{"id":1811,"date":"2021-04-12T16:14:21","date_gmt":"2021-04-12T13:14:21","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=1811"},"modified":"2021-04-12T16:14:28","modified_gmt":"2021-04-12T13:14:28","slug":"intimitati-stranii","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=1811","title":{"rendered":"Intimit\u0103\u021bi stranii"},"content":{"rendered":"\n
\"\"
Mircea Andrei Florea, Larvae<\/em>, Casa de Editur\u0103 Max Blecher, 2020, 70 p.<\/figcaption><\/figure><\/div>\n\n\n\n

Dintre debuturile poetice autohtone ale anului trecut care s-au deta\u0219at valoric (Deniz Otay, Mircea Andrei Florea, Teona Galgo\u021biu, Dumitru Fanfarov \u0219i Vlad Mu\u0219at), numai unul a \u00eendr\u0103znit s\u0103 reconceptualizeze \u00een lumina celor mai recente teorii ecocritice raportul \u2013 supraexploatat, desigur, de la neomodernism \u00eencoace \u2013 dintre spa\u021biu \u0219i corporalitate. Este vorba despre Larvae<\/em>, volumul de debut \u00eendelung a\u0219teptat al lui Mircea Andrei Florea, cel care \u00ee\u0219i mai etalase proiectul-pilot \u00een 2017, \u00een format digital, la Editura Khora Impex, sub titlul Xeno Canto<\/em>.<\/p>\n\n\n\n

Beneficiind de prerogativele unui thriller psihologic SF \u00een toat\u0103 regula (trimiterea, de pe coperta 4, a Olg\u0103i \u0218tefan la Donnie Darko nu e \u00eent\u00e2mpl\u0103toare), versurile din Larvae<\/em> investigheaz\u0103 senzorial condi\u021bia subiectului suspendat undeva \u00eentre dimensiunile normalului \u0219i paranormalului. Etimologia leitmotivului c\u0103r\u021bii ne d\u0103 dreptate \u00een acest sens, \u00eentruc\u00e2t \u201elarvae\u201d e termenul latinesc pentru \u201efantome\u201d. Astfel de fiin\u021be \u2013 care de\u0219i sunt perceptibile, se situeaz\u0103 ontologic la limita dintre carnal \u0219i spiritual \u2013 paraziteaz\u0103 c\u00e2mpurile vizual \u0219i tactil ale protagonistului.<\/p>\n\n\n\n

Grotescul biologic se decanteaz\u0103 abia \u00een decupajele principale ale celor trei sec\u021biuni ale c\u0103r\u021bii, acolo unde prezen\u021ba eului aflat \u00een stadiu de larv\u0103 asimileaz\u0103 toate particularit\u0103\u021bile mediului \u00eenconjur\u0103tor.<\/p><\/blockquote>\n\n\n\n

Aceste organisme aflate \u00een prima faz\u0103 evolutiv\u0103 dup\u0103 ie\u0219irea din ou<\/em> din bestiarul lui Florea au o morfologie cel pu\u021bin bizar\u0103. \u201e[I]dentific prezen\u021b\u0103 mutant\u0103\/ de la mare distan\u021b\u0103\u201d, afirm\u0103 poetul \u00een un enun\u021b m\u0103 poate bloca sute de ani<\/em>, \u0219i \u00eentr-adev\u0103r intersti\u021biile volumului sunt pres\u0103rate, amintindu-ne de construc\u021bia discursului narativ din Zenobia<\/em> naumian\u0103, cu pasaje gazet\u0103re\u0219ti surprinz\u00e2nd evenimente neobi\u0219nuite. Jalon\u00e2nd experien\u021bele imediate ale eului, anun\u021burile cu pricina func\u021bioneaz\u0103 ca ni\u0219te geamanduri ale imaginarului, puncte extreme ale cadrului revelator. Cobre cu dou\u0103 capete, vi\u021bei bicefali, prunci siamezi, balene gemene, tineri licantropi \u0219i ligri \u2013 \u00een jurul unor astfel de stihii graviteaz\u0103 misterul latent oripilant al acestor versuri.<\/p>\n\n\n\n

