 pentru a se st\u0103p\u00e2ni \u0219i ab\u021bine, nu modific\u0103 lumea, ci doar \u00ee\u0219i adaug\u0103 descoperirile \u00een fluxul ei (\u201eM\u00e2ine timpul se mut\u0103 pe p\u00e2nz\u0103.\/ Minutele se vor colora, secundele vor mirosi\/ a terebentin\u0103 \u0219i vor forma ceva nou,\/ nu \u0219tiu \u00eenc\u0103 ce\u201d). Ba chiar mai mult, vizibilitatea care se deschide \u0219i \u00eentinde sub ochii pictorului-poet e at\u00e2t de vast\u0103, \u00eenc\u00e2t \u00eei amu\u021be\u0219te dorin\u021bele; datorit\u0103 ei, privirea lui cap\u0103t\u0103 o for\u021b\u0103 care \u00eei dezv\u0103luie un nou tip de densitate a spa\u021biului, \u00een care sinele se dizloc\u0103 \u0219i se pierde, disp\u0103r\u00e2nd f\u0103r\u0103 urm\u0103 (ca \u00een cazul lui Asle, pictorul lui Jon Fosse din <em>Numele cel\u0103lalt<\/em>, care descoper\u0103 \u00een \u00eentuneric lumina imperceptibil\u0103 dintr-un tablou pe care p\u00e2n\u0103 atunci \u00eel ura). Subiectul e absent din poemele din <em>Nut \u0219i feder<\/em>, chiar dac\u0103 se roste\u0219te cuv\u00e2ntul <em>eu<\/em>, chiar dac\u0103 se vorbe\u0219te la persoana I singular, chiar dac\u0103, chiar dac\u0103&#8230;<\/p>\n\n\n\n<p>A\u0219a devine <em>situarea \u00een spa\u021biu <\/em>singurul \u0219i cel mai important mod de a \u00een\u021belege (\u0219i de a locui) lumea; a\u0219a se prefac poemele \u00een mici arheologii ale punctelor din care autorul o observ\u0103 \u0219i o comunic\u0103. Putem fi siguri c\u0103 \u00een <em>Nut \u0219i feder <\/em>nu avem deloc de-a face cu o situare \u00een timp (\u201eM-am n\u0103scut \u00een 1969, vara.\/ Dac\u0103 voi rezista 100 de ani, voi muri \u00een 2069.\/ Suntem \u00een 2008. Mai am 61 de veri (f\u0103r\u0103 veri\u0219oare).\/ Dac\u0103 voi tr\u0103i 90 de ani, voi muri \u00een 2059.\/ Mai am deci 51 de tr\u0103it.\u201d), ci cu una \u00eentru totul \u00een spa\u021biu (\u201eStau \u00eentr-o dung\u0103\/ \u0219i caut un punct.\/ \u00cen cap\u0103t se vede o u\u0219\u0103, \u00een spate un geam. La mijlocul dungii\/ sunt verticale care \u00een\u021beap\u0103 cerul\u201d) \u2013 la fel ca la Gellu Naum, \u0219i aici unele obiecte exist\u0103 doar ca s\u0103 creeze distan\u021be \u0219i ad\u00e2ncimi \u00eentre altele, \u0219i aici prezen\u021ba e doar dovada unei necesare \u0219i fertile absen\u021be. Pictorul-poet, doar m\u0103sur\u00e2nd din priviri peisajul, afl\u0103 totul despre el; \u00eentre cei doi se na\u0219te acel spa\u021biu \u00eengust, intim \u0219i apropiat care-ar fi putut fi Terra (cum ni se spune \u00een poemul <em>C\u00e2t<\/em> <em>spa\u021biu<\/em>).<\/p>\n\n\n\n<p>Volumul lui Haschke-Marinescu n-ar fi putut avea un final mai potrivit dec\u00e2t cel pe care \u00eel are \u2013 iat\u0103 \u00eenc\u0103 o dovad\u0103 a bunei faceri a lumii \u2013, \u00een fragmentul din 8 iulie \u201981, care marcheaz\u0103 sf\u00e2r\u0219itul taberei de la munte, citim: \u201eDup\u0103 ce am mestecat bine \u00abEugenia\u00bb deoarece era foarte crocant\u0103 \u0219i t\u0103ri\u0219oar\u0103, dar bun\u0103, am dus bagajele la autocarul Setra \u2013 nu Mercedes ca cel de la dus \u2013 \u0219i ne-am a\u0219ezat pe locurile noastre \u0219i am pornit\u201d. Cartea se poate \u00eencheia de-abia atunci c\u00e2nd totul este (re)pus la locul lui, c\u00e2nd, la distan\u021b\u0103 de 40 de ani, \u0219i copilul, \u0219i pictorul se \u00eentorc acas\u0103, la Bucure\u0219ti. Cartea se poate \u00eenchide de-abia atunci c\u00e2nd geometriile ei interioare, ca \u00eentr-un joc de tetris, se contopesc \u0219i dispar.<\/p>\n\n\n\n<p>\u00cen rest, cartea-i frumoas\u0103 \u0219i are h\u00e2rtia groas\u0103 \u0219i moale, ca s\u0103 po\u021bi s\u0103 te cufunzi \u0219i-ascunzi \u00een ea, ca-ntr-un tablou (\u0219i dac\u0103 desfaci coperta, descoperi c\u0103 \u00een pliurile ei zace o foaie goal\u0103, ca o p\u00e2nz\u0103 alb\u0103). Iar dac\u0103 vre\u021bi s\u0103 asculta\u021bi c\u00e2teva dintre poemele din <em>Nut \u0219i feder <\/em>\u00een lectura actri\u021bei Simonei M\u0103ic\u0103nescu \u0219i s\u0103 v\u0103 \u0219i uita\u021bi la un scurt film (unde sunt \u0219i tablourile autorului de g\u0103sit), pute\u021bi aici: https:\/\/youtu.be\/gG6_ 2jwGWww?si=5VUrRG-zk8BitNg_.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cronic\u0103 literar\u0103 de Anda Lupule\u021b<\/p>\n","protected":false},"author":482,"featured_media":15976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[2805,1003,106,2866,2875],"coauthors":[2804],"class_list":["post-15975","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-anda-lupulet","tag-charmides","tag-cronica-literara","tag-nr-5-2026","tag-tudor-haschke-marinescu"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2026\/08\/nut-si-feder.png","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15975","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\/482"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=15975"}],"version-history":[{"count":3,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15975\/revisions"}],"predecessor-version":[{"id":15980,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/15975\/revisions\/15980"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/15976"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=15975"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=15975"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=15975"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=15975"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}