{"id":4318,"date":"2022-05-26T18:43:34","date_gmt":"2022-05-26T15:43:34","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=4318"},"modified":"2022-05-26T20:03:48","modified_gmt":"2022-05-26T17:03:48","slug":"un-come-back-calculat","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=4318","title":{"rendered":"Un come-back calculat"},"content":{"rendered":"\n<p>Pentru un volum sub\u021bire (45 pagini), ap\u0103rut la o distan\u021b\u0103 de aproximativ 8 ani fa\u021b\u0103 de debutul din <em>Ingluvii<\/em> (Charmides, 2014), <em>Clinamen<\/em> e o colec\u021bie de texte scurte destul de percutante, care lovesc din plin, \u00eenc\u0103rcate de obsesii, gesturi \u0219i imagini ritualice.<\/p>\n\n\n\n<p>N-are cum s\u0103 fie altfel, pentru c\u0103 Emanuela Ign\u0103\u021boiu-Sora scrie, de la un cap\u0103t la altul, o sintez\u0103 bine studiat\u0103 \u0219i minu\u021bioas\u0103 a vulnerabilit\u0103\u021bii \u0219i-a traumelor care-o alimenteaz\u0103. E aici o poezie a temelor mari, grave \u2013 boala \u0219i moartea \u00ee\u0219i disput\u0103 \u00een mod egal teritoriul peste tot \u2013, ni\u0219te texte care rico\u0219eaz\u0103 la tot pasul sub forma unor mici oaze de c\u0103utare a echilibrului &amp; vindecare, \u0219i care jongleaz\u0103 cu subterfugiile fricii \u0219i cele ale precarit\u0103\u021bii. \u00cei ies bine viziunile astea extatice poetei, se vede c\u0103 are ochi pentru distribu\u021bia formei \u0219i arhitectura frazelor, pentru c\u0103 imaginile pe care le construie\u0219te au un soi de frumuse\u021be \u00eencordat\u0103 care erupe \u00een c\u00e2teva locuri sub forma unor episoade cinematice reconstruite din am\u0103nunte tensionate diafane, vagi: \u201ede-am putea s\u0103 film\u0103m toate\/ obiceiurile \u00eenainte s\u0103 cad\u0103 \u00een uitare\/ m\u00e2na mamei c\u00e2nd pune la loc paharele \u00een sufragerie\/ vocile amestecate \u0219i tari, c\u00e2nd tata d\u0103 drumul la televizor\/ l\u0103tratul lui Nero c\u00e2nd cere de m\u00e2ncare\/ soarele c\u00e2nd se scufund\u0103 dup\u0103 mun\u021bi\u201d, <em>Teama<\/em> vs. \u201ec\u00e2nd eram mici ne l\u0103sam piept\u0103nate\/ \u0219i capetele noastre atingeau p\u0103durile\/ privirile noastre c\u0103utau numai \u00een sus: dup\u0103 avioane\/ ca dup\u0103 fluturi\u201d, <em>c\u00e2nd eram mici ne l\u0103sam piept\u0103nate<\/em>. Nu e nimic \u00een plus ori gratuit \u00een poezia Emanuelei Ign\u0103\u021boiu-Sora, <em>Clinamen<\/em> e un volum care vibreaz\u0103 mereu la cote \u00eenalte pe o partitur\u0103 complicat\u0103 a spaimei, pe care o traduce printr-un discurs extrem de atent la propor\u021bii, g\u00e2ndit aproape matematic.<\/p>\n\n\n\n<p>Secven\u021bele de confesiune pur\u0103, care distileaz\u0103 frica drept motivul esen\u021bial al plachetei, revin periodic, cu o frecven\u021b\u0103 aproape calculat\u0103, sub forma unor defini\u021bii tran\u0219ante care dinamiteaz\u0103 din loc \u00een loc volumul: \u201eIat\u0103 frica: un cu\u021bit ce st\u0103 s\u0103 cad\u0103\u201d, <em>Poarta s-a deschis, a spus<\/em> vs. \u201eIat\u0103 frica, un pumn \u00een stomac\/ iat\u0103 inocen\u021ba avioanelor care strivesc turnuri\/ albea\u021ba lor nesf\u00e2r\u0219it\u0103 ca diminea\u021ba din vam\u0103 c\u00e2nd ne-am s\u0103rutat\/ dragostea ca arsur\u0103 pe pielea curat\u0103 a lumii\/ inocen\u021ba pasajului de la unirii \u00eenainte s\u0103 trop\u0103ie oamenii\/ c\u00e2nd \u00eenc\u0103 e posibil s\u0103 ignor\u0103m \u00eent\u00e2mpl\u0103rile de la suprafa\u021b\u0103\u201d, <em>Iat\u0103 frica<\/em> vs. \u201eFrica:\/ un sucitor cu care spargi oase\/ o felie de p\u00e2ine pe care \u00eentinzi magiunului\/ avionul ca un sfredel \u00een pl\u0103m\u00e2nul lumii\u201d, <em>Doamna Jura m\u0103 a\u0219teapt\u0103<\/em>. Simple, stilizate &amp; dozate, \u00eens\u0103, cu precizie inginereasc\u0103, textele ei construiesc un univers coerent pe marginea convulsiilor pe care le traduc, personal \u0219i u\u0219or de recunoscut, cu toate c\u0103 nu pun la b\u0103taie un instrumentar nou.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>De la debut \u0219i p\u00e2n\u0103 acum, Emanuela Ign\u0103\u021boiu-Sora \u0219i-a rafinat viziunea poetic\u0103, iar&nbsp;<em>Clinamen<\/em>&nbsp;e un volum care merit\u0103 citit pentru radiografia rapid\u0103 \u0219i solar\u0103 a fragilit\u0103\u021bii pe care o propune la cap\u0103tul acestui proces.