{"id":19111,"date":"2014-09-04T16:07:11","date_gmt":"2014-09-04T16:07:11","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=19111"},"modified":"2014-09-05T10:38:04","modified_gmt":"2014-09-05T10:38:04","slug":"dr-george-anca-pusi-dinulescu","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2014\/09\/04\/dr-george-anca-pusi-dinulescu\/","title":{"rendered":"Dr. George Anca: Pu\u0219i Dinulescu"},"content":{"rendered":"

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PU\u0218I\u00a0 DINULESCU<\/strong><\/p>\n

Scenometria operei<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 de\u00a0Dr. George Anca
\n<\/em><\/p>\n

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\n<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Cuprins<\/strong><\/p>\n

Argument<\/p>\n

La cinci ani de \u00eent\u00e2lniri<\/p>\n

Poezie-tabu la Pu\u0219i Dinulescu<\/p>\n

Sub tapa(na) arhanghelului Pu\u0219i<\/p>\n

Un picaro duios-amar<\/p>\n

Nick<\/p>\n

Pu\u0219i scrie o pies\u0103<\/p>\n

Robert Calul (abstract scenometric)<\/p>\n

Scenometrie tentativ\u0103 \u2013 intermezzo pu\u0219ian<\/p>\n

De la Augustin la Dr\u0103ghicescu<\/p>\n

De la Dr\u0103ghicescu la Pu\u0219i<\/p>\n

 <\/p>\n

ARGUMENT<\/em><\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>Scenometrie (cf. cartea noastr\u0103 Scenometrie Teatrux<\/em>), termen poate eufonic cu psihometria practicat\u0103 \u00een proza lui Pu\u0219i Dinulescu, are de a face pre\/para teatral cu scena\/scenariul-reprezentare-spectacol a operei scrise, aici. L-am practicat tacit cinci ani la colocviile publice cu Pu\u0219i, \u00eembin\u00e2nd convorbirile literare cu teatrul de poezie, de exemplu. \u0218i includerea \u00een cartea de scenometrie a piesei imposibile Ast\u0103-sear\u0103 se joac\u0103 Noica<\/em> f\u0103cea caz de \u00eent\u00e2lnirile cu filosoful. Ast\u0103zi se joac\u0103 Pu\u0219i. Adic\u0103, precum \u00een piesa pu\u0219ian\u0103 de-o via\u021b\u0103, Adev\u0103rata cas\u0103 cu \u021boape<\/em> etc.: adev\u0103rata scenometrie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O lectur\u0103 mediat\u0103, implicit anticritic\u0103, \u00een clasic, preseaz\u0103, aproape, crestoma\u021bia \u00eenscenabil\u0103, oricum de\u0219irarea deslu\u0219irii misterelor acestei opere unice, unic marginalizat\u0103. Cititorul nu e mituit cu niscai coeren\u021be de clas\u0103, nici barat cu ifose de cancelarie, \u0219i fie s\u0103 reac\u021bioneze la scenometrie, vreo noutate oarecare, pe o oper\u0103 de recunoscut cu orice \u0219pil. Numele suprem al cititorului, \u00een sanscrit\u0103, este sahridaya, cititorul cunosc\u0103tor, colaborator al autorului. Cum \u0219i doctrina lacunei, la Poe, Wagner, Baudelaire, l\u0103sat\u0103 cititorului s\u0103 o umple, tot pe acolo bate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scenometria se aplic\u0103 aici pentru prima oar\u0103 \u00een hermeneutica literar\u0103, anume asupra operei lui Pu\u0219i Dinulescu. Nici Roland Barthes, nici alamkara sanscrit\u0103, nici dodiile sistematizate de Marian Popa nu vor e\u0219apa cenzura sau critica ideologic\u0103 aici. L\u0103s\u0103m esen\u021ba lui Pu\u0219i la vedere, ca pe scen\u0103, cine ajungem. Doar vorbim din studen\u021bie, un film, o bere, Robert Calul, hai la teatru. S\u0103 nu pl\u00e2ngem c\u0103 tot nu ne las\u0103 \u0103l r\u00e2s cinic-hercinic. C\u0103 involu\u021bie, c\u0103 ratare, out. R\u00e2s ultra-tehnic, barthesian. Rasa-dhvani \/ sentiment-sugestie? Vidush, ghidu\u0219: s\u0103 ias\u0103 to\u021bi brahmanii \u0219i turn\u0103torii din sal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Abia am prescenometrizat por\u021biuni dialogate din Robert Calul, ca pentru a prinde un fir (rupt anume din pornire, poate a se \u00eennoda fie \u0219i \u00eent\u00e2mpl\u0103tor \u00een sensibilitatea receptorului) \u2013 