{"id":904,"date":"2021-02-22T10:11:28","date_gmt":"2021-02-22T07:11:28","guid":{"rendered":"https:\/\/revistafamilia.ro\/?p=904"},"modified":"2021-02-22T10:13:07","modified_gmt":"2021-02-22T07:13:07","slug":"anul-poetic-2020","status":"publish","type":"post","link":"https:\/\/revistafamilia.ro\/?p=904","title":{"rendered":"Anul poetic 2020"},"content":{"rendered":"\n
V\u00e2rfuri<\/strong><\/h5>\n\n\n\n
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M\u0103 uit \u00eenapoi \u0219i dispare<\/em> \u2013 Teona Galgo\u021biu (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

M\u0103 uit \u00eenapoi \u0219i dispare<\/em> este un volum ciud\u0103\u021bel, foarte diferit de tot ce se public\u0103 \u00een poezia mainstream. Pornind din zona biograficului, poetica Teonei Galgo\u021biu se dovede\u0219te a fi inteligent\u0103, \u0219tiind s\u0103 opereze \u00een \u0219i prin spa\u021biu pentru a transmite. Exploziile suprarealiste \u0219i apeten\u021ba pentru simbol, gravate clar prin intermediul unei voci stabile \u2013 iat\u0103 elementele care \u00eembrac\u0103 scheletul biografic al poeziei. De\u0219i aflat\u0103 la debut, Teona Galgo\u021biu impresioneaz\u0103 prin omogenitatea crea\u021biei sale poetice.<\/p>\n\n\n\n

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Sputnik \u00een gr\u0103din\u0103<\/em> \u2013 Gabi Eftimie (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

Poezia din noul volum al lui Gabi Eftimie este una de nota\u021bie doar \u00een aparen\u021b\u0103, miza fiind la nivel ambiental, senzorialul devenind, astfel, nu doar un instrument al percep\u021biei, ci un veritabil conductor ideatic. \u00cencerc\u00e2nd o subtil\u0103 direc\u021bie expresionist\u0103, poeta pare s\u0103 \u00eencerce prin Sputnik \u00een gr\u0103din\u0103<\/em> s\u0103 ne arate c\u0103 pierderea acuit\u0103\u021bii senzoriale este un indicator al dezumaniz\u0103rii. Probabil cea mai bun\u0103 carte de poezie a anului 2020.<\/p>\n\n\n\n

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Alwarda<\/em> \u2013 Ruxandra Novac (Pandora M)<\/p>\n<\/div>\n<\/div>\n\n\n\n

Creion\u00e2nd un univers post-fractur\u0103, Ruxandra Novac prezint\u0103 o lume trecut\u0103 prin filtrul nevroticului, descompus\u0103 \u0219i recompus\u0103 \u00een func\u021bie de st\u0103rile de agregare ale eului. Resemnat\u0103, pentru c\u0103 \u201eviitorul e fix\u201d, poeta poate doar s\u0103 asiste cum dezechilibrele interne \u00eei polueaz\u0103 percep\u021bia asupra lumii. Cel mai reu\u0219it experiment poetic al anului.                <\/p>\n\n\n\n

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biocharia. ritual ecolatru<\/em> \u2013 Mih\u00f3k Tam\u00e1s<\/em>(frACTalia)<\/p>\n<\/div>\n<\/div>\n\n\n\n

\u00cen biocharia. ritual ecolatru<\/em> Mih\u00f3k Tam\u00e1s<\/em> reia forme \u0219i tendin\u021be deja existente \u00een poezia ultimilor ani din Rom\u00e2nia, \u00eembr\u0103c\u00e2ndu-le \u00eentr-un discurs ecologist \u0219i d\u00e2ndu-le noi sensuri. \u00cenarmat cu puternice tu\u0219e expresioniste \u0219i cu o tonalitate post-apocaliptic\u0103, poetul propune o incursiune \u00eentr-o posibil\u0103 viitoare lume post-antropocentric\u0103.<\/p>\n\n\n\n

Raftul al doilea<\/strong><\/h5>\n\n\n\n
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Civiliza\u021bii<\/em> \u2013 Olga \u0218tefan (Paralela 45)<\/p>\n<\/div>\n<\/div>\n\n\n\n

