{"id":6171,"date":"2022-12-10T12:50:13","date_gmt":"2022-12-10T09:50:13","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=6171"},"modified":"2022-12-10T12:50:19","modified_gmt":"2022-12-10T09:50:19","slug":"un-debut-decent","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=6171","title":{"rendered":"Un debut decent"},"content":{"rendered":"
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Ion Agaci, \u0219ampanie pentru acest sf\u00e2r\u0219it<\/em>, Editura Tracus Arte, Bucure\u0219ti, 2021<\/figcaption><\/figure>\n<\/div>\n\n\n

 \u201eSuntem doi fum\u0103tori de opiu, fiecare \u00een norul lui, f\u0103r\u0103 s\u0103 vedem nimic \u00een afar\u0103, singuri, fum\u0103m f\u0103r\u0103 s\u0103 ne-n\u021belegem niciodat\u0103, fe\u021be agonizante \u00eentr-o oglind\u0103, suntem o imagine \u00eenghe\u021bat\u0103, c\u0103reia timpul \u00eei ofer\u0103 iluzia mi\u0219c\u0103rii, un cristal de nea ce alunec\u0103 pe o perni\u021b\u0103 de chiciur\u0103, c\u0103reia nimeni nu-i percepe complexitatea [\u2026]\u201d[1]<\/a> Cuvintele cu care Mathias Enard \u00ee\u0219i \u00eencepe romanul anticipeaz\u0103 mecanismul prin care va construi fire narative, anume prin memorie. Memorie care func\u021bioneaz\u0103 afectiv, d\u00e2nd na\u0219tere unor dubluri, copii imperfecte ale celui care nareaz\u0103. Naratorul, aflat \u00een stare de febrilitate, va proiecta momente, spa\u021bii \u0219i interac\u021biuni \u00een centrul c\u0103rora el se afl\u0103, \u00eens\u0103 imaginea asupra sinelui este alterat\u0103 at\u00e2t de percep\u021bia subiectiv\u0103 asupra trecutului, c\u00e2t \u0219i de starea mental\u0103 din prezent. Timpuri pierdute \u0219i par\u021bial reg\u0103site expuse de un proiector defect pe un cear\u0219af \u00eeng\u0103lbenit de transpira\u021bie.<\/p>\n\n\n\n

Despre un proces asem\u0103n\u0103tor este vorba \u0219i \u00een volumul de debut al lui Ion Agaci, \u0219ampanie pentru acest sf\u00e2r\u0219it<\/em>, constituit, \u00eens\u0103, \u00eentr-un mod lucid \u0219i c\u00e2t se poate de inten\u021bionat. \u00cen Busola<\/em> lui Enard memoria afectiv\u0103 n\u0103v\u0103le\u0219te peste g\u00e2ndurile naratorului, posed\u00e2ndu-l, rezultatul fiind un flux delirant de amintiri \u0219i idei. Ion Agaci are o abordare diferit\u0103 ca atitudine: el se folose\u0219te de memoria afectiv\u0103 pentru a proiecta un eu trecut, el caut\u0103 a se portretiza pe sine \u00eentr-o form\u0103 care acum nu \u00eei mai este proprie. Dac\u0103 la Enard trecutul \u00ee\u0219i face sim\u021bit\u0103 prezen\u021ba ca o multitudine de explozii nea\u0219teptate \u0219i dureroase, la Ion Agaci el se las\u0103 a\u0219teptat, poetul fiind nevoit s\u0103 sape pentru a-\u0219i reg\u0103si formele trecute.<\/p>\n\n\n\n

Din descrierea f\u0103cut\u0103 p\u00e2n\u0103 acum, cititorul ar putea concluziona c\u0103 vorbim despre o poetic\u0103 biografist\u0103, confesiv\u0103, fapt care nu este neap\u0103rat adev\u0103rat. \u00cen \u0219ampanie pentru acest sf\u00e2r\u0219it<\/em> procesul creativ porne\u0219te, \u00eentr-adev\u0103r, de la biografem, \u00eens\u0103 peste acesta Ion Agaci construie\u0219te \u00een\u0219iruiri de metafore, imagini concretizate de c\u0103tre o voce lucid\u0103, de o sensibilitate (uneori) cople\u0219itoare, intransigent\u0103 \u00een demersul ei de a expune intensit\u0103\u021bi filtrate de c\u0103tre un eu trecut. Exist\u0103 chiar \u0219i momente \u00een care poetul \u00ee\u0219i prezint\u0103 dezideratul poetic, cum ar fi: \u201eeu vreau poeticul \u00een afara limbajului poetic\/ d\u0103-mi materie dac\u0103 nu-\u021bi place s\u0103 m\u0103 arunc \u00een tine\/ ca-ntr-un colac de salvare\u201d (p. 17) sau \u201edac\u0103 a\u0219 g\u0103si un orizont\/ \u00een spatele c\u0103ruia nu se ascunde altul\/ mi-ar fi u\u0219or s\u0103 p\u0103r\u0103sesc baricada\/ dar nu caut dec\u00e2t\/ simptomele unui atac cerebral \u00een oglind\u0103\u201d (p. 8) sau \u201eca o ploaie \u00een miniatur\u0103,\/ trepidant\u0103 ori morn\u0103,\/ lumina care o p\u0103trunde,\/ subiectivitatea care-ocup\u0103 \u00eentreg spa\u021biul,\/ lucrurile-n varianta lor f\u0103r\u0103 contur\u201d (p. 10) sau \u201eeu care am o lume\/ desf\u0103\u0219ur\u00e2ndu-se \u00een aria celor c\u00e2\u021biva kilometri\/ traversa\u021bi zilnic\/ \u00een detrimentul supravie\u021buirii\/ foarte vulgar \u0219i f\u0103r\u0103 prea mari deosebiri de restul pasagerilor\/ cu sensibilit\u0103\u021bi de acela\u0219i calibru \u0219i a\u0219tept\u0103ri\/ care nu \u00eentrec capacitatea de rezisten\u021b\u0103\/ ascult muzica fatal\u0103 a unor valuri sp\u0103l\u00e2ndu-mi t\u0103lpile\/ de s\u00e2ngele zilei\u201d (p. 36).<\/p>\n\n\n\n