nu se poate povesti nimic din Pu\u0219i, ci lua sculptural-muzical-dramaturgic ca atare fiecare r\u00e2nd \u0219i Urmuz etc. – , a sugera dintru \u00eenceput dialogismul epic al pu\u0219ianismului, ce nu se putea, m\u0103car \u0219i la 60 de ani, a nu se ecloza \u00een piese \u00eentru Caragiale-Mazilu. Romanul, miraj al prozatorului rom\u00e2n \u00een anii 60, este, totu\u0219i, Robert Calul, \u00eesum\u00e2ndu-se, augural, pe mitul dublului, operei avenire, astfel un roman-fluviu printre de\u0219erturi \u0219i liba\u021bii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poveste cu Monica<\/strong> din Linda Belinda <\/strong>se face, reflex,\u00a0 roman, Galaxia Burlacilor. <\/strong>M\u0103car Romanul Sfintei Mogo\u0219oaia<\/strong> este scenometrie curat\u0103, matein\u0103, \u00eencartiruind, grupuri-grupuri, Dulcinee-Rusoaice, misterele paracomuniste bucure\u0219tene, aluzionate \u00een arhipelagul povestirilor, \u0219i cu farfuria zbur\u0103toare ursind-repreromanticiz\u00e2nd-ridendo \u00cengerul contabil<\/strong>, \u0219i iar povestiri, p\u00e2n\u0103 la Etna dramaturgic\u0103 indus\u0103 ca de Caragiale, de nu la concuren\u021b\u0103, ia pun’te tu cu mine, c\u0103 m\u0103 iube\u0219ti. <\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tirada maxim\u0103 e autorul-personaj, Pu\u0219i \u00een persoan\u0103, c\u0103ruia, citind cartea lui Grigore Traian Pop, i-a venit \u00een minte comedia Neispr\u0103vitul<\/em>, de Fonvizin. Dar nu m\u0103 tem de acest cuv\u00e2nt, spune el, pentru c\u0103 neispr\u0103vit \u00eenseamn\u0103 viu, iar ispr\u0103vit \u00eenseamn\u0103 mort. \u0218i-mi convine. Acum, cu mi\u0219toul, care nu rareori m\u0103 caracterizeaz\u0103, am s\u0103 amintesc \u0219i faptul c\u0103, la vremea lui, \u0219i Hasdeu a fost derizionat cu porecla de Omul-Fragment.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u0103-\u0219i permite s\u0103 citeze din r\u0103spunsul lui Hasdeu \u2013 unde? – \u00een Galaxia burlacilor<\/strong>, de\u0219i roman, zice, adic\u0103 nu ce? Hasdeu: Orice por\u021biune a infinitului este un fragment. Un fragment este o raz\u0103 a soarelui, un fragment \u0219i soarele \u00eensu\u0219i, un fragment este \u00eentreagas sistem\u0103 solar\u0103. De ce s\u0103 nu fiu \u0219i eu un biet fragment. Fiecare fragment, \u00eens\u0103, are o misiune pe care o \u00eendepline\u0219te \u00een sfera totalit\u0103\u021bii. Unquote.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i mai: Dubito ergo cogito, cogito ergo sum, nu-i a\u0219a domnule Desartes? Dar te-ntreb pe dumneata de ce criticii, de ce chiar un biograf care mi-e prieten, de ce chiar femeile, uneori, m\u0103 iau drept un neispr\u0103vit? De ce? Numai pentru c\u0103 nu sunt un cerc \u00eenchis. Nu, domnule, eu nu sunt \u00eenchis, eu nu sunt ispr\u0103vit, eu sunt ca infinitul, un Neisprvit! A\u0219a s\u0103 \u0219ti\u021bi voi! (Pu\u0219i Dinulescu)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i \u00een Poveste<\/em> \u0219i \u00een Galaxie<\/em> \u0219i \u00een Burlacul<\/em>, mai (re) citeaz\u0103 o noti\u021b\u0103 de la cursul lui Vianu:<\/p>\n

Cursul 6.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sf.Augustin: <Geniul poetic are un caracter malefic>.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Jakob Burckhardt: Die Kultur der Renaissance in Italien.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Volksgeist (De aici o s\u0103geat\u0103 spre Burckhardt).<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hegel Filozofia istoriei (De aici o s\u0103geat\u0103 spre Volksgeist).<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Weltgeist lu\u00e2nd cuno\u015ftin\u0163\u0103 de sine devine Kultur.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Istoria omenirii \u2013 istoria con\u015ftiin\u0163ei de libertate<\/em>.<\/p>\n