Trec\u00e2nd prin spa\u021bii care cauzeaz\u0103 alienare, interac\u021bion\u00e2nd cu oamenii care sunt specifici acestora \u0219i care le poten\u021beaz\u0103, poetica Olg\u0103i \u0218tefan nu este doar o simpl\u0103 form\u0103 de expunere a traumelor, ci o descriere a unui \u00eentreg proces. Percutant\u0103, cu jocuri stilistice pu\u021bine, dar plasate eficient, poeta ne introduce, treptat, personaje care prind contur (\u0219i, astfel, apar diferite tipologii: tat\u0103l absent, iubitul ca remediu temporar pentru diferitele angoase etc.) Iat\u0103, deci, at\u00e2t civiliza\u021biile ca spa\u021biu, c\u00e2t \u0219i civiliza\u021biile (oameni) pot cauza traume.<\/p>\n\n\n\n

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Expectativa luminoas\u0103<\/em> \u2013 Andrei D\u00f3sa<\/em> (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

\u00cen Expectativa luminoas\u0103<\/em> Andrei D\u00f3sa propune o poetic\u0103 a fragilit\u0103\u021bilor cotidiene: fie c\u0103 vorbim despre fantezii, fie despre frustr\u0103ri (sexuale \u0219i nu numai), fie despre orice altceva care ne sparge lini\u0219tea, solu\u021bia este s\u0103 ne retragem \u00eentr-o stare de imponderabilitate, \u00eentr-un <\/em>safe space<\/em>, \u00eentr-o \u201eexpectativ\u0103 luminoas\u0103\u201d. F\u0103r\u0103 a-\u0219i propune multe,<\/em> Andrei D\u00f3sa izbute\u0219te, f\u0103r\u0103 \u00eendoial\u0103, s\u0103 transmit\u0103 ce \u0219i-a dorit \u00eentr-un volum curat din punct de vedere stilistic.<\/em><\/p>\n\n\n\n

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Fotocrom Paradis<\/em> \u2013 Deniz Otay (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

Primul lucru care \u00ee\u021bi sare \u00een ochi atunci c\u00e2nd cite\u0219ti Fotocrom Paradis<\/em> este frumuse\u021bea poemelor. Cu o metafor\u0103 bine c\u00e2nt\u0103rit\u0103 \u0219i bine g\u00e2ndit\u0103, Deniz Otay reu\u0219e\u0219te s\u0103 impresioneze la nivel stilistic. Miza volumului este reprezentat\u0103, \u00eens\u0103, de r\u0103m\u0103\u0219i\u021bele de memorie (poate r\u0103m\u0103\u0219i\u021be de umanitate?), expuse printr-o voce dezumanizat\u0103, expun\u00e2nd traume, angoase etc., \u00eemping\u00e2nd discursul poetic \u00eentr-o zon\u0103 a postumanului.<\/p>\n\n\n\n

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Satao<\/em> \u2013 Radu Ni\u021bescu (Casa de Editur\u0103 Max Blecher)<\/p>\n<\/div>\n<\/div>\n\n\n\n

\u00cen Satao <\/em>ne sunt prezentate cadre biografice, r\u0103m\u0103\u0219i\u021be de memorie, cu un ton naiv, lipsit de vlag\u0103, av\u00e2nd un militantism ecologist rezidual. Curat din punct de vedere teoretic, prezent\u00e2nd direc\u021bii prezente \u00een extrem-contemporanul occidental, noul volum al lui Radu Ni\u021bescu este, pentru mine, surpriza anului 2020.<\/p>\n\n\n\n

Raftul al treilea<\/strong><\/h5>\n\n\n\n
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    Aer p\u0103s\u0103ri bere<\/em> \u2013 Vlad Dr\u0103goi (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Aflat pe un teren poetic fertil, \u00een care tonul ludic, de o senin\u0103tate dus\u0103 la extrem, devine o form\u0103 de autoap\u0103rare \u00een fa\u021ba melancoliei, depresiei etc. Vlad Dr\u0103goi e\u0219ueaz\u0103 \u00een a g\u0103si nuan\u021b\u0103rile necesare, ruperile de ritm \u00een registrul tonal fiind mult prea rare, volumul c\u0103p\u0103t\u00e2nd un aspect unidimensional.<\/p>\n\n\n\n

