{"id":3480,"date":"2021-12-07T13:17:55","date_gmt":"2021-12-07T10:17:55","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=3480"},"modified":"2021-12-07T13:18:01","modified_gmt":"2021-12-07T10:18:01","slug":"forme-de-sinceritate-diaristica","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=3480","title":{"rendered":"Forme de sinceritate diaristic\u0103"},"content":{"rendered":"\n
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* Ana S\u0103ndulescu, La topirea ghe\u021barilor<\/em>, Casa de pariuri literare, 2021, 74 p.
** Elena Boldor, Traxx<\/em>, Editura OMG, 2021, 88 p.<\/figcaption><\/figure><\/div>\n\n\n\n

Am ales s\u0103 scriu laolalt\u0103 despre dou\u0103 debuturi din acest an \u00een special pentru c\u0103 niciunul dintre ele nu mizeaz\u0103 pe poezie \u00een sensul consacrat al cuv\u00e2ntului. Dar \u0219i datorit\u0103 deosebirilor flagrante. Dac\u0103 \u00een versurile Anei S\u0103ndulescu transpare prozatoarea (nu e coinciden\u021b\u0103 faptul c\u0103 vorbim de autoarea romanului Anamneza<\/em>) \u0219i amatoarea de istoria artei, cartea-obiect a Elenei Boldor pare a fi rezultatul altoirii jurnalului intim de teenager<\/em> cu new media<\/em> \u2013 html-uri, respectiv tweeturi, messuri \u0219i story-uri din social media<\/em>.<\/p>\n\n\n\n

Cu un titlu \u00een\u0219el\u0103tor, fals ecologist, \u00ee\u0219i face intrarea \u00een poezie Ana S\u0103ndulescu. Descriptivitatea \u0219i introspec\u021bia uzitate \u00een versurile din La topirea ghe\u021barilor<\/em> par s\u0103 fie desprinse \u2013 cu adapt\u0103rile de rigoare \u2013 din lirica lui Bola\u00f1o, sus\u021bin\u00e2nd dialogul contrapunctic \u0219i cvasi-paralel dintre dou\u0103 avataruri ale eului, Espera \u0219i Lia. Senza\u021bia e c\u0103 sub pretextul unei expozi\u021bii de traume suspendate \u00een timp, cele dou\u0103 personaje se creeaz\u0103 reciproc (ca \u00een M\u00e2ini care deseneaz\u0103<\/em> de M.C. Escher): Espera o z\u0103misle\u0219te poetic pe pictori\u021ba Lia, \u00een timp ce Lia o pl\u0103m\u0103de\u0219te plastic pe poeta Espera. Ele par s\u0103 comunice semi-telepatic drept vechi colocatare ale aceleia\u0219i con\u0219tiin\u021be (\u201ecamer\u0103\u201d \u00een care se mai i\u021besc, pur decorativ, Amelia Hern\u00e1n, Pascual In\u00e9s \u0219i V\u00edctor). Mai str\u00e2ns \u00eempletit identitar dec\u00e2t clasiciza\u021bii Dr. Jekyll \u0219i Mr. Hyde, tandemul Anei S\u0103ndulescu propune o dedublare pragmatic\u0103, menit\u0103 s\u0103 ordoneze un interior suprasolicitat. Dac\u0103 Espera se exprim\u0103 \u00een versuri, Lia, pictori\u021b\u0103 de g\u0103uri negre, prefer\u0103 s\u0103-\u0219i \u00eenf\u0103\u021bi\u0219eze idea\u021biile \u00een proz\u0103. O tactic\u0103 reu\u0219it\u0103, c\u0103ci deseori concizia Esperei contrabalanseaz\u0103 pl\u0103cut logoreea Liei.<\/p>\n\n\n\n