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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Peste at\u00e2\u021bia nem\u021bi, Sf. Augustin. Cum scenometria nu se bordeaz\u0103 la literatur\u0103, nici la \u0219tiin\u021b\u0103, nici la spirit, s\u0103 facem caz, la aceast\u0103 citare, de Noua cetate a lui Dumnezeu<\/em>, de Dumitru Dr\u0103ghicescu, Paris, 1929. Traducerea mea din francez\u0103 este \u00eenc\u0103 inedit\u0103, a\u0219a c\u0103, se citesc aici unele paragrafe pentru prima oar\u0103, repatriate lingvistic, dup\u0103 85 de ani. Cum Cetatea lui Dumnezeu<\/em> de Augustin este Roma, \u0219i Noua Cetate a lui Dumnezeu<\/em> de Dumitru Dr\u0103ghicescu este Societatea Na\u021biunilor, a\u0219a \u0219i Einstein este Dumnezeu \u00een \u00cengerul contabil<\/em>.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dumitru Dr\u0103ghicescu<\/em>:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pentru c\u0103 \u0219tiin\u021ba timpului s\u0103u este \u00eenc\u0103 la debuturile ei, \u0219i prin urmare insignifiant\u0103, ea nu satisface deloc aspira\u021biile sale. Dorin\u021bele sunt \u00een fapt infinite. Faust concepe efectiv c\u0103 un dumnezeu locuie\u0219te \u00een el; prin elanurile sale spre infinit, pe care le-a mo\u0219tenit de la educa\u021bia sa religioas\u0103, aspira\u021biile sale se prelungesc la infinit \u0219i nimic din ce este bornat nu-l mai mul\u021bume\u0219te. De aici aceast\u0103 inchietudine impacient\u0103 \u0219i aceast\u0103 nemul\u021bumire obstinat\u0103, aceast\u0103 revolt\u0103 contra oric\u0103rei limite care-l face, cum am v\u0103zut, s\u0103 blesteme toat\u0103 existen\u021ba \u0219i s\u0103 ia realitatea \u00een oroare. \u0218i de aceea eroul lui Goethe se ded\u0103 magiei, \u0219i aceasta este exact anticiparea \u0219tiin\u021bei ce va veni. Mefistofel este cea mai fericit\u0103 \u0219i perfect\u0103 incarnare a \u0219tiin\u021bei timpului nostru.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ceea ce Faust cere de la magia lui Mefistofel, burghezia cere de la \u0219tiin\u021b\u0103 \u0219i aceasta \u00eei ofer\u0103 sau \u00eel las\u0103 s\u0103 spere. Aspira\u021biile burgheziei secolului nostru sunt exact cele ale lui Faust. Ca \u0219i el, burghezia noastr\u0103 ar vrea s\u0103 se bucure \u201ef\u0103r\u0103 ca vreodat\u0103 s\u0103 fie un moment satisf\u0103cut\u201d. Ca \u0219i Faust, burghezia zilelor noastre arunc\u0103 aceast\u0103 sfidare Mefistofelului ei care este \u0219tiin\u021ba:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eDac\u0103 vreodat\u0103 m\u0103 \u00eentind lini\u0219tit pe un pat de lene, fie-mi \u00eendat\u0103 sf\u00e2r\u0219itul. Dac\u0103, flat\u00e2ndu-m\u0103, tu m\u0103 po\u021bi abuza p\u00e2n\u0103 la punctul \u00een care eu s\u0103 m\u0103 complac \u00een mine \u00eensumi, dac\u0103 tu po\u021bi s\u0103 m\u0103 \u00een\u0219eli prin juisan\u021b\u0103… Dac\u0103 eu spun clipitei care trece: A\u0219teapt\u0103, e\u0219ti a\u0219a frumoas\u0103… atunci eu consimt bucuros s\u0103 pier \u0219i c\u0103 mi-e timpul revolut.\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i, f\u0103r\u0103 \u00eendoial\u0103, burghezia cere Mefistofelului ei, adic\u0103 \u0219tiin\u021bei \u201em\u00e2nc\u0103ri care nu satur\u0103, un loc la care nu se c\u00e2\u0219tig\u0103 niciodat\u0103\u201d. Bref, ceea ce cere ea \u0219tiin\u021bei este s\u0103 se bucure indefinit, f\u0103r\u0103 sa\u021bietate posibil\u0103, c\u0103ci ea \u00ee\u0219i dore\u0219te \u0219i crede \u00een capacitatea sa infinit\u0103 de a se bucura (1).<\/p>\n

