{"id":7844,"date":"2023-06-20T12:41:40","date_gmt":"2023-06-20T09:41:40","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=7844"},"modified":"2023-06-20T12:41:45","modified_gmt":"2023-06-20T09:41:45","slug":"cel-putin-un-text-de-ovidiu-poezia-notiunilor-comunicante","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=7844","title":{"rendered":"Cel pu\u021bin un text de Ovidiu. Poezia no\u021biunilor comunicante"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"573\" height=\"839\" src=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/transcender.jpg\" alt=\"\" class=\"wp-image-7845\" srcset=\"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/transcender.jpg 573w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/transcender-205x300.jpg 205w, https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/transcender-480x703.jpg 480w\" sizes=\"auto, (max-width: 573px) 100vw, 573px\" \/><figcaption class=\"wp-element-caption\">Bogdan-Alexandru Petcu, <em>transcender<\/em>, Editura Charmides, Bistri\u021ba, 2022<\/figcaption><\/figure>\n<\/div>\n\n\n<p>Bogdan-Alexandru Petcu a debutat \u00een cea de-a doua jum\u0103tate a anului trecut cu volumul <em>transcender<\/em>. Ceea ce \u00eenc\u00e2nt\u0103 \u00eenc\u0103 de la \u00eenceput \u00een aceast\u0103 carte e meticulozitatea \u0219i aten\u021bia poetului de a-\u0219i construi un volum rezistent, mai ales la nivel structural. Exist\u0103 poeme forte ca <em>Realit\u0103\u021bi netede, neporoase<\/em>, <em>Transcender<\/em>, <em>Corpuli \u0219i corpusculi<\/em>, dar \u0219i poezii-liant, de trecere: <em>Cel care prive\u0219te<\/em>, <em>O alt\u0103 dinamic\u0103<\/em> \u0219.a. Avem de-a face aici cu un soi de poet <em>faber<\/em>, artizan, care nu se fere\u0219te de construc\u021biile c\u0103utate, calculate, dup\u0103 principiul <em>le mot juste<\/em>, p\u00e2n\u0103 la limita artificialului: \u201ePrintre ma\u0219ini \u0219i zg\u00e2rie-nori,\/ desenzitivizat ca un shinobi\/ care merge pe ap\u0103.\u201d; \u201eCuvintele sirenelor stinse\/ sub ghea\u021ba de pe Titan. O fa\u021b\u0103 sensibil\u0103\/ pe care nu am vedea-o nicic\u00e2nd\/ la minus 180 de grade Celsius.\u201d<\/p>\n\n\n\n<p>Primeaz\u0103 dimensiunea conceptual\u0103, care \u00eencearc\u0103 s\u0103 o canibalizeze pe cea senzorial\u0103. Bun\u0103oar\u0103, titlul volumului \u00eent\u0103re\u0219te acest lucru \u2013 cel care transcende, cel <em>dincolo<\/em>: uneori de text, alteori de sim\u021buri. Poemul omonim pare a fi tocmai o celebrare a sim\u021burilor, nu \u00eenainte ca acestea s\u0103 fie interiorizate no\u021bional: \u201eOamenii a\u0219teapt\u0103 cu ner\u0103bdare pensia\/ dup\u0103 mul\u021bi ani de munc\u0103. Via\u021ba \u00eencepe acum.\/ La meno- \u0219i andropauz\u0103. Lini\u0219tea,\/ sensibilitatea extrem\u0103 \u00eenfloresc deasupra gardurilor\/ din lemn putred. \u00cen fiecare zi\/ sensibilitatea pare mai greu de acceptat.\/ Exprimarea e lacunar\u0103.\/ Oamenii \u021bin unii la al\u021bii. Pentru ei,\/ via\u021ba e un ghem de orez. Mic \u0219i moale. Prea fiert.\/ Se simte.