Grotescul biologic se decanteaz\u0103, \u00eens\u0103, abia \u00een decupajele principale ale celor trei sec\u021biuni ale c\u0103r\u021bii, acolo unde prezen\u021ba eului aflat \u00een stadiu de larv\u0103 asimileaz\u0103 toate particularit\u0103\u021bile mediului \u00eenconjur\u0103tor: \u201eam v\u0103zut pe sub ap\u0103\/ dih\u0103nii cu m\u0103\u0219ti de urs, de bizon, de vulpe \u0219i lup\/ care \u00ee\u0219i i\u021beau capetele aproape de mal.\u201d (\u00eenchid ochii, sunt \u00een casa de var\u0103, g\u0103sit\u0103 de tata<\/em>). \u00cen acest punct, Mircea Andrei Florea reu\u0219e\u0219te s\u0103 construiasc\u0103 \u00een Larvae<\/em> un protagonist mutant instinctual, extatic \u0219i curios, lubric \u0219i endocrin, cu un contur lichefiat de o lumin\u0103 extern\u0103 de diverse intensit\u0103\u021bi. Analiz\u00e2ndu-se minu\u021bios la tot pasul (\u201eneted, hipersensibil\/ retractil la contact\/ mirosind a clor\u201d), acest organism central dob\u00e2nde\u0219te o con\u0219tiin\u021b\u0103 de sine tran\u0219ant\u0103: \u201easexuat\/ pe parcurs alegerile-mi vor detona\/ alte alegeri posibile\u201d (am v\u0103zut <\/em>lost, primul sezon<\/em>). Stadiul de larv\u0103 devine astfel \u0219i suma tuturor posibilit\u0103\u021bilor de metamorfoz\u0103. Iar metamorfoza permite specula\u021bii proto-istorice, experimentale, precum \u00een unii oameni pot s\u0103 \u00ee\u0219i mi\u0219te urechile, al\u021bii<\/em>. Miza c\u0103r\u021bii pe acest segment se joac\u0103.<\/p>\n\n\n\n

Toate corpurile cu care intr\u0103 \u00een contact subiectul-larv\u0103 reprezint\u0103 pentru el \u201estr\u0103ini stranii\u201d (arrivant<\/em>), asemeni celor defini\u021bi, pe linia lui Derrida, de Timothy Morton \u00een G\u00e2ndirea ecologic\u0103<\/em>[1]<\/a>. Pe scurt, \u00een cazul lui repeti\u021bia familiarului na\u0219te stranietatea (\u201ecorpus bizar\/ cu care po\u021bi s\u0103 te obi\u0219nuie\u0219ti \u0219i el tot mai bizar s\u0103 \u00ee\u021bi par\u0103\u201d, a fost o sear\u0103 superb\u0103, dup\u0103 ce muncitorii au plecat<\/em>), prin urmare nu e nevoie ca acesta s\u0103 \u00ee\u0219i schimbe coordonatele spa\u021biale ca realitatea s\u0103 se curbeze din ce \u00een ce mai mult \u0219i s\u0103 \u00eenceap\u0103 s\u0103-i joace feste. Ca \u00een The OA <\/em>(2016-2019); ca \u00een Dark <\/em>(2017-2020).<\/p>\n\n\n\n

For\u021ba poeziei din Larvae<\/em> st\u0103, f\u0103r\u0103-ndoial\u0103, \u00een felul cum \u00ee\u0219i livreaz\u0103 reveriile.<\/p><\/blockquote>\n\n\n\n

Organismele din Larvae<\/em> interac\u021bioneaz\u0103 pe principiul parazit\u0103rii (parazitarea metafizic\u0103 are loc \u0219i ea, numai c\u0103 prin actul observ\u0103rii<\/em> \u2013 \u201esclavageam soarele\u201d), majoritatea confirm\u00e2nd imposibila echitate \u00een rela\u021biile inter- \u0219i intracorporale: \u201ecau\u021bi o gazd\u0103, ieri ai fost larv\u0103, cur\u00e2nd\/ vei fi prad\u0103, e\u0219ti nervoas\u0103, dar las\u0103\/ r\u0103coarea artificial\u0103\/ s\u0103 te \u00eencetineasc\u0103\u201d (te plimbi din camer\u0103 \u00een camer\u0103, te opre\u0219ti<\/em>), \u201ecel mai adesea\/ m\u0103 simt lipsit\/ de instinct\/\/ hibrid, imit spa\u021biul\/ ce m-a primit\u201d (cel mai adesea<\/em>), \u201everminele (…) \u00een\u021beleg ultimul scop\/\/ s\u0103 l\u00e2ncezeasc\u0103 n (sic!<\/em>) p\u0103m\u00e2nt, s\u0103 se prefac\u0103 n (sic!<\/em>) petrol\u201d (verminele nu simt ur\u0103 ca oamenii<\/em>). Derularea acestor \u00eent\u00e2mpl\u0103ri microcosmice creeaz\u0103 nu o dat\u0103 senza\u021bia unei macro-contraipostazieri \u2013 realitatea ca simulare. Numai excitabilitatea recurent\u0103 face ca itemii informa\u021bionali s\u0103 nu pun\u0103 monopol pe aceast\u0103 lume, \u00eengr\u0103dind-o matriceal.<\/p>\n\n\n\n