&nbsp;<\/p><\/blockquote>\n\n\n\n<p>\u00cen toat\u0103 odiseea asta ap\u0103sat\u0103, \u00een care vorbesc cu mult\u0103 luciditate despre boal\u0103, moarte &amp; co., poemele Emanuelei Ign\u0103\u021boiu-Sora au o \u00eenc\u0103rc\u0103tur\u0103 extrem de personal\u0103 \u0219i reu\u0219esc s\u0103 \u00ee\u0219i configureze o mitologie proprie reu\u0219it\u0103, una \u00een care biografia, detaliul convulsiv \u0219i reflec\u021biile \u201econvalescente\u201d dau un volum de o fosforescen\u021b\u0103 a fricii, exploatat\u0103 \u00een c\u00e2teva poeme vizionare care r\u0103m\u00e2n mult\u0103 vreme \u00een cap, cum e cazul <em>Prologului<\/em> care deschide volumul: \u201eAm 4 ani, poate nici pe-at\u00e2t, sunt \u00eembr\u0103cat\u0103 prea gros pentru o zi torid\u0103 de var\u0103 \u0219i doar cu o clip\u0103 \u00een urm\u0103, \u00eenainte s\u0103 m\u0103 fi pr\u0103bu\u0219it \u00een mijlocul drumului eram \u00eentreag\u0103, \u0219i mama \u0219i tata \u0219i gr\u0103dina \u00een care f\u0103ceau f\u00e2nul erau topite \u00een mine ca o magm\u0103. C\u0103ldura urc\u0103 \u00een fuioare \u0219i \u00eenghite zgomotele p\u0103durii. Eu stau \u00eentins\u0103 \u00een lini\u0219te \u0219i privesc \u00een sus, spre albia r\u0103sturnat\u0103. Mama \u0219i tata au r\u0103mas \u00een gr\u0103dina dintre mesteceni, r\u0103sucind f\u00e2nul de pe o parte pe alta. De acum ei vor fi mereu acolo, \u00een ziua aceea de var\u0103. Vor purta rochii u\u0219oare &amp; pantaloni scur\u021bi, iar urciorul cu ap\u0103 va r\u0103m\u00e2ne proptit de plopul din creast\u0103. Vie\u021bile lor vor continua netulburate \u0219i doar eu voi fi de-acum \u00een afara drumului, cu timpul \u0219i moartea \u00eenfipte \u00een mine. Suspendat\u0103, cum sunt, deasupra corpului r\u0103mas mic, ochii mi se deschid larg, tot mai larg. Sunt lucid\u0103 \u0219i separat\u0103 de tot ce \u00eemi e drag; de acum \u0219tiu c\u0103 atunci c\u00e2nd m\u0103 voi ridica, c\u00e2nd \u00eemi voi scutura hainele de praf, c\u00e2nd m\u0103 voi duce spre cas\u0103 \u0219i voi deschide poarta \u2013 fiecare gest va fi o dat\u0103, o singur\u0103 dat\u0103. Timpul se va r\u0103suci \u00een mine ca o cange \u0219i moartea va sta mereu deasupra mea. Frica m\u0103 prinde de g\u00e2t.\u201d Atmosfera asta de nelini\u0219te \u0219i stare ap\u0103sat\u0103, b\u00e2ntuit\u0103 de \u00eencercarea de exorcizare a traumei personale, constant\u0103 \u00een volum, e ceea ce define\u0219te versurile astea. Scurt: de la debut \u0219i p\u00e2n\u0103 acum, Emanuela Ign\u0103\u021boiu-Sora \u0219i-a rafinat viziunea poetic\u0103, iar <em>Clinamen<\/em> e un volum care merit\u0103 citit pentru radiografia rapid\u0103 \u0219i solar\u0103 a fragilit\u0103\u021bii pe care o propune la cap\u0103tul acestui proces. Pentru c\u0103 am impresia c\u0103 schi\u021ba asta biografic\u0103 convulsiv\u0103 \u0219i pe alocuri cu tent\u0103 social\u0103, boala \u0219i ticurile ei, moartea \u0219i convie\u021buirea cu precaritatea, cicatricile nevindecate etc. \u0219i, \u00een general, tot repertoriul \u0103sta \u00eencordat care se cite\u0219te \u00een volum, e rezultatul unei ecloze prelungite. Nu-i u\u0219or s\u0103 scrii despre temele astea, mai ales f\u0103r\u0103 s\u0103 te repe\u021bi, dar Emanuela Ign\u0103\u021boiu-Sora o face cu un echilibru aproape perfect \u0219i-i iese de aici o criz\u0103 a interiorit\u0103\u021bii executat\u0103 cu brio.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Clinamen e un volum care vibreaz\u0103 mereu la cote \u00eenalte pe o partitur\u0103 complicat\u0103 a spaimei.<\/p>\n","protected":false},"author":15,"featured_media":4329,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[1003,106,974],"coauthors":[],"class_list":["post-4318","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-charmides","tag-cronica-literara","tag-nr-1-2022"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/05\/Clinamen.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4318","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\/15"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4318"}],"version-history":[{"count":4,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4318\/revisions"}],"predecessor-version":[{"id":4324,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/4318\/revisions\/4324"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/4329"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4318"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=4318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}