(1) \u201eMereu am dorit s\u0103-mi ast\u00e2mp\u0103r dorurile, apoi am r\u00e2vnit iar… C\u0103 omul dresat pe acest p\u0103m\u00e2nt prive\u015fte \u00een jurul lui… c\u0103 \u00een acest mers \u00eenainte el g\u0103se\u015fte noroc \u015fi nenoroc, f\u0103r\u0103 ca vreodat\u0103 s\u0103 fie o singur\u0103 clip\u0103 satisf\u0103cut.\u201d (Faust<\/em>, partea a doua.)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar pentru c\u0103 Mefistofel, simbolul \u0219tiin\u021bei \u0219i magiei sale, poart\u0103 ca semn distinctiv inevitabilele coarne de \u021bap, el marcheaz\u0103 bine prin aceasta c\u0103 puterea sa nu poate procura dec\u00e2t pl\u0103cerile lumii mici, \u0219i mai precis cele ale sim\u0163urilor, ale senzualit\u0103\u021bii. \u00cen el, ca \u00een \u0219tiin\u021ba noastr\u0103, este materia care \u0219i-a aservit spiritul \u0219i inteligen\u021ba.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00centr-o societate \u00een care astfel este starea de suflet \u0219i astfel aspira\u021biile, via\u021ba moral\u0103 nu putea fi altfel dec\u00e2t ne-a descris-o Proudhon. Epoca noastr\u0103 este cea a lui Mefistofel; el \u00eel \u00eenlocuie\u0219te pe Dumnezeu. Burghezia juisant\u0103 vrea, \u00eentocmai ca Faust, s\u0103 introduc\u0103 infinitul \u00een satisfacerea nevoilor sale finite \u0219i aceasta d\u0103 senzualit\u0103\u021bii sale caracterul nepotolit, termin\u00e2ndu-se prin dezgust \u0219i prin detracarea sim\u021burilor, prin viciu sau prin nebunie. Goethe a v\u0103zut at\u00e2t de bine aceasta, pun\u00e2ndu-i \u00een gur\u0103 lui Mefistofel aceste cuvinte profunde apropo de om \u0219i adres\u00e2ndu-le Domnului Dumnezeu: \u201eMicul Dumnezeu al lumii… El ar fi tr\u0103it mai bine dac\u0103 tu nu-i d\u0103deai reflexul luminii celeste; el a numit-o ra\u021biune \u0219i n-o uzeaz\u0103 dec\u00e2t pentru a fi mai bestial dec\u00e2t toate bestiile.\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen 1914, scaden\u021ba p\u0103ru, un moment, ajuns\u0103 la termen pentru burgheziile na\u021bionale; timpul p\u0103ru un moment revolut pentru Faust burghez. \u0218tiin\u021ba mefistofelic\u0103 a timpului nostru a procurat Faustului s\u0103u burghez aceea\u0219i trezire catastrofic\u0103, din care el n-a fost tras, \u00eentocmai sufletului celuilalt Faust, dec\u00e2t printr-o minune a indulgen\u021bei divine. \u0218tiin\u021ba \u0219i Mefistofel pot, pe drept, spune despre noi: \u201eNicio pl\u0103cere nu-l potole\u0219te, nicio fericire nu-i ajunge… \u0218i iat\u0103 c\u0103 ultimul moment, mediocru \u0219i vid, nenorocitul dore\u0219te s\u0103-l re\u021bin\u0103.\u201d (Faust<\/em>, partea a doua).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dac\u0103 Satan simbolizeaz\u0103 corup\u021bia moravurilor, recunoa\u0219tem c\u0103 el \u0219i-a \u00eendeplinit o misiune necesar\u0103 c\u0103ci, dac\u0103 este adev\u0103rat c\u0103 bobul de gr\u00e2u nu germineaz\u0103 \u00eenainte de a se descompune, progresul moral \u0219i \u0219tiin\u021bific nu este posibil dac\u0103 vechile moravuri, ca \u0219i vechile legi \u0219i toat\u0103 organizarea social\u0103 \u0219i ideologic\u0103 a popoarelor, nu se descompun de asemenea. Mefistofel este agentul cel mai activ al progresului uman, Goethe a pus \u00een el o profund\u0103 intui\u021bie c\u00e2nd l-a f\u0103cut s\u0103 spun\u0103 c\u0103 el este:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eO parte a acestei for\u021be care totdeauna vrea r\u0103ul \u0219i totdeauna creeaz\u0103 binele.\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pentru a ar\u0103ta c\u0103 aici este unul din adev\u0103rurile cele mai esen\u021biale, Goethe a f\u0103cut c\u0103tre Domnul Dumnezeu reflexiunea urm\u0103toare:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eActivitatea omului se domoli prea u\u0219or, el s-a compl\u0103cut repede \u00een odihna absolut\u0103; de aceea eu \u00eei al\u0103tur binevoitor acest companion care s\u0103-l \u00eemboldeasc\u0103 \u0219i stimuleze \u0219i, \u00een diavol ce este, trebuie s\u0103 munceasc\u0103.\u201d<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cert, odihna \u00een care se compl\u0103cea adesea burghezia bogat\u0103 nu este compatibil\u0103 cu progresul. \u0218i, pe de alt\u0103 parte, pentru a schimba moravurile, trebuie mai \u00eent\u00e2i a le determina descompunerea. Omul trebuie s\u0103 plonjeze mai profund \u00een animalitate pentru ca, asemeni lui Anteu, s\u0103 prind\u0103 noi for\u021be \u0219i s\u0103 se reidice mai sus apoi, deasupra animalit\u0103\u021bii. Iat\u0103 de ce Satan creeaz\u0103 totdeauna binele, tocmai voind totdeauna r\u0103ul. (P\u00e2n\u0103 aici, Dumitru Dr\u0103ghicescu, pe subiect mult colocviat cu Dinulescu)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pu\u0219i Dinulescu se autoprefa\u021beaz\u0103 ca E.T. Hoffman, \u0219i introducerile acestea arunc\u0103 zaruri scenometrice.<\/p>\n

