{"id":3105,"date":"2021-10-10T08:28:54","date_gmt":"2021-10-10T05:28:54","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=3105"},"modified":"2021-10-10T08:28:59","modified_gmt":"2021-10-10T05:28:59","slug":"constiinta-postcoloniala-a-lui-homo-sapiens","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=3105","title":{"rendered":"Con\u0219tiin\u021ba postcolonial\u0103 a lui homo sapiens<\/i>"},"content":{"rendered":"\n
\"\"
Orlando Bala\u0219, terra 2.0<\/em>, Editura Brumar, Timi\u0219oara, 2021<\/figcaption><\/figure><\/div>\n\n\n\n

O liric\u0103 moralizatoare intransigent\u0103 exerseaz\u0103 Orlando Bala\u0219 \u00een terra 2.0<\/em>, universitarul or\u0103dean marc\u00e2ndu-\u0219i astfel \u00eentoarcerea la poezie dup\u0103 nu mai pu\u021bin de 26 de ani de la placheta Borderline<\/em>. Proiectul de debut este continuat \u00eentr-un mod inedit, poetul aleg\u00e2nd s\u0103-i rescrie \u0219i reboteze ultimul poem pentru a-l plasa, ca pe o ars poetica, la \u00eenceputul noii sale c\u0103r\u021bi[1]<\/a>. Totu\u0219i, dincolo de nonconformismul evident, cele dou\u0103 volume au prea pu\u021bine elemente \u00een comun, miza poetic\u0103 f\u0103c\u00e2nd un salt considerabil din sfera psihologic\u0103 \u00een cea ecologic\u0103.<\/p>\n\n\n\n

Portavoce a intelighen\u021biei de st\u00e2nga, Bala\u0219 reviziteaz\u0103 \u00een terra 2.0<\/em> nu neap\u0103rat forme poetice vetuste, c\u00e2t reflec\u021bii de o sobrietate aparent demodat\u0103, \u00een zilele noastre tot mai neglijate \u0219i mai camuflate \u00een discursuri exclusiviste. Pragmatismul modului de abordare a lan\u021bului cauzal resurse-consum-satisfac\u021bie traverseaz\u0103 \u00eentreg volumul, impun\u00e2nd o critic\u0103 eminamente postcolonial\u0103 a mecanismelor profitului practicate de magna\u021bii lumii \u00een dauna comunit\u0103\u021bilor b\u0103\u0219tina\u0219e \u0219i, \u00een general, a ecosistemelor. De mila vie\u021buitoarelor p\u0103gubite, fie ele plante, animale sau oameni \u201eai locului\u201d, autorul nu ezit\u0103 s\u0103 \u00eenfiereze sistemul asupritorilor: \u201epentru c\u0103 virusul suprem\/ homo deus\/ nu a \u00eenv\u0103\u021bat\/ s\u0103-\u0219i lase \u00een via\u021b\u0103 gazda\u201d (virus<\/em>), \u201evin din dou\u0103 lumi\/ care nu se ating dec\u00e2t cu oroare\u201d (doar \u00een vis<\/em>), \u201epre\u021bul confortului t\u0103u\/ \u00eel pl\u0103te\u0219te \u00eentotdeauna cineva\u201d (dac\u0103<\/em>).<\/p>\n\n\n\n

\u00cen siajul observa\u021biei exacte a Victoriei Diaconescu din prefa\u021ba volumului, potrivit c\u0103reia principalul front de tensiune al versurilor se produce \u00eentre \u201egrandoarea universului\u201d \u0219i \u201egrandomania omului\u201d, putem spune c\u0103 terra 2.0<\/em> \u00ee\u0219i calibreaz\u0103 mesajul \u00een virtutea a dou\u0103 discursuri ideologice complementare, unul de natur\u0103 filozofic\u0103, iar cel\u0103lalt \u2013 politic\u0103.<\/p>\n\n\n\n

\u00cent\u00e2i, e necesar s\u0103 remarc\u0103m faptul c\u0103, la nivel filozofic, acest tip de poezie are ca scop suprimarea dihotomiei om-natur\u0103, amintindu-i primului c\u0103 e parte integrant\u0103 a naturii, \u0219i nu vreun zeu industrial asupra c\u0103ruia efectele dezastruoase ale propriilor politici nu se pot r\u0103sfr\u00e2nge. Gr\u0103itor \u00een acest sens se prezint\u0103 poemul centrul universului<\/em>, una dintre piesele de rezisten\u021b\u0103 ale volumului, care, folosindu-se de tu\u0219ele groase ale ironiei, subliniaz\u0103 grotescul l\u0103comiei umane.<\/p>\n\n\n\n