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    Ale noastre dintru ale noastre<\/em> \u2013 Moni St\u0103nil\u0103 (Casa de Editur\u0103 Max Blecher)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Pierdut\u0103 \u00eentr-un discurs copil\u0103resc, naiv a\u0219 ad\u0103uga, Moni St\u0103nil\u0103 face o critic\u0103 generic\u0103 a societ\u0103\u021bii de consum, dup\u0103 care g\u0103se\u0219te rezolvarea \u00een latura mistic\u0103 a existen\u021bei. Volum sl\u0103bu\u021b, superficial.<\/p>\n\n\n\n

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    Borne <\/em>\u2013 Maria Postu (\u0218coala Ardelean\u0103)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Prin Borne<\/em>, Maria Postu \u00ee\u0219i propune s\u0103 scrie o poezie a v\u00e2rstelor, c\u0103ut\u00e2nd, de fiecare dat\u0103 un s\u00e2mbure de copil\u0103rie (folosit\u0103 de multe ori ca refugiu). Conceptul nu este unul r\u0103u, \u00eens\u0103 problemele apar la nivel stilistic: metafore (mult) prea facile, simboluri v\u00e2r\u00e2te f\u0103r\u0103 nicio noim\u0103 \u00een text etc.<\/p>\n\n\n\n

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    C\u00e2nd ai sufletul plecat<\/em> \u2013 Alexandru Ro\u0219u (Paralela 45)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Alexandru Ro\u0219u ne prezint\u0103 o poezie a cotidianului, a fragilit\u0103\u021bilor aferente acestuia. F\u0103r\u0103 a fi sclipitoare din punct de vedere stilistic \u0219i cu o linie ideatic\u0103 deloc original\u0103, putem spune c\u0103 vorbim despre o carte aproape decent\u0103 de poezie.<\/p>\n\n\n\n

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    Mic dejun la Frida<\/em> \u2013 Angela Baciu (Tracus Arte)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    De-a lungul unui fir pseudo-narativ care ia forma unei pove\u0219ti de dragoste Angela Baciu realizeaz\u0103 un breviar al st\u00e2ng\u0103ciilor (de orice fel). Uman\u0103, chiar simpatic\u0103, nu este o carte de poezie care s\u0103 \u00ee\u0219i propun\u0103 multe.<\/p>\n\n\n\n

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    nu striga niciodat\u0103 ajutor<\/em> \u2013 Mircea C\u0103rt\u0103rescu (Humanitas)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Cauza unei polemici acide \u00een presa cultural\u0103 mainstream, nu striga niciodat\u0103 ajutor<\/em> pare a marca un punct de turnur\u0103 \u00een cariera literar\u0103 a lui Mircea C\u0103rt\u0103rescu: \u00eencadrabil fiind \u00een sistemul literar c\u0103rt\u0103rescian, cu un discurs poetic minimalist, volumul este, totu\u0219i, inconsistent, chiar slab a\u0219 spune. Vorbim despre o carte \u00een care poetul caut\u0103 \u0219i se<\/em> caut\u0103.  <\/p>\n\n\n\n

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    Numele t\u0103u e cea mai frumoas\u0103 declara\u021bie de dragoste<\/em> \u2013 Marius Tuc\u0103 (ART)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Marius Tuc\u0103 reu\u0219e\u0219te s\u0103 adune \u00een noul s\u0103u volum o multitudine de cli\u0219ee literare. Sirop nediluat.<\/p>\n\n\n\n

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    o zi pe care am locuit-o c\u00e2ndva<\/em> \u2013 Nicolae Teoharie (Tracus Arte)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    \u00cen o zi pe care am locuit-o c\u00e2ndva<\/em> se \u00eencearc\u0103 o poezie a singur\u0103t\u0103\u021bii. Spun \u00eencearc\u0103<\/em> pentru c\u0103 singurul lucru pe care l-am putut deduce dup\u0103 lectura volumului este c\u0103 autorul trebuie s\u0103 fie apoetic. O carte de poezie f\u0103r\u0103 sim\u021bul propor\u021biei \u0219i contextului, deseori \u00een\u0219iruind f\u0103r\u0103 discern\u0103m\u00e2nt metafore, care la r\u00e2ndul lor, \u00een unele momente, nici m\u0103car nu au sens.<\/p>\n\n\n\n