 <\/p>\n

LINDA BELINDA<\/strong><\/p>\n

(1979)<\/strong><\/p>\n

NOTA AUTORULUI<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Volumul a ap\u0103rut la Cartea Rom\u00e2neasc\u0103, <\/em>\u00een timp ce director era Marin Preda. Autorul \u00eel intiulase Linda Bellinda, <\/em>dar redactoarea , mai pu\u021bin familiarizat\u0103 cu limba italian\u0103, i l-a prezentat lui Marin Preda cu un singur \u00a0l. <\/em>Autorul a atras aten\u021bia c\u0103 nu e corect, dar marele om a zis: \u201eLas\u0103-l a\u0219a, c\u0103 e mai autohton!\u201d \u0218i-a\u0219a a r\u0103mas!<\/strong><\/p>\n

Cartea a fost distins\u0103 cu Premiul Asocia\u021biei Scriitorilordin Bucure\u0219ti pe 1979, de un juriu prezidat de Romul Munteanu.<\/strong><\/p>\n

La dou\u0103 din povestirile <\/em>din Linda Belinda<\/em><\/strong> au fost schimbate titlurile. Raul \u0219i nostalgia sa<\/em> a devenit \u0218pri\u021bul de var\u0103,<\/em> iar Povestea unui copil <\/em>a devenit Amantul, mama \u0219i copilul.<\/em><\/strong><\/p>\n

Dintre prozele din acest volum, Poveste cu Monica <\/em>a fost <\/em>ulterior amplificat\u0103, devenind romanul\u00a0 Burlacul, <\/em>din cartea Galaxia Burlacilor(1980), <\/em>tradus\u0103 \u00een limba francez\u0103 cu titlul Le vieux gar<\/em><\/strong>\u00e7on<\/em><\/strong> <\/em><\/strong>\u0219i av\u00e2nd versiunea definitiv\u0103 \u00een volumul Burlacul(2011).<\/em><\/strong><\/p>\n

Acas\u0103 <\/em>\u0219i <\/em><\/strong>Eu Liza \u0219i Nae <\/strong><\/em>au fost incluse \u00een antologia lui Cornel Regman Nuvela \u0219i povestirea rom\u00e2neasc\u0103 \u00een deceniul opt (Editura Eminescu 1983), <\/em>iar <\/em><\/strong>Familia Atanasiu <\/strong><\/em>\u00een antologia de <\/em>proz\u0103 scurt\u0103 contemporan\u0103 <\/em><\/strong>Arhipelag, <\/strong><\/em>a lui Mircea Iorgulescu (Editura Eminescu 1981).<\/em><\/strong><\/p>\n

Acas\u0103 <\/strong><\/em>a fost tradus\u0103<\/strong> \u00een rus\u0103, <\/strong>Familia Atanasiu<\/em> <\/strong>\u00een german\u0103, englez\u0103 <\/strong>\u0219i rus\u0103<\/strong>, <\/strong>Desp\u0103r\u021bire<\/em> \u00een rus\u0103, <\/strong>Eu, Liza \u0219i Nae<\/em> \u0219i <\/strong>Poveste de la mare <\/em>\u00een englez\u0103<\/strong>, Amantul, mama \u0219i copilul<\/em> <\/strong>\u00een maghiar\u0103.<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00cen antologia de autor <\/strong>Crim\u0103 la circ (2003) au intrat \u0219i povestirile <\/strong>Familia Atanasiu, Juc\u0103torii de pingpong, Acas\u0103, Eu, Liza \u0219i Nae, Poveste de la mare <\/em>\u0219i<\/strong> \u0218arada.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

