{"id":6133,"date":"2022-12-07T16:53:12","date_gmt":"2022-12-07T13:53:12","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=6133"},"modified":"2022-12-07T16:53:20","modified_gmt":"2022-12-07T13:53:20","slug":"vulnicura","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=6133","title":{"rendered":"Vulnicura"},"content":{"rendered":"
\n
\"\"
Alina-Simona Dragomir, \u00een\u0103untrul meu un cer gol<\/em>, Tracus Arte, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n

O poezie a rupturii scrie Alina-Simona Dragomir \u00een cel mai recent volum al s\u0103u, \u00een\u0103untrul meu un cer gol<\/em>. Nu am ales \u00eent\u00e2mpl\u0103tor titlul cronicii mele. Vulnicura<\/em> e numele latinesc al unui album Bj\u00f6rk, care s-ar traduce literal printr-o tentativ\u0103 de auto-vindecare a r\u0103nilor (\u00een urma unei desp\u0103r\u021biri). Din aceast\u0103 ipostaz\u0103, care e punctul de plecare al \u00eentregului volum, autoarea gliseaz\u0103 mereu \u00eentre amintirea brut\u0103 a emo\u021biei ini\u021biale \u0219i \u00eembr\u0103carea metaforic\u0103 a separ\u0103rii ulterioare. Experien\u021ba intim-personal\u0103 de la \u00eenceputuri alunec\u0103 acum, post-factum, \u00een pl\u0103cerea masochist\u0103 a unei senza\u021bii extracorporale, care trebuie s\u0103 compenseze absen\u021ba: \u201edou\u0103 m\u00e2ini sub\u021biri\/ cu degete lungi \u0219i fine\/ se \u00eentrep\u0103trund\/ a\u0219a cum \u00eentunericul se amestec\u0103 cu zidurile unei\/ catedrale.\/ \u00eentr-un loc limitat\/ \u00een care nici cerul nici p\u0103m\u00e2ntul nu-s necesare\/ m\u00e2inile lui\/ m\u0103-ndeamn\u0103 s\u0103 m\u0103-ntorc spre mine\/ s\u0103 scriu pe spatele pielii\/ cuvinte ie\u0219ite din uz.\u201d (p. 13)<\/p>\n\n\n\n

Trauma psihologic\u0103 provoac\u0103 urme vizibile fizic. \u00cen cazul ei<\/em>, durerea se tr\u0103ie\u0219te \u0219i ca oboseal\u0103 a privirii, \u00een timp ce, \u00een cazul lui<\/em>, respira\u021bia se metamorfozeaz\u0103 \u00eentr-un tempo<\/em> care m\u0103soar\u0103 sacadat remu\u0219c\u0103rile \u0219i nevoia de peniten\u021b\u0103. Imaginile sunt exacte, tabloul are finisajele perfecte: \u201e\u00eemi netezesc cearc\u0103nele\/ cum \u00ee\u0219i netezesc domni\u0219oarele cutele rochiilor\/ ghemuite pe un scaun m\u0103run\u021bel din lemn de stejar.\/ \u00een pragul u\u0219ii\/ pieptul t\u0103u se mi\u0219c\u0103 ciudat.\/ parc\u0103 ar murmura la intervale regulate o rug\u0103ciune\/ mut\u00e2nd \u00eend\u0103r\u0103tul limbii toat\u0103 greutatea unui corp.\u201d (p. 14) Universalul acestui tip de experien\u021b\u0103 \u00ee\u0219i g\u0103se\u0219te particularitatea abia \u00een modul \u00een care protagoni\u0219tii aleg s\u0103 tr\u0103iasc\u0103 povestea de dragoste. \u00cen cazul unei iubiri irosite, repro\u0219ul are \u00eentotdeauna leg\u0103tur\u0103 cu starea subiectiv\u0103 a \u00eendr\u0103gostitului, care n-a \u0219tiut s\u0103 ghiceasc\u0103 \u00een semnele timpurii semin\u021bele viitorului e\u0219ec: \u201emirosul t\u0103u \u00eemi sile\u0219te creierul s\u0103 recunoasc\u0103\/ o idee veche de c\u00e2nd lumea \u0219i p\u0103m\u00e2ntul.\/ peste tot plou\u0103 egal\/ trebuie doar s\u0103 \u0219tii cum s\u0103 \u00eenghi\u021bi \u00een sec.\u201d (p. 20)<\/p>\n\n\n\n