Aici intervine \u0219i argumentul politic al lui Bala\u0219: mai-binele material urm\u0103rit constant de a\u0219a-numitul capitalism t\u00e2rziu atrage dup\u0103 sine inevitabil un mai-r\u0103u spiritual, care, \u00een cazul ignor\u0103rii semnalelor de alarm\u0103, poate duce societatea \u00een prag de colaps. Apel\u00e2nd la idea\u021bii confesive, poetul nu ezit\u0103 s\u0103-l pun\u0103 la zid pe om, ca specie cotropitoare, avid\u0103 de proprietate: \u201em\u00e2inile noastre au cules roade\/ au defri\u0219at \u0219i au desecat\/ au plantat \u0219i au recoltat\/ alung\u00e2ndu-i \u0219i \u00eenrobindu-i\/ pe ceilal\u021bi\/\/ papilele noastre gustative au frem\u0103tat\/ la tot ce umbl\u0103, \u00eenoat\u0103 sau zboar\u0103\/ la tot ce mi\u0219c\u0103 \u00een adierea v\u00e2ntului\/ paji\u0219tile, savanele, p\u0103durile \u0219i r\u00e2urile\/ au f\u0103cut loc fabricilor noastre de proteine\u201d (m\u00e2nc\u0103torul de lumi<\/em>), \u201eprive\u0219te-\u021bi m\u00e2na \u0219i vezi cerul\/ din care p\u0103s\u0103rile cad sufocate de fum\/ cerul plin de pucioas\u0103 \u0219i gaze de e\u0219apament\/ din care cade ploaia acid\u0103 pe c\u00e2mpuri \u0219i case\/\/ prive\u0219te-\u021bi m\u00e2na\/ dincolo de ea\/ e\u0219ti tu\u201d (aer<\/em>), \u201enu mai ai unde s\u0103 te ascunzi\/ lumea ta e acum\/ lumea noastr\u0103\/\/ cine m\u0103n\u00e2nc\u0103 pe cine\u201d (man eating tiger<\/em>), \u201eah, cum am triumfat noi\/ asupra \u00eentregii lumi\/ cu moartea pe via\u021b\u0103 c\u0103lc\u00e2nd!\u201d (m\u00e2ine e un zid de piatr\u0103 \u0219i foc<\/em>). Tot a\u0219a, sf\u00e2r\u0219itul poemului intitulat plastic<\/em> eviden\u021biaz\u0103, printr-o trimitere goethean\u0103 la figura ucenicului vr\u0103jitor, crizele globale corelate cu iluzia omniscien\u021bei umane, care, odat\u0103 sc\u0103pate de sub control, mai pot fi doar t\u0103r\u0103g\u0103nate o vreme, nu \u0219i rezolvate.<\/p>\n\n\n\n

\u00cen definitiv, Orlando Bala\u0219 critic\u0103 f\u0103\u021bi\u0219 necesitatea progresului economic, slalomul s\u0103u cvasi-necontrolat \u00eentru pomparea statisticilor (\u201eslujim\/ zeului progresului\u201d, \u201e\u0219antiere\/ r\u00e2d \u00een soare\/ \u0219i \u00een ploaie\/ \u0219i \u00een ninsoare\u201d \u2013 homo faber<\/em>, pasti\u0219\u0103 a noilor regimuri deloc eco-friendly<\/em>), depl\u00e2ng\u00e2nd \u201epre\u021bul\u201d pl\u0103tit de \u201enatur\u0103\u201d pentru reformele f\u0103cute \u00een numele civiliza\u021biei<\/em>. Astfel, mult uzata \u0219i instrumentalizata sintagm\u0103 de \u201eprogres al umanit\u0103\u021bii\u201d apare \u00een aceste versuri, cu ecouri din literatura popular\u0103 anglo-saxon\u0103, ca un veritabil antagonist \u2013 r\u0103ul absolut: \u201ec\u00e2ndva\/ vom tr\u0103i\/ mai bine\/ p\u00e2n\u0103 atunci\/ progresul\/ ne face\/ mai buni\/ mai boga\u021bi\u201d (homo faber<\/em>).<\/p>\n\n\n\n