*<\/p>\n

GALAXIA BURLACILOR<\/strong><\/p>\n

(1980)<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Romanul Galaxia Burlacilor<\/strong> avea ini\u021bial o arhitectur\u0103 destul de sofisticat\u0103. S-ar fi chemat Galaxia Burlacilor sau Istoria lui<\/strong> Om-e-el<\/strong> \u0219i ar fi tratat patru ipostaze ale lui Om-e-el<\/strong>, de fapt ipostaze ale singur\u0103t\u0103\u021bii: Artistul, Burlacul, Aventurierul<\/strong> \u0219i Repetentul. <\/strong>\u00cen centru era, \u00eens\u0103, Burlacul <\/strong>\u2013 artist el \u00eensu\u0219i, av\u00e2nd ceva \u0219i de\u00a0 aventurier, dar \u0219i de repetent!<\/p>\n

S\u0103 fi fost aceasta o r\u0103st\u0103lm\u0103cire a Omului Absurd din Mitul lui Sisif<\/strong> al lui Albert Camus? Posibil, din moment ce autorul prezentase la terminarea Facult\u0103\u021bii de Litere o tez\u0103 de licen\u021b\u0103 despre Problema individului la Camil Petrescu \u0219i Albert Camus.<\/strong><\/p>\n

\u00cen orice caz, doamna redactoare i-a scos Artistul <\/strong>\u0219i au r\u0103mas doar ceilal\u021bi trei, dar f\u0103r\u0103 a mai fi vorba despre Om-e-el<\/strong> \u0219i astfel ambi\u021bia\u00a0 autorului de a da o mai cuprinz\u0103toare \u0219i mai semnificativ\u0103 privire asupra unor leg\u0103turi din lume\u00a0 a fost compromis\u0103.<\/p>\n

Traduc\u00e2nd romanul \u00een limba francez\u0103, Michel Wattremez a ales doar Burlacul, <\/strong>ceea ce-a f\u0103cut apoi <\/strong>\u0219i autorul, care, pentru edi\u021bia <\/strong>rom\u00e2neasc\u0103 din 2011, s-a rezumat \u0219i el\u00a0 doar la Burlacul,<\/strong> rev\u0103zut pu\u021bin fa\u021b\u0103 de edi\u021bia din 1980, ca \u0219i edi\u021bia francez\u0103.<\/p>\n

Burlacul <\/strong>a r\u0103mas, deci, ca orice burlac, de sine st\u0103t\u0103tor \u0219i, fiind roman, nu-\u0219i are rostul aici. A\u0219a c\u0103 au r\u0103mas p\u00e2n\u0103 la urm\u0103 \u00een fa\u021ba dumneavoastr\u0103 aici doar p\u0103r\u021bile a doua \u0219i a treia: Aventurierul<\/strong> \u0219i Repetentul<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

*<\/strong><\/p>\n

REPETENTUL<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

(ca o addenda aceste Memorii de fapt, fiindc\u0103 ie\u015fim din marjele fic\u0163iunii \u015fi respir\u0103m \u00een fine aerul tare al adev\u0103rului nemediat)<\/p>\n

 <\/p>\n

Prefa\u021b\u0103 involuntar\u0103<\/strong><\/p>\n

(am \u00eencredin\u0163at aceste Memorii \u00eent\u00e2i unui influent personagiu, care, citind, probabil, doar o parte din ele, iat\u0103, ce mi-a referat:)<\/p>\n

 <\/p>\n

Drag\u0103 Domn\u2019 Dinulescu,<\/em><\/p>\n

Humorul absurd este evident, dar faptele sunt prea particulare ca s\u0103 treac\u0103 rampa curiozit\u0103\u0163ii celorlal\u0163i. <\/em>Ca amintiri de repetent (memorii) (le spui d-ta) mi se par prea sub\u0163iri.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

Cu prietenie,<\/em><\/p>\n

Al d-tale,<\/em><\/p>\n

E.B.<\/em><\/p>\n

(cu scuze pentru \u00eent\u00e2rziere)<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Not\u0103 din 2013<\/span><\/strong>\u00a0:<\/strong><\/p>\n

