{"id":1720,"date":"2021-04-06T09:15:54","date_gmt":"2021-04-06T06:15:54","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=1720"},"modified":"2021-04-06T09:16:02","modified_gmt":"2021-04-06T06:16:02","slug":"cine-stie-de-ce-facem-ceea-ce-facem","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=1720","title":{"rendered":"Cine \u0219tie de ce facem ceea ce facem"},"content":{"rendered":"\n<div class=\"wp-block-image is-style-default\"><figure class=\"alignleft size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/04\/Raymond-Carver-Catedrala.jpg\" alt=\"\" class=\"wp-image-1721\" width=\"200\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/04\/Raymond-Carver-Catedrala.jpg 390w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/04\/Raymond-Carver-Catedrala-195x300.jpg 195w\" sizes=\"(max-width: 390px) 100vw, 390px\" \/><figcaption>Raymond Carver, <em>Catedrala,<\/em> traducere de Horia Florian Popescu, Editura Polirom, 2019<\/figcaption><\/figure><\/div>\n\n\n\n<p>Publicat\u0103 \u00een 1983, <em>Catedrala <\/em>este a treia \u0219i ultima carte de proz\u0103 scurt\u0103 scris\u0103 de Raymond Carver (1938-1988), carte pe care prozatorul, disp\u0103rut prematur \u00een urma unui cancer, o considera ca fiind \u0219i cea mai bun\u0103 a lui. Ap\u0103rut\u0103 la pu\u021bin\u0103 vreme dup\u0103 faimoasa <em>Despre ce vorbim c\u00eend vorbim despre iubire<\/em> (Polirom, 2015), \u00eentr-un moment c\u00eend Carver era pe val (divor\u021base de prima so\u021bie, dar povestirile sale se vindeau, erau traduse, premiate, \u00een curs de ecranizare \u0219i formaser\u0103 \u00een jurul lui un fel de cult), cartea reprezint\u0103 o fin\u0103 schimbare stilistic\u0103, pe care, din p\u0103cate, prozatorul \u201erealismului murdar\u201d n-a mai avut timp s-o exploreze.<\/p>\n\n\n\n<p>De altfel, una din povestirile de aici (\u201eCeva mic \u0219i bun\u201d) este rescrierea\/dezvoltarea unui text din acel faimos volum (\u201enu mi se p\u0103rea terminat\u0103, mai erau lucruri de spus\u201d, m\u0103rturisea \u00eentr-un interviu prozatorul obsedat de rescriere, asemeni lui Hemingway), iar povestirea omonim\u0103, deja scris\u0103, n-a mai ap\u0103rut acolo pentru c\u0103 nu se potrivea cuprinsului. Ambele proze s\u00eent v\u00eerfurile acestui volum, demonstr\u00eend c\u0103 fina schimbare de optic\u0103 narativ\u0103 (rezultat\u0103 din desp\u0103r\u021birea de editorul Gordon Lish, un campion al austerit\u0103\u021bii \u0219i brevit\u0103\u021bii) era de bun augur.<\/p>\n\n\n\n<p>Cariera literar\u0103 a lui Carver a \u00eenceput imediat dup\u0103 ce s-a \u00eencheiat cea de alcoolic (\u201eLocul de unde te sun\u201d, alt v\u00eerf al c\u0103r\u021bii, este, poate, cea mai biografic\u0103 proz\u0103 a lui \u2013 cel pu\u021bin \u00een spirit, dac\u0103 nu \u00een liter\u0103) \u0219i a fost o carier\u0103 care s-a conturat \u00eentr-un timp remarcabil de scurt: practic, a fost recunoscut ca un maestru al prozei scurte \u00een decurs de doar cinci ani.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u00cen ciuda premizelor banale, situa\u021biile s\u00eent complicate emo\u021bional \u0219i psihologic, con\u021bin detalii stranii, c\u0103p\u0103t\u00eend, astfel, ad\u00eencimea apelor calme.<\/p><\/blockquote>\n\n\n\n<p>De aceea, tematic vorbind, Carver scrie \u0219i \u00een aceast\u0103 a treia sa carte tot despre oameni simpli \u0219i banali, confrunta\u021bi cu anxietatea, lipsa dispozi\u021biei \u0219i a sensului, cu sentimentul pierderii \u0219i r\u0103t\u0103cirii; oameni ale c\u0103ror griji s\u00eent legate de bani, slujbe, acoperi\u0219ul de deasupra capului; b\u0103rba\u021bi (o singur\u0103 proz\u0103 are ca protagonist\u0103 o femeie) cu probleme de rela\u021bie \u0219i \u00een c\u0103snicie (\u201eprefer dialogul \u00eentre oameni care nu se ascult\u0103\u201d, spunea Carver, iar proza \u201eCu b\u0103gare de seam\u0103\u201d ilustreaz\u0103 perfect acest aspect), e\u0219u\u00eend \u00een alcoolism (be\u021bivanii lui tri\u0219ti s\u00eent diferi\u021bi de cei charismatici ai lui Bukowski sau de cei violen\u021bi ai lui Dennis Johnson), \u00eenfrunt\u00eend, f\u0103r\u0103 prea multe urme de \u00een\u021belegere a vie\u021bii, pericolul izol\u0103rii, abandonului \u0219i rat\u0103rii.