{"id":3441,"date":"2021-12-07T12:28:11","date_gmt":"2021-12-07T09:28:11","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=3441"},"modified":"2021-12-07T12:28:18","modified_gmt":"2021-12-07T09:28:18","slug":"elegii-pentru-viitor","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=3441","title":{"rendered":"Elegii pentru viitor"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><img decoding=\"async\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-1024x1024.jpg\" alt=\"\" class=\"wp-image-3442\" width=\"600\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-1024x1024.jpg 1024w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-300x300.jpg 300w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-150x150.jpg 150w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-768x768.jpg 768w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare-480x480.jpg 480w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare.jpg 1500w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption>Ted Chiang, <em>Exalare,<\/em> traducere de Alina S\u00e2rbu \u0219i Mihai-Dan Pavelescu, Editura Nemira, 2020 \/ narat de Bogdan Iacob, 12 ore \u0219i 28 de minute, echo.ro, 2021<\/figcaption><\/figure><\/div>\n\n\n\n<p><em>Vara aceasta s-a lansat echo.ro, o platform\u0103 de audio-books cu c\u0103r\u021bi, narate integral, din portofoliul editurilor Curtea Veche, Humanitas, Nemira \u0219i Trei. Printre c\u0103r\u021bile de proz\u0103 scurt\u0103 se afl\u0103 <\/em>Povestea vie\u021bii tale<em> \u0219i <\/em>Exalare<em> de Ted Chiang, aceasta din urm\u0103 afl\u00eendu-se pe lista mea cu cele mai bune cinci c\u0103r\u021bi de proz\u0103 scurt\u0103 traduse anul trecut \u00een rom\u00e2n\u0103, list\u0103 cu care am \u00eenceput aceast\u0103 rubric\u0103.<\/em><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-dots\"\/>\n\n\n\n<p>Cu numai dou\u0103 c\u0103r\u021bi de proz\u0103 scurt\u0103 publicate \u00een aproape dou\u0103 decenii, americanul de origine chinez\u0103 Ted Chiang (n. 1967) este \u201ealtoiul\u201d a dou\u0103 ramuri literare diferite: Philip K. Dick \u0219i J. L. Borges. Sigur, autori de distopii artsy, ingenio\u0219i \u0219i neconven\u021bionali, care sfideaz\u0103 limitele genului science-fiction, av\u00eend totodat\u0103 \u0219i un stil foarte literar, s\u00eent \u0219i Margaret Atwood sau Kazuo Ishiguro, ecraniza\u021bi \u0219i \u201enobeliza\u021bi\u201d; \u00eens\u0103 Ted Chiang practic\u0103 genul scurt \u0219i o face \u00eentr-un ritm foarte lent. Pentru fiecare roman de Atwood, exist\u0103 (doar) o proz\u0103 scurt\u0103 de Chiang.<\/p>\n\n\n\n<p>Asemenea prozei care a inspirat scenariul filmului <em>Arrival, <\/em>\u00eenregia lui Denis Villeneuve, devenit instant un clasic \u00een cinematografia SF, Ted Chiang folose\u0219te tropii SF doar ca pretext \u0219i o face sub forma unor conven\u021bii narative clasice (povestirea \u00een ram\u0103, apocrifa, epistola), tonul literaturii sale, plin\u0103 de \u00eentreb\u0103ri retorice, fiind predominant elegiac. \u00centr-o sec\u021biune final\u0103 a c\u0103r\u021bii, Ted Chiang, prozator esen\u021bialmente sentimental \u0219i speculativ, deopotriv\u0103 \u0219tiin\u021bific \u0219i filozofic, dezv\u0103luie geneza ideatic\u0103, modelul stilistic \u0219i tipologia dilemelor explorate \u00een prozele sale: natura limbajului \u0219i a umanului, memoria \u0219i c\u0103l\u0103toria \u00een timp, bioetic\u0103 \u0219i AI, condi\u021bia robotic\u0103 \u0219i con\u0219tiin\u021ba speciilor, realitate virtual\u0103 \u0219i sinele alternativ, determinism \u0219i liber arbitru, crea\u021bionism \u0219i evolu\u021bionism.<\/p>\n\n\n\n<p>\u00cen proza titular\u0103, \u00eentr-un univers finit creat \u00eentr-o incint\u0103 etan\u0219\u0103, un robot, dotat cu con\u0219tiin\u021b\u0103 generat\u0103 de creieri pe baz\u0103 de foi\u021be de aur \u0219i curen\u021bi de aer, este alarmat de o borgesian\u0103 \u201eanomalie a ceasurilor\u201d \u0219i se autodisec\u0103 pentru a descoperi un proces inexorabil de egalizare a presiunii aerului care conduce la moartea inevitabil\u0103 a civiliza\u021biei sale. Din aceast\u0103 posibil\u0103 analogie dintre \u201eexalare\u201d \u0219i \u201eextinc\u021bie\u201d reiese o alegorie climatic\u0103 sub forma unei epistole elegiace plin\u0103 de lirism adresat\u0103, asemenea unei capsule a memoriei, unei civiliza\u021bii necunoscute. Acela\u0219i procedeu apare \u0219i \u00een mesajul inaudibil al unui papagal c\u0103tre omenirea \u00een s\u00eenul c\u0103reia va cunoa\u0219te \u00een cur\u00eend extinc\u021bia, proza \u201eMarea t\u0103cere\u201d fiind o fabul\u0103 poetic\u0103 a limbajului: t\u0103cerea Universului este doar expresia imposibilit\u0103\u021bii unui limbaj comun \u00eentre specii \u0219i civiliza\u021bii.