\u201d&nbsp;<\/p>\n\n\n\n<p>C\u00e2nd poezia nu este <em>trans-<\/em> este <em>inter-<\/em>, ha\u0219ur\u00e2nd o hart\u0103 de repere \u0219i intertexte nu tocmai la \u00eendem\u00e2n\u0103 cititorului. Panoplia de personaje contureaz\u0103 o lume eclectic\u0103 din care fac parte: Radu, Ioan, Nora, Jashin, Aristotel, abi regele, Sekizo \u0219.cl. B.A.P. \u00ee\u0219i cl\u0103de\u0219te un adev\u0103rat sistem de g\u00e2ndire \u0219i un discurs compozit cu expresii argotice, teme de cultur\u0103 de mas\u0103, c\u00e2mpuri semantice diverse de la desenele japoneze la \u0219tiin\u021b\u0103, istorie, filosofie, lumi postcoloniale \u0219i postindustriale, marcat de dialogism \u0219i de reflexie continu\u0103: \u201eLe c\u00e2nt celorlal\u021bi ni\u0219te manele\/ \u0219i pun Behemoth. Eclectismul cultural al lui Cicero\/ a salvat Roma. Eclectismul meu\/ subcultural o s\u0103 salveze rromii, eventual Rom\u00e2nia.\u201d; \u201eUrma\u0219ii coloni\u0219tilor se declar\u0103 satisf\u0103cu\u021bi.\/ \u0218i inima neolatin\u0103\/ dintre pl\u0103m\u00e2nii aproape cura\u021bi.\/ Invoc\u0103 memoria lor cultural\u0103. De acum pot tr\u0103i\/ pe un p\u0103m\u00e2nt care le apar\u021bine\u201d; \u201eC\u00e2nd au venit c\u0103tre Nil, kurzii au vrut s\u0103 d\u0103r\u00e2me relicvele Vechiului Regat. Au spart pietrele\/ din piramida lui Menkaure \u0219i au plecat s\u0103 se culce\/ cu nevestele altora.\u201d; \u201eE infestat de mitocondrii mitomane. Zeci de lumeni\/ \u00een ficat. Wittgenstein zice: \u201eLimitele limbajului meu\/ sunt limitele lumii mele.\u201d Realitatea lui se opre\u0219te\/ la mitocondrii \u0219i la ficat. Are nevoie de mutilare.\/ \u0218tie c\u0103 evreii lucrau la asta \u00een camera de gazare.\u201d; \u201eSper c\u0103 cei doi b\u0103rba\u021bi \u0219i cele dou\u0103 femei\/ care vor p\u0103\u0219i pe Marte \u00een 2033\/ \u0219tiu cel pu\u021bin un text de Ovidiu.\/ S\u0103 nu se plictiseasc\u0103,\/ s\u0103 adreseze salutul \u00eentregii omeniri\/ de\u0219ertului ro\u0219u \u0219i infinit.\u201d<\/p>\n\n\n\n<p>Pare un paradis desprins din cartea lui John Cheever, dar nu e.<\/p>\n\n\n\n<p>De altfel, una dintre cele mai interesante particularit\u0103\u021bi ale volumului este mixajul de pesimism, apatie \u0219i asertivitate. B.A.P. pare c\u0103 tr\u0103ie\u0219te mai pu\u021bin o <em>illusio<\/em>, ajung\u00e2nd rapid la acea \u00eemb\u0103tr\u00e2nire social\u0103 din vocabularul bourdieusian: \u201eCineva \u00een camer\u0103 cite\u0219te Novecento,\/ iar via\u021ba curge lin\u0103\/ ca \u00eentotdeauna.\/ \u0218i nimic n-are sens pentru nimeni.\u201d; \u201eAcum \u00eencerc s\u0103 fiu bl\u00e2nd,\/ dar nu \u0219tiu cu cine. \u00cemi place mult cea\u021ba din T\u0103t\u0103ra\u0219i. Anuleaz\u0103 tot ce e\/ diafan, respectiv transparent.\u201d<\/p>\n\n\n\n<p>Poetul nu-\u0219i propune s\u0103 defileze cu solu\u021bii ori s\u0103 declame verdicte l\u0103muritoare. Reflexivitatea lui este nedogmatic\u0103. Critica fie social\u0103, fie individual\u0103 din poezia sa e una a st\u0103rii de fapt. Un exemplu este <em>Realit\u0103\u021bi netede, neporoase<\/em>, poem cu form\u0103 diaristic\u0103 prezent\u00e2nd parcursul unei s\u0103pt\u0103m\u00e2ni de c\u0103l\u0103torii autohtone din care zeii s-au retras, nu \u0219i Jashin: \u201eEu v\u0103d la teras\u0103\/ mult\u0103 triste\u021be \u0219i s\u0103r\u0103cie. Sunt r\u0103u pentru c\u0103 v\u0103d,\/ sunt r\u0103u c\u0103 nu empatizez, sunt r\u0103u c\u0103\/ o ard biografist, dar ies (pe unde v\u0103d locuri\/ libere) din text. Trei perechi de pantaloni army \u0219i o fericire minor\u0103.\u201d<\/p>\n\n\n\n<p>Dincolo de no\u021biuni, idei \u0219i note bibliografice, biografemul \u2013 a tr\u0103i propria biografie <em>via <\/em>text \u2013 se \u00eenf\u0103\u021bi\u0219eaz\u0103 ca un aspect inedit. Un soi de reconciliere, poate, \u00eentre discursul despre lume \u0219i cel despre sine, care planeaz\u0103 \u00een poezie. Sunt prezente \u00een mod sporadic chipuri familiale \u0219i familiare. \u00cen cazul lor, perspectiva nu este niciodat\u0103 frontal\u0103, ci asimilat\u0103 retrospectiv ca \u00een poeziile <em>Gresi de Kliwa<\/em> \u0219i <em>Paleocortical<\/em>: \u201eLa 55 de ani, tata e aproape gropar.