<\/p>\n\n\n\n<p>R\u0103m\u00eene remarcabil\u0103 aparenta banalitate a scenelor \u0219i a situa\u021biilor din aceste 12 proze: un cuplu viziteaz\u0103 alt cuplu care au un bebelu\u0219 hidos \u0219i \u021bin un p\u0103un ca animal de companie. Un alt cuplu prime\u0219te vizita unui vechi prieten al so\u021biei, orb \u0219i proasp\u0103t v\u0103duv. O femeie \u00ee\u0219i viziteaz\u0103 b\u0103rbatul mutat de acas\u0103 \u0219i ajunge s\u0103-i scoat\u0103 cerumenul din ureche. Un b\u0103rbat pune la cale o ie\u0219ire \u00een ora\u0219 \u0219i o infidelitate cu angajata so\u021biei sale, femeie lefter\u0103 pe care un soldat negru proasp\u0103t \u00eentors din Vietnam se ofer\u0103, chiar sub nasul lui, s-o pl\u0103teasc\u0103 pentru o fela\u021bie \u00een parcarea barului. Un b\u0103rbat r\u0103m\u00eene s\u0103 se descurce singur cu copiii (\u0219i nu prea reu\u0219e\u0219te), \u00een timp ce so\u021bia lui, plecat\u0103 de acas\u0103 cu un coleg de serviciu al so\u021bului, \u00eel sun\u0103 s\u0103-i vorbeasc\u0103 despre noul curs fericit al vie\u021bii ei. Un cuplu \u00ee\u0219i pierde copilul \u00een urma unui accident petrecut chiar de ziua b\u0103ie\u021belului \u0219i nu mai apuc\u0103 s\u0103 ridice tortul aniversar, situa\u021bie care duce la conflict \u0219i h\u0103r\u021buire din partea unui cofetar demn de mil\u0103 (proz\u0103 ecranizat\u0103 de Robert Altman \u00een <em>Short Cuts<\/em>, 1993).<\/p>\n\n\n\n<p>\u00cen ciuda premizelor banale, situa\u021biile s\u00eent complicate emo\u021bional \u0219i psihologic, con\u021bin detalii stranii, c\u0103p\u0103t\u00eend, astfel, ad\u00eencimea apelor calme. Schimbarea acestei ultime c\u0103r\u021bi, de care vorbeam la \u00eenceput, vine din abordarea narativ\u0103 explicat\u0103 chiar de scriitor: \u201eStilul e mai plin, mai generos, iar prozele \u2013 mai dezvoltate, au b\u0103taie mai lung\u0103, s\u00eent mai puternice \u0219i mai pline de speran\u021b\u0103. Dar nu a fost ceva inten\u021bionat, pur \u0219i simplu circumstan\u021bele vie\u021bii mele s-au schimbat, nu mai beau \u0219i s\u00eent mai b\u0103tr\u00een. Mi s-au \u00eent\u00eemplat lucruri\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tematic vorbind, Carver scrie \u0219i \u00een aceast\u0103 a treia sa carte tot despre oameni simpli \u0219i banali, confrunta\u021bi cu anxietatea, lipsa dispozi\u021biei \u0219i a sensului, cu sentimentul pierderii \u0219i r\u0103t\u0103cirii.<\/p>\n","protected":false},"author":9,"featured_media":1721,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[59,52],"tags":[324,88,325,87,239,128,323,199],"coauthors":[],"class_list":["post-1720","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flashbook","category-rubrici","tag-catedrala","tag-flashbook","tag-horia-florian-popescu","tag-marius-chivu","tag-nr-2-3-2021","tag-polirom","tag-raymond-carver","tag-traducere"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/04\/Raymond-Carver-Catedrala.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1720","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\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1720"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1720\/revisions"}],"predecessor-version":[{"id":1722,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1720\/revisions\/1722"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/1721"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1720"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1720"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1720"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=1720"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}