\n

Poeta are o sensibilitate bine strunit\u0103, o for\u021b\u0103 a sugestiei care face ca orice imagine banal\u0103 s\u0103 \u00eensemne \u0219i<\/em> altceva.<\/p>\n<\/blockquote>\n\n\n\n

\u00cen pasaje mai pu\u021bin grave, autoarea caut\u0103 coresponden\u021be banale, domestice pentru a sublinia nepotrivirea. Felul \u00een care se savureaz\u0103 cafeaua, de exemplu, reprezint\u0103 un prilej metaforic pentru a \u00een\u021belege diferen\u021bele de raportare la lume, la tr\u0103ire, la via\u021b\u0103, \u00een general: \u201enoi doi ne deosebim\/ dup\u0103 cum ne bem cafeaua\/ nu la\u0219i cana jos pe mas\u0103.\/ bei tot. dintr-o \u00eenghi\u021bitur\u0103.\u201d (p. 38) Un element recurent \u00een poezia volumului e p\u0103m\u00e2ntul, v\u0103zut fie ca solul fertil din care se nasc toate, fie ca simbol al solidit\u0103\u021bii, ca garant al vindec\u0103rii. Echivalarea lui cu trecutul e felul autoarei de a sublinia greutatea sf\u00e2r\u0219itului, imposibilitatea acestuia de a mai fi modelat: \u201ep\u0103m\u00e2ntul nu se mi\u0219c\u0103\/ sub picioarele mele\/ c\u00e2nd \u00eei vorbesc.\/ p\u0103m\u00e2ntul meu e r\u0103bd\u0103tor \u0219i bun\/ a\u0219a cum \u00eei \u0219ade bine\/ oric\u0103rui trecut.\u201d (p. 54). Alteori, p\u0103m\u00e2ntul e simpl\u0103 prelungire a biologicului, modul \u201earogant\u201d al acestuia de a ne ar\u0103ta limitele. Poeta are o sensibilitate bine strunit\u0103, o for\u021b\u0103 a sugestiei care face ca orice imagine banal\u0103 s\u0103 \u00eensemne \u0219i<\/em> altceva. Iat\u0103, de exemplu, cum frica de moarte (ca expresie a extinc\u021biei absolute) poate fi \u00eenvins\u0103 prin simpla alungare vizual\u0103 a ei de pe pachetul de \u021big\u0103ri de pe mas\u0103. Dup\u0103 ce imaginea dispare, ciclul vie\u021bii se reia, ca \u0219i cum nimic nu s-a \u00eent\u00e2mplat, de\u0219i noi, cei de acum \u0219i de aici, nu vom mai fi \u00een peisajul mare, \u00een the big picture<\/em>: \u201ev\u0103d cum ascunzi sub cutia de chibrituri\/ imaginile de pe pachetele de \u021big\u0103ri.\/ \u00een spatele frun\u021bii\/ e\u0219ti doar tu \u0219i p\u00e2nda ta.\/ m\u00e2inile tale-s f\u0103c\u0103toare de minuni\/ pe fa\u021ba \u00eenchis\u0103 a p\u0103m\u00e2ntului\/ oamenii cresc din nou\/ cresc din noi\/ pip\u0103indu-ne distra\u021bi.\/ p\u00e2n\u0103 unde se \u00eentinde carnea noastr\u0103?\u201d (p. 59)<\/p>\n\n\n\n