Structural expansiv\u0103, lirica Anei penduleaz\u0103 \u00eentre constat\u0103ri amare precum \u201eAm cunoscut viclenia celei mai bune prietene\u201d (1. Lia<\/em>), \u201eE mai profitabil s\u0103 fii asistat dec\u00e2t artist<\/em> \u00een lume.\u201d (23. Lia<\/em>), \u0219i planific\u0103ri imediate: \u201evoi picta lumi exuberante\u201d (1. Lia<\/em>). La topirea ghe\u021barilor<\/em> abund\u0103 \u00een biografeme psihologizate, valorific\u00e2nd astfel mottoul-deviz\u0103: \u201eDac\u0103 te ui\u021bi mult timp la un perete alb\/ \u00eencepi s\u0103 vezi cr\u0103p\u0103turile\u201d (Adrian Dini\u0219).<\/p>\n\n\n\n

Conflictul principal al poemelor este unul l\u0103untric, \u00eentre rutina impus\u0103 de fluxul cotidian de evenimente \u0219i impulsurile boeme: \u201eo via\u021b\u0103 normal\u0103 nu era ceea ce m\u0103 interesa, mul\u021bi corporati\u0219ti acuzau lipsa orelor \u00een zi. \u00cen interior, curgeam valuri, valuri,\/\/ \u0219tiind c\u0103 apar\u021bineam demisolului, boxei, mediilor de dilu\u021bie.\u201d (21. Lia<\/em>) Acest front na\u0219te uneori r\u0103bufniri contraidealist-ilare, precum: \u201en-am putere \u0219i nici interes s\u0103 mai fiu art\u0103\u201d (18. Espera<\/em>); alteori, paradoxal, acesta spore\u0219te sim\u021bul responsabilit\u0103\u021bii: \u201esunt o femeie matur\u0103 \u0219i \u00eemplinesc\/\/ sarcinile Marelui Ora\u0219, cum doar un mascul alfa o face.\u201d (8. Lia<\/em>) Un soi de ultraluciditate agasant\u0103 vegheaz\u0103 eul la tot pasul, bloc\u00e2nd satisfac\u021bia intelectual-artistic\u0103, dar atr\u0103g\u00e2nd revela\u021bii utile: \u201eAm priceput c\u0103 a-\u021bi cunoa\u0219te sinele e\/\/ un mu\u0219chi ce merit\u0103 antrenat, un drapel albastru ultramarin\u201d (13. Lia<\/em>), \u201ev\u0103d orice ie\u0219ire din zona de confort ca pe o osteoporoz\u0103 de care sufer\u0103 lini\u0219tea\u201d (27. Lia<\/em>).<\/p>\n\n\n\n

Nu \u00een ultimul r\u00e2nd, prea numeroasele subconflicte (sau \u201emicro-traume\u201d, cum le nume\u0219te poeta) supuse analizei \u2013 tr\u0103darea de c\u0103tre prietena apropiat\u0103, pierderea\/absen\u021ba p\u0103rin\u021bilor, capcanele rutinei (\u201edar zilele sunt abrazive\u201d, 17. Lia<\/em>), grija banilor, lipsa inspira\u021biei etc. \u2013 tind s\u0103-\u0219i poarte cititorului spre limanul satura\u021biei \u0219i al perplexit\u0103\u021bii. Acest ghem de trame ar fi meritat disecat, pe \u00eendelete, \u00een perimetre romane\u0219ti. Poate cu alt\u0103 ocazie.<\/p>\n\n\n\n

Per ansamblu, volumul las\u0103 un iz automotiva\u021bional, semn c\u0103 poezia Anei S\u0103ndulescu e \u00een primul \u0219i-n primul r\u00e2nd una de factur\u0103 terapeutic\u0103. F\u0103c\u00e2nd abstrac\u021bie de vreo patru-cinci poeme prolixe \u0219i fade, La topirea ghe\u021barilor<\/em> reprezint\u0103 debutul \u00een poezie izbutit al unei poete ambi\u021bioase, cu o verv\u0103 de nest\u0103vilit.<\/p>\n\n\n\n