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    Poeme de consum<\/em> \u2013 Relu Cazacu (Tracus Arte)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Oscil\u00e2nd \u00eentre o critic\u0103 generic\u0103 a societ\u0103\u021bii de consum \u0219i un spa\u021biu poetic interioriza(n)t, Relu Cazacu ne prezint\u0103 un volum decent, f\u0103r\u0103 mari reu\u0219ite.<\/p>\n\n\n\n

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    \u0219aizeci\u0219i\u0219ase<\/em> \u2013 Octavian Soviany (Casa de Editur\u0103 Max Blecher)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Angrenat \u00eentr-o poetic\u0103 simpl\u0103, cu un criptic rezidual, Soviany pare s\u0103 fie posedat de dispre\u021b \u0219i resemnare. Recapitul\u00e2ndu-\u0219i via\u021ba \u0219i punctele ei intense, medit\u00e2nd \u00eentr-o introspec\u021bie (aproape) continu\u0103, poetul ajunge la concluzia c\u0103 \u201epoezia e un\/ prezervativ consumat\/ la care oamenii\/ se uit\u0103 cu sc\u00e2rb\u0103\u201d. \u0219aizeci\u0219i\u0219ase<\/em> nu este genul de volum care s\u0103 \u00ee\u0219i propun\u0103 s\u0103 fac\u0103 multe. De fapt, el are rol terapeutic pentru poet, nu pentru cititor, tocmai de aceea Soviany scrie f\u0103r\u0103 a se g\u00e2ndi la calitatea poeziei. Volumul este unul slab, dar este un fapt asumat.<\/p>\n\n\n\n

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    Un om mai important dec\u00e2t oamenii<\/em> \u2013 Lucian Brad (OMG)<\/p>\n<\/div>\n<\/div>\n\n\n\n

    Un proiect interesant ca inten\u021bie, dar care (se) rateaz\u0103 prin execu\u021bie: de\u0219i un demers colectiv destul de bine \u00eenchegat, calitatea poeziei \u00een sine este una destul de slab\u0103.<\/p>\n\n\n\n

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    Foto: Pexels.com<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

    V\u00e2rfuri M\u0103 uit \u00eenapoi \u0219i dispare \u2013 Teona Galgo\u021biu (OMG) M\u0103 uit \u00eenapoi \u0219i dispare este un volum ciud\u0103\u021bel, foarte diferit de tot ce se public\u0103 \u00een poezia mainstream. Pornind din zona biograficului, poetica Teonei Galgo\u021biu se dovede\u0219te a fi inteligent\u0103, \u0219tiind s\u0103 opereze \u00een \u0219i prin spa\u021biu pentru a transmite. Exploziile suprarealiste \u0219i apeten\u021ba pentru simbol, gravate clar prin intermediul unei voci stabile \u2013 iat\u0103 elementele care \u00eembrac\u0103 scheletul biografic al poeziei. De\u0219i aflat\u0103 la debut, Teona Galgo\u021biu impresioneaz\u0103 prin omogenitatea crea\u021biei sale poetice. Sputnik \u00een gr\u0103din\u0103 \u2013 Gabi Eftimie (OMG) Poezia din noul volum al lui Gabi Eftimie<\/p>\n","protected":false},"author":17,"featured_media":905,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28,129],"tags":[131,49,119,130],"coauthors":[],"class_list":["post-904","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","category-retrospective","tag-anul-poetic-2020","tag-nr-1-2021","tag-radu-bejan","tag-retrospectiva-literara"],"jetpack_featured_media_url":"https:\/\/revistafamilia.ro\/wp-content\/uploads\/2021\/02\/pexels-wallace-chuck-3109168-scaled.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/904","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=904"}],"version-history":[{"count":8,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/904\/revisions"}],"predecessor-version":[{"id":935,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/posts\/904\/revisions\/935"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=\/wp\/v2\/media\/905"}],"wp:attachment":[{"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=904"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=904"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=904"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistafamilia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=904"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}