<\/p>\n\n\n\n<p>Natura limbajului \u0219i a memoriei este explorat\u0103 \u0219i \u00eentr-o alt\u0103 proz\u0103: un software \u00eenlocuitor al memoriei naturale ofer\u0103 posibilitatea \u00eenregistr\u0103rii audio-video a existen\u021bei cotidiene \u0219i, implicit, a c\u0103ut\u0103rii ulterioare \u0219i a red\u0103rii \u00eentocmai a momentelor din trecutul personal, amintirile afective fiind astfel \u00eenlocuite cu faptele reale, lucru care destabilizeaz\u0103 rela\u021biile umane \u00eentruc\u00eet infidelit\u0103\u021bile memoriei joac\u0103 un rol decisiv \u00een conturarea personalit\u0103\u021bii \u0219i a identit\u0103\u021bii umane. A\u0219a cum existen\u021ba unui trib african, c\u0103ruia ni\u0219te misionari europeni \u00eei reveleaz\u0103 actul scrierii, este destabilizat\u0103 de faptul c\u0103 memoria transmis\u0103 oral de-a lungul genera\u021biilor intr\u0103 \u00een conflict cu varianta consemnat\u0103 \u00een scris, exactitatea \u0219i corectitudinea nefiind, \u00een realitatea tribului, dou\u0103 no\u021biuni identice.<\/p>\n\n\n\n<p>Cu ajutorul unor \u201epor\u021bi deschise \u00een porii realit\u0103\u021bii\u201d, un negustor arab c\u0103l\u0103tore\u0219te \u00eenainte \u0219i \u00eenapoi \u00een timp, f\u0103r\u0103 abilitatea de a putea schimba ceva, scopul fiind \u201edoar\u201d cunoa\u0219terea \u0219i acceptarea destinului, rezult\u00eend o serie de pove\u0219ti \u00een ram\u0103 ca un anti-<em>Matrix<\/em> \u00een decor de <em>O mie \u0219i una de nop\u021bi<\/em>. \u00centr-un alt scenariu, cu ajutorul unei prisme cu durat\u0103 finit\u0103 de func\u021bionare, oamenii comunic\u0103 cu sinele lor din dimensiuni paralele cauzate de divergen\u021bele cuantice ale lumii fizice, experien\u021b\u0103 a fatalit\u0103\u021bii dedubl\u0103rii care provoac\u0103 tulbur\u0103ri mentale celor invidio\u0219i pe ei \u00een\u0219i\u0219i, ne\u00eemp\u0103ca\u021bi cu existen\u021ba din propria dimensiune.<\/p>\n\n\n\n<p>Cele nou\u0103 povestiri din volumul de fa\u021b\u0103 s\u00eent definite deopotriv\u0103 de perfec\u021biunea formal\u0103 \u0219i stilistic\u0103 (fiecare are cel pu\u021bin dou\u0103 planuri, unele s\u00eent scrise \u00een limbaj arhaic, iar personajele au o identitate psihologic\u0103 bine conturat\u0103) \u0219i de documentarea \u0219tiin\u021bific\u0103 (referin\u021be reale la teorii \u0219i lucr\u0103ri de fizic\u0103 cuantic\u0103, psihologie, antropologie). Rareori un prozator a integrat \/ asimilat cu asemenea gra\u021bie \u0219tiin\u021ba \u00een poetic\u0103, umanul \u00een ma\u0219in\u0103rii, virtualul \u00een realitate.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ted Chiang folose\u0219te tropii SF doar ca pretext \u0219i o face sub forma unor conven\u021bii narative clasice (povestirea \u00een ram\u0103, apocrifa, epistola), tonul literaturii sale, plin\u0103 de \u00eentreb\u0103ri retorice, fiind predominant elegiac.<\/p>\n","protected":false},"author":9,"featured_media":3442,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[59,52],"tags":[765,88,87,504,762,89],"coauthors":[],"class_list":["post-3441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flashbook","category-rubrici","tag-exalare","tag-flashbook","tag-marius-chivu","tag-nemira","tag-nr-9-2021","tag-ted-chiang"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/exalare.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3441","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=3441"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3441\/revisions"}],"predecessor-version":[{"id":3443,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3441\/revisions\/3443"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/3442"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3441"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3441"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3441"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=3441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}