For\u021ba poeziei din Larvae<\/em> st\u0103, f\u0103r\u0103-ndoial\u0103, \u00een felul cum \u00ee\u0219i livreaz\u0103 reveriile. De pild\u0103, invocarea din iepure famelic<\/em> e capabil\u0103 s\u0103-i dea fiori chiar \u0219i celui mai stoic cititor: \u201eiepure famelic\/ ajuns la canibalism\/\/ iepure telepatic, vorbe\u0219te\/ cu mine prin vis\/\/ \u00ee\u021bi ofer spiritul \u0219i carnea\/ ce le port peste mine\/\/ \u00ee\u021bi ofer spiritul, carnea\/ \u0219i amintirile mele\/ vorbe\u0219te cu mine\u201d. Prin rimele \u0219i asonan\u021bele care trosnesc natural, pe filiera unui Ni\u021bescu, pe la \u00eencheieturile c\u00e2te unei strofe, versurile lui Florea reu\u0219esc nu de pu\u021bine ori s\u0103 radieze dincolo de obiectul contemplat: \u201ese preface naiv\u0103 \u0219i e trist\u0103\/ c\u0103 a\u0219a trebuie s\u0103 se prefac\u0103\/ la \u00eenceput m\u0103 deranja\/ acum m\u0103 excit\u0103\u201d (e fata asta pe youtube, face asmr<\/em>).<\/p>\n\n\n\n

Ceea ce ar fi fost, totu\u0219i, de evitat \u00een construc\u021bia acestui proiect poetic de debut sunt inser\u021biile realist-antropocentrice offtopic<\/em>, acestea perturb\u00e2nd atmosfera intim\u0103 a organismului protagonist. Ba mai mult, motivele precum banii, facultatea, chevroletul cruiser, serialele, filmele porno, raioanele de la supermarket etc. transport\u0103 eul \u00eenapoi din reveria psiho-chimic\u0103 (\u201etrip\u201d) a fiin\u021belor non-umane bizare, \u00een lumea material-moral\u0103 a umanoizilor: \u201e\u00een timpul s\u0103pt\u0103m\u00e2nii tata pleca (…)\/ s\u0103 v\u00e2nd\u0103 \u0219ampon \u0219i cosmetice naturale\/ s\u0103-i introduc\u0103 pe oameni din sate\/ \u00een schemele sale piramidale\u201d (\u00eenchid ochii, sunt \u00een casa de var\u0103, g\u0103sit\u0103 de tata<\/em>). Ecologie \u00eentrerupt\u0103 de economie \u2013 dou\u0103 domenii surori, dar vitrege. Nu mai pu\u021bin deranjante sunt \u0219i unele striden\u021be precum masturbarea excesiv\u0103 \u0219i micro-scabrozit\u0103\u021bile fiziologice care, coroborate cu instrumentele capitaliste sus-\u00een\u0219irate, coboar\u0103 scenariile poemelor de pe lamel\u0103 direct \u00een strad\u0103.<\/p>\n\n\n\n

Cu toate aceste glitch<\/em>-uri discursive greu de integrat \u00een ansamblul c\u0103r\u021bii, Larvae<\/em> r\u0103m\u00e2ne unul dintre pu\u021binele volume de poezie ale lui 2020 \u00een care limbajul, experiment\u00e2nd torsiuni corpo-spa\u021biale stranii, se coaguleaz\u0103 cu succes \u00eentr-un concept unitar. <\/p>\n\n\n\n

\n\n\n\n

[1] Timothy Morton, G\u00e2ndirea ecologic\u0103<\/em>, Editura frACTalia, Bucure\u0219ti, 2020, trad. de Andrei Dobo\u0219.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cobre cu dou\u0103 capete, vi\u021bei bicefali, prunci siamezi, balene gemene, tineri licantropi \u0219i ligri \u2013 \u00een jurul unor astfel de stihii graviteaz\u0103 misterul latent oripilant al acestor versuri.<\/p>\n","protected":false},"author":14,"featured_media":1813,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[110,106,343,177,342,239],"coauthors":[],"class_list":["post-1811","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-casa-de-editura-max-blecher","tag-cronica-literara","tag-larvae","tag-mihok-tamas-2","tag-mircea-andrei-florea","tag-nr-2-3-2021"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/04\/Mircea-Andrei-Florea-Larvae.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1811","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\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1811"}],"version-history":[{"count":3,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1811\/revisions"}],"predecessor-version":[{"id":1816,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/1811\/revisions\/1816"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/1813"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1811"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=1811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}