De cealalt\u0103 parte, Elena Boldor exerseaz\u0103 \u00een Traxx<\/em> un discurs manifestat \u0219i teoretizat pe t\u0103r\u00e2m american relativ recent (\u00een anii 2010), iar la noi \u00eent\u00e2i, prin import, prin intermediul traducerilor ap\u0103rute \u00een revista Zona nou\u0103<\/em>[1]<\/a>, pe urm\u0103, la propriu, odat\u0103 cu debutul din 2019 al lui Tudor Pop cu placheta Softboi mimosa<\/em> (de care volumul Elenei, superior, se deta\u0219eaz\u0103 valoric). Alt-lit<\/em>, repudiat\u0103 din matc\u0103 de litera\u021bii old fashioned<\/em>, propune, \u00eenainte de toate, o nou\u0103 sinceritate, efect al drogurilor soft<\/em>. Vorbim de o aten\u021bie auctorial\u0103 schizoid\u0103 \u0219i letargic\u0103. O naivitate ce \u00eencorporeaz\u0103 ironia \u0219i care se justific\u0103 at\u00e2t chimic (tripuri), c\u00e2t \u0219i social, prin prisma alien\u0103rii capitaliste.<\/p>\n\n\n\n

Promov\u00e2nd un teribilism tehno-mesianic cu inser\u021bii de imaginar glitchcore<\/em>, textele Elenei au abilitatea de a aborda teme \u00eenalte mim\u00e2nd registre joase. Obsesia definirii sau echival\u0103rii cu c\u00e2te o tr\u0103ire adolescentin\u0103 a marilor concepte se contureaz\u0103 \u00een virtutea unui nihilism activ, de tip yolo<\/em>. Rebel\u0103 \u0219i anti-rebel\u0103 (David Foster Wallace) \u00een acela\u0219i timp, persona din Traxx<\/em> creeaz\u0103 aparen\u021ba c\u0103 vrea, mai mult dec\u00e2t orice altceva, incluziune \u2013 s\u0103 fac\u0103 parte din ceva mai mare: \u201evreau s\u0103 \u00eenv\u0103\u021b denumirile v\u00e2ntului \u00een diferite p\u0103r\u021bi ale lumii\/ \u0219i cuvinte ciudate care descriu starea de spirit pe care nu o po\u021bi explica\u201d (raver stay wif me<\/em>).<\/p>\n\n\n\n

\u00cen fapt, pe Elena o intereseaz\u0103 numai<\/em> temele filozofice majore \u2013 iubirea, moartea, extazul, adev\u0103rul, planurile realit\u0103\u021bii, sinceritatea; doar pe acestea le joac\u0103 pe degete tast\u00e2nd tweeturi \u0219i messuri facile, dar cu miez: \u201eonce i had a nightmare that paris hilton sent me to concentration camp bc i was poor\u201d, \u201eI WAS BORN ON THE INTERNET\/ I WILL DIE THE SAME WAY\u201d \u2013 ultimul, un soi de slogan al a\u0219a-numitei genera\u021bii Z.<\/p>\n\n\n\n

Minu\u021bioas\u0103, dar mereu \u00een slo-mo<\/em>, poeta reflecteaz\u0103, uneori intuitiv, alteori empiric, asemeni unui geniu precoce, asupra \u00eentrep\u0103trunderilor fizicii cu metafizica: \u201ea\u0219 putea spune c\u0103 tr\u0103iesc o revela\u021bie profund\u0103\/ a modului \u00een care lumina func\u021bioneaz\u0103 \u0219i ilumineaz\u0103 toate lucrurile\/ inclusiv percep\u021bia corpului \u0219i a convingerilor mele religioase\u201d. Fervoarea ei cerebral\u0103 se \u00eenfrupt\u0103 din fatalitate (\u201e\u00eemi voi \u0219terge toate conturile de socializare\/ pentru c\u0103 vreau s\u0103 \u0219tiu ce sim\u021bi c\u00e2nd e\u0219ti mort\u201d, raver stay wif me<\/em>), activ\u00e2nd adesea un fir delicat, dar electrizant, de sarcasm: \u201eexist\u0103 un nr. :semn infinit: de lucruri care pot fi\/ comunicate prin c\u0103utarea google de pe internet\/ mi-e team\u0103 c\u0103 nu voi muri niciodat\u0103.\u201d (raver stay wif me<\/em>)<\/p>\n\n\n\n