Scenele familiare sunt \u00eenso\u021bite de depersonalizarea aproape total\u0103 a participan\u021bilor la dialog. Pare s\u0103 nu mai conteze cine roste\u0219te (sau nu) cuvintele, \u00eentr-at\u00e2t de recognoscibile sunt declara\u021biile, promisiunile, deziluziile care se rotesc \u00een orice poveste de dragoste. Imposibilitatea lui<\/em> de a-\u0219i recunoa\u0219te deschis sentimentele e primit\u0103 de ea<\/em> cu o perfect\u0103 ironie liric\u0103, precedat\u0103 \u2013 totu\u0219i \u2013 de o mic\u0103 tr\u0103dare a corpului. Autoarea descrie cu m\u00e2n\u0103 sigur\u0103 st\u00e2njeneala, ridicolul \u0219i, nu \u00een ultimul r\u00e2nd, absurdul m\u0103runt al orgoliului masculin. Perspectiva e curat\u0103, atent construit\u0103, cu un maxim efect desc\u0103tu\u0219ant: \u201e- Nu-\u021bi pot oferi nimic!\/ repet\u0103 \u00eentr-un col\u021b definitiv\/ gabriel, ionu\u021b, sau cum \u00eel cheam\u0103 pe el\/ datoria\/ departe de patul meu.\/ la \u00een\u0103l\u021bimea g\u00e2ndului t\u0103u\/ simt cum mi se \u00eenfund\u0103 urechile\/ cum mi se usuc\u0103 gura \u0219i g\u00e2tul.\/ nu mai reu\u0219esc s\u0103 disting\/ \u00eentunericul de la ora 17\/ de cel de la 23 fix.\/ con\u0219tiin\u021ba ta\/ cap\u0103t\u0103 tr\u0103s\u0103turile unei dungi negre\/ care inventeaz\u0103 tot felul de dovezi grosolane\/ incapabile s\u0103 spun\u0103 te iubesc!<\/em>\/ – Nu-\u021bi pot oferi nimic!\/ \u00cenainte de a pleca\/ l-am v\u0103zut cum s-a \u00eempiedicat de to\u021bi timizii\/ p\u0103m\u00e2ntului.\u201d (p. 75)<\/p>\n\n\n\n

\u00een\u0103untrul meu un cer gol, <\/em>de\u0219i inegal valoric, are o coeren\u021b\u0103 care se construie\u0219te solid pe maturitatea liric\u0103 a autoarei. Poet\u0103 t\u00e2n\u0103r\u0103, care \u00eenc\u0103 nu a sc\u0103pat de unele st\u00e2ng\u0103cii & exager\u0103ri stilistice gratuite, la limita kitsch<\/em>-ului (\u201epanica se \u00eempac\u0103\/\/ totdeauna noaptea\/ c\u00e2nd laptele\/ t\u0103cerilor irig\u0103 livezile uscate\u201d, \u201esetea de var\u0103\/ nu face altceva\/ dec\u00e2t s\u0103 ciunteasc\u0103 din col\u021burile nop\u021bii\u201d), Alina-Simona Dragomir are totu\u0219i toate premisele unei evolu\u021bii \u00eembucur\u0103toare, \u00een care cred cu \u00eenc\u0103p\u0103\u021b\u00e2nare.<\/p>\n","protected":false},"excerpt":{"rendered":"

O cronic\u0103 de carte de Dan-Liviu Boeriu<\/p>\n","protected":false},"author":12,"featured_media":6134,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[1410,140,99,1395],"coauthors":[1187],"class_list":["post-6133","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-alina-simona-dragomir","tag-critica-literara","tag-dan-liviu-boeriu","tag-nr-9-2022"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/12\/Alina-Dragomir.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6133","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\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6133"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6133\/revisions"}],"predecessor-version":[{"id":6135,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6133\/revisions\/6135"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/6134"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6133"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6133"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6133"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=6133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}