Unele probleme apar, \u00eens\u0103, c\u00e2nd vine vorba despre coeren\u021ba construc\u021biei poetice. Este vorba despre anumite poeme \u00een care metaforele utilizate par s\u0103 nu se lege, \u00een sensul \u00een care imaginile sunt \u00een\u0219iruite f\u0103r\u0103 ca acestea s\u0103 aib\u0103, \u00eens\u0103, un punct de convergen\u021b\u0103. Spre exemplu (p. 9): \u201edesfac miezul acestei nop\u021bi\/ g\u0103sesc c\u0103 \u00een incinta mea\/ se m\u0103n\u00e2nc\u0103 piersici contagios\/ f\u0103r\u0103 mine\/ dar trebuie s\u0103 m\u0103 ab\u021bin\/\/ limba e remediul durerii celor care\/ \u00ee\u0219i exercit\u0103 dreptul la eternitate s\u0103 o aplic\/\/ desfac miezul acestei nop\u021bi\/ \u00een care tu nu te mai faci responsabil\/ de instabilitatea mea emo\u021bional\u0103\/\/ eu nu-\u021bi apar\u021bin\/ mie nimic nu-mi apar\u021bine\u201d \u2013 poem coerent p\u00e2n\u0103 aici, dar \u2013 \u201esoprana\/ care \u00een timpul interpret\u0103rii suport\u0103 o sincop\u0103 cardiac\u0103\/ r\u0103m\u00e2ne \u00eencremenit\u0103 cu m\u00e2na \u00eentins\u0103 spre candelabru\/\/ #sus\u021binere#\u201d \u2013 ultima parte, de\u0219i o metafor\u0103 inteligent\u0103, d\u0103 impresia c\u0103 este o solu\u021bie de avarie, ea neav\u00e2nd sens din punct de vedere conceptual. <\/p>\n\n\n\n

Ion Agaci reu\u0219e\u0219te prin volumul s\u0103u o poezie frumoas\u0103 despre care, dincolo de micile caren\u021be semnalate, putem spune c\u0103 este de bun\u0103 calitate, o poetic\u0103 a intensit\u0103\u021bilor trecute, \u00eembuteliate (\u00een majoritatea cazurilor) elegant. Ca un argument adus \u00een favoarea celor afirmate, citez un poem care nu este neap\u0103rat ie\u0219it din comun (nici ca originalitate, nici ca inteligen\u021b\u0103 artistic\u0103), dar care ne indic\u0103 o anume sensibilitate poetic\u0103: \u201enoi fiind singurii beneficiari\/ nu ne era impus\u0103 o normalitate amenajat\u0103\/\/ am dat foc cortinei\/ \u0219i am organizat un cabaret \u00een aer liber\/ aclam\u00e2nd trepidant pierderea \u0219i toate ce ea inspir\u0103\/\/ am dat mesaj decorului\/ am captat imagini\/ am adoptat semn\u0103turi\/ \u0219i ne-am ocupat galant locurile\/ \u021bin\u00e2nd \u00een m\u00e2ini struguri renascenti\u0219ti \u0219i m\u00e2nc\u00e2nd din ei\/ \u00een afara tuturor circumstan\u021belor\/ premedit\u0103rilor noastre \u0219i predispunerii\/ la o eventual\u0103 lovitur\u0103\/ noi n-am avut alte inten\u021bii dec\u00e2t a ne iubi\u201d (p. 30).<\/p>\n\n\n\n

Din punctul meu de vedere, nu este cel mai bun volum de debut al anului 2022, dar el anun\u021b\u0103 un poten\u021bial poet relevant al urm\u0103torilor ani.<\/p>\n\n\n\n

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[1]<\/a> Mathias Enard, Busola<\/em>, trad. Cristian Fula\u0219, Nemira, Bucure\u0219ti, 2018.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cronic\u0103 de carte de Radu Bejan<\/p>\n","protected":false},"author":17,"featured_media":6172,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[140,1414,1395,119],"coauthors":[1273],"class_list":["post-6171","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-critica-literara","tag-ion-agaci","tag-nr-9-2022","tag-radu-bejan"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2022\/12\/Ion-Agaci.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6171","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\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6171"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6171\/revisions"}],"predecessor-version":[{"id":6173,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/6171\/revisions\/6173"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/6172"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6171"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6171"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6171"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=6171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}