Chestionarea macro-problemei aluvioneaz\u0103, desigur, \u0219i critici cu privire la unele neajunsuri sociale conexe. De aceea, \u00een poemele din terra 2.0<\/em> \u00eent\u00e2lnim o sumedenie de raport\u0103ri auctoriale la discursul poetic socialmente angajat: analize infra-senzoriale ale metamorfozelor survenite \u00een mediu din cauza interven\u021biilor agresive ale omului (diminea\u021ba la munte<\/em>), desacraliz\u0103ri ale mitului stereotipiilor animaliere (\u201euit\u0103 cartea de pove\u0219ti\/ uit\u0103 ce te-au \u00eenv\u0103\u021bat\u201d, uit\u0103<\/em>), nostalgii dup\u0103 toposurile de basm ale copil\u0103riei (p\u0103durea<\/em>), precum \u0219i replici \u00een\u021bep\u0103toare adresate politicienilor antipatiza\u021bi (\u201ehomo faber\/ m\u0103car \u0103sta face\/ m\u0103car se vede ceva\/ m\u0103car\/ a\u0219teptarea noastr\u0103\/ are un sens\u201d, homo faber<\/em>). De-a lungul acestor demersuri, poetul pledeaz\u0103 pentru ideea c\u0103 autonomia esteticului este, \u00een ceea ce prive\u0219te discursurile publice (unde intr\u0103, iat\u0103, \u0219i literatura), pro-via\u021b\u0103 \u00een aceea\u0219i m\u0103sur\u0103 \u00een care e pro-extinc\u021bie, \u0219i, deci, c\u0103 ar fi gre\u0219it s\u0103 ne raport\u0103m la valorile estetice ca la ni\u0219te virtu\u021bi redemptorii: \u201elumina soarelui se reflect\u0103\/ \u00een solzii lui ca \u00eentr-un\/ curcubeu arcuit \u00een carne\/ apoi devine mat\u0103\/ \u0219i se stinge\u201d (p\u0103str\u0103vul<\/em>).<\/p>\n\n\n\n

Chiar \u0219i a\u0219a, cu dimensiunea estetic\u0103 trecut\u0103 pe plan secund, poezia lui Bala\u0219 propune o stilistic\u0103 \u0219i un limbaj specifice, dovad\u0103 c\u0103 ecologismul travestit \u00een poezie nu e doar manifest. Miz\u00e2nd pe o poetic\u0103 a uimirii \u00een fa\u021ba puzderiilor, poemul lumin\u0103<\/em>, de pild\u0103, \u00eenf\u0103\u021bi\u0219eaz\u0103 \u2013 amintind de unele versete biblice ale lui Solomon, dar \u0219i de cunoa\u0219terea luciferic\u0103 teoretizat\u0103 de Blaga \u2013 o interioritate absolvit\u0103 de eu, radiind \u00een fa\u021ba vastit\u0103\u021bii universului. C\u00e2nd nu treb\u0103luie\u0219te la institu\u021bia uimirii, Bala\u0219 parabolizeaz\u0103 neechivoc (dac\u0103<\/em>, teiul <\/em>etc.). Aceast\u0103 franche\u021be a timbrului poetic permite, \u00een r\u0103stimpuri, fulgura\u021bii de sarcasm necru\u021b\u0103tor, a\u0219a cum se \u00eent\u00e2mpl\u0103 \u00een petrecere<\/em>, poem maimu\u021b\u0103rind elita meritocra\u021bilor (\u201emar\u0219 triumfal\/ chelneri p\u0103\u0219ind solemn\/ purcelu\u0219i \u00een aspic\/ somon pe legume mediteraneene\/ sarmale flambate din carne de ra\u021b\u0103\/ pe pat de sparanghel \u0219i crispy bacon\/ fantezie de mu\u0219chi de vi\u021bel\/ \u00een reduc\u021bie de zmeur\u0103\/ petrecere cu ai t\u0103i\/ cu specia ta\/ care a \u00eenvins \u0219i a \u00eenrobit\/ toate celelalte specii\u201d), sau \u00een civiliza\u021bie<\/em> (\u201edeschidem caserola \u0219i ne m\u00e2nc\u0103m carnea (…)\/\/ ne respect\u0103m, avem grij\u0103\/ de trupul nostru de unic\u0103 folosin\u021b\u0103\/ de calitatea vie\u021bii noastre de unic\u0103 folosin\u021b\u0103\/ pe o planet\u0103 de unic\u0103 folosin\u021b\u0103\u201d).<\/p>\n\n\n\n