\/ Mama se plimb\u0103 cu ra\u021ba prin curte.\/ E singur\u0103. Ra\u021ba sau mama.\u201d; \u201eNu \u0219tiu c\u00e2\u021bi ani am. M\u0103 bucur de zacusca\/ f\u0103cut\u0103 de mama cu acelea\u0219i m\u00e2ini\/ pe care le folose\u0219te s\u0103 ating\u0103 penisul\/ tatei. Diminea\u021ba, \u00eencearc\u0103 s\u0103 spun\u0103 lucruri frumoase, s\u0103 submineze. Cad \u00een capcan\u0103.\/ M\u0103 bag sub o mas\u0103 \u00eendeajuns de convins c\u0103\/ interpret\u0103rile sunt multiple. De unu.\/ De doi. Chiar \u0219i atunci c\u00e2nd bunicul arunc\u0103\/ pietre \u00een mine, sprijinit \u00een baston.\/ Frate-miu, Pr\u00e2slea, o s\u0103 renun\u021be\/ la facultate. O s\u0103 lucreze pe un salariu infim,\/ zic ursitoarele, femelele ursitorilor.\u201d Reziduurile mizerabiliste ale dou\u0103mii\u0219tilor se \u00eentrev\u0103d pe alocuri: \u201e\u00cencerc s\u0103-mi localizez chakrele\/ \u00een timp ce lucrez. Cineva zice c\u0103 m\u0103 a\u0219teapt\u0103 acas\u0103.\/ \u00cemi iau pula \u00een bra\u021be: fug la mama. I want\/ meaningful tits, m\u0103 g\u00e2ndesc s\u0103 \u00eei spun (\u00een loc de clasicul s\u0103ru\u2019 m\u00e2na! Din familia noastr\u0103\/ tradi\u021bional\u0103 \u0219i cu multe cli\u0219ee necontextualizate).\u201d<\/p>\n\n\n\n<p>Pe l\u00e2ng\u0103 indolen\u021ba asumat\u0103, sunt unele imagini \u00een care duio\u0219ia \u0219i sensibilitatea lovesc \u00een versuri asemeni ciocanului lui Thor: \u201e\u00centr-un apartament cu dou\u0103 pisici negre\/ c\u0103rora le citesc tot felul de chestii.\/ Le spun c\u0103 iubirea dintre doi paramedici nu ajunge niciodat\u0103 la sex. Aproape pricep.\/ Sper c\u0103 primesc \u0219i ele m\u0103car o parte\/ din frumuse\u021bea lumii.\u201d<\/p>\n\n\n\n<p>\u00cen poezie, B.A.P. este un fel de Holden Caulfield local (dac\u0103 \u00een loc de Pencey Prep se las\u0103 de Filosofie), ceva mai matur \u0219i captiv \u00een mitemele sale. <em>transcender<\/em> e un volum care-\u0219i negociaz\u0103 v\u00e2rstele, judec\u0103\u021bile \u0219i tr\u0103irile \u00eentr-un mod spectaculos.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cronic\u0103 literar\u0103 de Daniela Vizireanu<\/p>\n","protected":false},"author":252,"featured_media":7845,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[106,1720,1692],"coauthors":[1719],"class_list":["post-7844","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-cronica-literara","tag-daniela-vizireanu","tag-nr-3-2023"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2023\/06\/transcender.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7844","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\/252"}],"replies":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7844"}],"version-history":[{"count":1,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7844\/revisions"}],"predecessor-version":[{"id":7846,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/7844\/revisions\/7846"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/7845"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7844"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7844"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7844"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=7844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}