Cine-o fi fost E.B.? Desigur, Eugen Barbu!<\/p>\n

Cine-o fi fost, apoi, M.D.? Desiguir, Mircea Dr\u0103gan! Dar G.V. nu era cumva Gheorghe Vitanidis? Ba da, bine\u00een\u0163eles! Iar M.I. nu era Ministerul de Interne, era Mihai Iacob, E.B. era Elisabeta Bostan, A.C. era nimeni altul dec\u00e2t \u00a0Alecu Croitoru \u015fi-n fine, ultimul pe list\u0103, era I.N., autorul celui mai prost film rom\u00e2nesc din istorie, ceea ce n-a fost lucru u\u015for, \u00een acest mare campionat al stupidit\u0103\u0163ii! Mai era \u015fi S.D., adic\u0103 Silviu (Sicu) Dimitrovici, singura figur\u0103 luminoas\u0103 \u00eentr-un conglomerat de personaje de tenebre. Apropo de Dr\u0103gan \u0219i Vitanidis. \u00cenc\u0103 de c\u00e2nd erau stuiden\u021bi, cic\u0103 erau bine cu Partidul \u0219i cu Secu, demasc\u00e2ndu-\u0219i<\/em> colegii, care din cauza lor n-au mai putut termina \u0219i au trebui s\u0103-\u0219i caute alt drum: e cazul unor Grigore Hagiu, Boris Ciobanu sau George-Radu Chirovici.<\/p>\n

\u00a0<\/em><\/strong><\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>EU \u0218I ROBERT CALUL<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (1982)<\/strong><\/p>\n

NOTA AUTORULUI<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Volumul a ap\u0103rut la Editura Eminescu \u0219i a fost puricat r\u0103u de conducerea editurii. N-a avut succes de critic\u0103. A fost tratat cu indiferen\u021b\u0103 sau chiar cu ostilitate.<\/strong><\/p>\n

O zi din via\u021ba unui pinpongist<\/em> a fost tradus\u0103 \u00een francez\u0103, englez\u0103, rus\u0103 \u0219i german\u0103, <\/strong>Roman de familie <\/em>\u00een englez\u0103 \u0219i maghiar\u0103,<\/strong> Poem <\/em>\u00een gernan\u0103 \u0219i<\/strong> <\/em>maghiar\u0103, <\/strong>Planete, \u00cen lumea diplomatic\u0103, Ploaia <\/em>\u0219i<\/strong> Poveste de<\/em> <\/strong>moarte <\/em>\u00een maghiar\u0103, <\/strong>Promovarea tovar\u0103\u0219ului <\/strong>G\u0103in\u0103 <\/strong><\/em>\u00een bulgar\u0103, <\/strong>Dup\u0103 opera\u021bia de apendicit\u0103<\/em> \u00een englez\u0103, francez\u0103, german\u0103 \u0219i spaniol\u0103. <\/em><\/strong>Manuela <\/strong><\/em>a fost tradus\u0103 \u00een german\u0103 \u0219i a mai a ap\u0103rut \u00een limba rom\u00e2n\u0103 \u0219i \u00een Ungaria, la Gyula, \u00een revista Foaia noastr\u0103<\/em>, a rom\u00e2milor din Ungaria.<\/strong><\/p>\n

\u00cen antologia de autor <\/strong>Crim\u0103 la circ <\/em><\/strong>(2003) au intrat <\/strong>Boul \u0219i Lumini\u021ba, V.H. \u0219i amintirea m\u0103rii, Manuela <\/strong><\/em>\u0219i <\/strong>O zi din via\u021ba unui pinpongist.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0 CRIM\u0102 LA CIRC\u00a0\u00a0\u00a0 <\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/strong>(2003)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n

NOTA AUTORULUI<\/strong><\/p>\n

 <\/p>\n

\u00a0Volumul e subintitulat o antologie sau o ontologie de<\/em> <\/em>autor <\/em>\u0219i afar\u0103 de prozele preluate din volumele anterioare: Robert Calul<\/em>-1968 (Priveghiul, Reportaj \u0219i Dumitrescu, repetentul clasei), Linda Belinda-<\/em>1979 (Familia Atanasiu, Juc\u0103torii de pingpong, Acas\u0103, Eu, Liza \u0219i Nae, Poveste de la mare \u0219i \u0218arada) \u0219i Eu \u0219i Robert Calul<\/em> -1982 (V.H. \u0219i amintirea m\u0103rii, O zi din via\u021ba unui pinpongist \u0219i Boul \u0219i Lumini\u021ba) mai cuprinde \u0219i texte inedite \u00een volum sau chiar total inedite, pe care le public \u00een continuarea acestei pagini.<\/p>\n