Dac\u0103 i se poate imputa ceva poeziei lui Orlando Bala\u0219 din terra 2.0<\/em>, acela e tonul r\u0103spicat cu care \u00ee\u0219i itereaz\u0103 imperiozit\u0103\u021bile. Pornit s\u0103 combat\u0103 complexul de masacre comise asupra naturalului<\/em> de c\u0103tre factorul civilizator, probabil c\u0103 un discurs ce face dispens\u0103 de anumite norme discursive, prin licen\u021be biosemantice, ar fi fost mai potrivit pentru a ilustra for\u021ba poeticului ereditar, pre-lingvistic. De asemenea, unele finaluri sunt previzibile, fiind totu\u0219i salvate ideatic de caracterul lor parimicesc centripet. Nu \u00een ultimul r\u00e2nd, unei voci exigente precum e cea a lui Orlando Bala\u0219 i se poate \u00eent\u00e2mpla s\u0103 provoace, la o adic\u0103, falii de autoironie involuntar\u0103, ca \u00een poemul verde<\/em>, articulat \u00een a\u0219a manier\u0103, \u00eenc\u00e2t devine imposibil s\u0103 nu cad\u0103, f\u0103r\u0103 voia autorului, la cap\u0103tul opus al interpret\u0103rii cu care a fost \u00eenzestrat.<\/p>\n\n\n\n

Posibil ca unii cititori ai terrei 2.0<\/em> s\u0103 conchid\u0103 c\u0103 autorul acestor versuri moralizeaz\u0103 \u00een exces, repro\u0219 ce nu ar putea fi acuzat de fantezie sau rea-voin\u021b\u0103. Numai c\u0103 Bala\u0219 nu se desprinde de manivela semnalului de alarm\u0103 tocmai \u00eentr-un moment extrem de delicat din punct de vedere climatic, iar acest aspect concludent ar trebui nu doar s\u0103-i ierte instrumentalizarea poeziei de dragul S.O.S.-ului colectiv, ci \u0219i s\u0103 o impun\u0103 \u00eentre discursurile literare frunta\u0219e. Cum altfel ai putea dob\u00e2ndi modera\u021bia, homo sapiens<\/em>, dec\u00e2t prin administrarea unei doze a consecin\u021belor crizei \u00een linguri\u021ba cu dulcea\u021b\u0103?<\/p>\n\n\n\n

\n\n\n\n

[1] Astfel pare s\u0103 se \u00eemplineasc\u0103 \u201eprofe\u021bia\u201d Ruxandrei Cesereanu, cea care afirm\u0103 \u00een prefa\u021ba volumului de debut al lui Orlando Bala\u0219 \u201ec\u0103 Borderline<\/em> trebuie s\u0103 fie doar prefa\u021ba unui text viitor.\u201d.<\/p>\n","protected":false},"excerpt":{"rendered":"

Bala\u0219 nu se desprinde de manivela semnalului de alarm\u0103 tocmai \u00eentr-un moment extrem de delicat din punct de vedere climatic, iar acest aspect concludent ar trebui nu doar s\u0103-i ierte instrumentalizarea poeziei de dragul S.O.S.-ului colectiv, ci \u0219i s\u0103 o impun\u0103 \u00eentre discursurile literare frunta\u0219e.<\/p>\n","protected":false},"author":14,"featured_media":3106,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[668,140,177,642,666,667],"coauthors":[],"class_list":["post-3105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-brumar","tag-critica-literara","tag-mihok-tamas-2","tag-nr-7-8-2021","tag-orlando-balas","tag-terra-2-0"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/10\/terra20.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3105","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=3105"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3105\/revisions"}],"predecessor-version":[{"id":3107,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3105\/revisions\/3107"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/3106"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3105"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3105"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=3105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}