C\u00e2nd navigheaz\u0103 \u00een meandrele kitsch-ului senzorial, se observ\u0103 \u00een Traxx<\/em> o oarecare apropiere de Softboi mimosa<\/em> (\u201etot ce se atinge de tine poate fi posibil\u201d, \u0219tiu cine vreau s\u0103 m\u0103 duc\u0103 acas\u0103 \u00een seara asta<\/em>; \u201eeste minunat s\u0103 ai ceva de atins\u201d, singurul lucru care-mi aminte\u0219te de tine e posterul cu kate moss<\/em>; \u201ei am liking comments on youtube to show emotional support\u201d), \u00eens\u0103 acest aspect nu este definitoriu pentru proiectul Elenei. Exercitat\u0103 non\u0219alant, atitudinea predominant\u0103 de supunere benevolent-masochist\u0103 \u00een fa\u021ba alien\u0103rii (\u201esubmisivitatea e un mod legitim de a exista\u201d, my hands are touching each other because they cant touch you<\/em>) devine staza final\u0103 a instabilit\u0103\u021bii emo\u021bionale.<\/p>\n\n\n\n

Strict discursiv, surprinde pl\u0103cut faptul c\u0103, de\u0219i la debut, or\u0103deanca reu\u0219e\u0219te s\u0103-\u0219i struneasc\u0103 \u00eentregul univers ideatic cu ajutorul a numai patru tipuri de enun\u021b (de altfel, spectrul sintactic specific alt-lit<\/em>): 1) defini\u021bii\/aproxim\u0103ri\/probabilit\u0103\u021bi; 2) aser\u021biuni optative; 3) aser\u021biuni senzoriale; 4) fulgura\u021bii diaristice. Iat\u0103 portativele pe care evenimentele majore \u00eendelung a\u0219teptate se suprapun cu bagatelele, iar referin\u021bele la high-culture<\/em> (Nietzsche etc.) respectiv la pop culture<\/em> (Paris Hilton etc.) coexist\u0103 \u00een armonie.<\/p>\n\n\n\n

Elena Boldor se erijeaz\u0103 remarcabil \u00een vocea unei realit\u0103\u021bi descentrate, dispersate, renegociabile din perspectiva majorit\u0103\u021bii (pseudo)\u0219tiin\u021belor. Scris cu o luciditate consternant\u0103, Traxx<\/em> este exact ceea ce se vrea: un proiect literar dublu exclusivist, c\u0103ci un trip complex pentru (post)mileniali, respectiv un experiment ermetic-decadent pentru boomeri<\/em>.<\/p>\n\n\n\n

\n\n\n\n

[1] Nr. 3-4\/2014.<\/p>\n","protected":false},"excerpt":{"rendered":"

F\u0103c\u00e2nd abstrac\u021bie de vreo patru-cinci poeme prolixe \u0219i fade, La topirea ghe\u021barilor<\/i> reprezint\u0103 debutul \u00een poezie izbutit al unei poete ambi\u021bioase, cu o verv\u0103 de nest\u0103vilit. \/ Scris cu o luciditate consternant\u0103, Traxx<\/i> este exact ceea ce se vrea: un proiect literar dublu exclusivist, c\u0103ci un trip complex pentru (post)mileniali, respectiv un experiment ermetic-decadent pentru boomeri<\/i>.<\/p>\n","protected":false},"author":14,"featured_media":3482,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[780,189,106,782,781,177,762,774,783],"coauthors":[],"class_list":["post-3480","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-ana-sandulescu","tag-casa-de-pariuri-literare","tag-cronica-literara","tag-elena-boldor","tag-la-topirea-ghetarilor","tag-mihok-tamas-2","tag-nr-9-2021","tag-omg","tag-traxx"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/12\/colaj-tomi.001.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3480","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=3480"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3480\/revisions"}],"predecessor-version":[{"id":3483,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/3480\/revisions\/3483"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/3482"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3480"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3480"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3480"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=3480"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}