Cartea a ap\u0103rut la Editura Meronia \u0219i nu a fost difuzat\u0103, iar critica , pur \u0219i simplu decimat\u0103 sau supus\u0103 consemnelor mafiotice dup\u0103 1989, n-a \u00eenregistrat-o, cu o singur\u0103 excep\u021bie: o cronic\u0103 citit\u0103 la radio de Ion Adam \u0219i apoi publicat\u0103 \u00eentr-o revist\u0103 din Foc\u0219ani.<\/p>\n

Dintre ineditele \u00een volum, au ap\u0103rut \u00een presa literar\u0103 \u00eenc\u0103 \u00eenainte de 1989 Nadia \u0219i Pesc\u0103ru\u0219ul<\/em> <\/em>(\u00een \u201eVia\u021ba Rom\u00e2neasc\u0103\u201d) sau<\/p>\n

Nev\u0103stuica<\/em> (\u00een \u201eLucedaf\u0103rul\u201d) , iar Iarna sau Starea de<\/em> <\/em>na\u0219pa <\/em>\u00een 2003 la \u201eLuceaf\u0103rul\u201d. Pis\u0103loaga<\/em> \u0219i \u00cen c\u0103utarea<\/em> Lumini\u021bei<\/em>, scrise am\u00e2ndou\u0103 \u00eenainte de Revolu\u021bie, n-au ap\u0103rut \u0219i \u00een periodice.<\/p>\n

Povestirea O crim\u0103 la circ<\/em> <\/em>a ap\u0103rut \u00eent\u00e2i \u00een limba german\u0103 (Mord im Zirkus, tradus\u0103 de Gerhard Csejka, \u00een Neue Litertatur <\/em>(nr.5\/1983) \u0219i apoi \u00een Gernania, \u00eentr-o antologie a literaturii rom\u00e2ne contemporane: Erkundugen II, <\/em>la Verlag Volk und Welt, <\/em>Berlin, 1985.<\/p>\n

 <\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pl\u0103cile avatarice s-au \u00eembiat, prioritar prin teatre de provincie, jocului-rejocului de t\u00e2n\u0103r de-a dramaturgia, la care, renun\u021b\u00e2nd, cum c\u0103 nu \u0219tia s\u0103 scrie, \u0219i-a definitivat, in spe, vreo 6-7. \u0218tampila criticului: \u201ecomedia desfr\u00e2ului\u201d.\u00a0 \u201ePusi Dinulescu are cateva procedee comice fara gres: parodia limbajului subcultural din mahalaua bucuresteana moderna care, desi s-a mutat la Snagov, a ramas o mahala morala si psihica… Pusi Dinulescu este un fonograf care inregistreaza cu voluptate ostila limbajul bucurestean sumar, mai mult sau mai putin argotic… Dominanta discursului dramatic al lui Pusi Dinulescu este insolenta, mai pe romaneste spus obraznicia care se poate urmari pe toate palierele textului, de la limbaj la caractere. Nu numai tinerii sunt obraznici, ci si cei mai varstnici. Sia asta pentru ca insolenta este o valoare in care autorul crede din toate puterile si o practica… Ce ne ofera Pusi Dinulescu sunt cu adevarat comedii ale desfraului. \u201d (Mircea Ghitulescu) . Altcineva:<\/p>\n

Cand nu suntem spectatori ai pieselor sale, fie si daca rememoram succesul pe carel-a avut spectacolul TV ”Bani de dus, bani de-ntors”, in regia lui\u00a0Alexandru Tocilescu, cu Gheorghe Dinica, Sebastian Papaiani si Carmen Tanase, si tot merita citit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu a\u0219a \u00ee\u0219i poveste\u0219te dramaturgul, pies\u0103 de pies\u0103, rob spectatorului.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bani de dus, bani de-ntors. <\/em>Un american de origine rom\u00e2n\u0103, fugit din \u021bar\u0103 \u00een timpul Comunismului, Manole, petrece o vacan\u021b\u0103 la Vama Veche, al\u0103turi de foarte t\u00e2n\u0103ra lui iubit\u0103, \u0219oferul lui \u0219i vechi tovar\u0103\u0219i de nebunii din tinere\u021be: arhitecta Irina \u0219i sculptorul Gic\u0103, am\u00e2ndoi prezen\u021bi \u0219i cu partenerii lor de via\u021b\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar iubita lui e cam rea de musc\u0103, \u0219oferul e un poltron, iar vechii prieteni sunt ni\u0219te neferici\u021bi \u00een c\u0103sniciile lor. Pune capac o prostituat\u0103 rusoaic\u0103. Un final cu totul nea\u0219teptat \u00eempietre\u0219te deodat\u0103 aceast\u0103 lume, parc\u0103 prea activ\u0103 \u0219i prea f\u0103r\u0103 Dumnezeu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nunta lui Puiu. <\/em>Tase a fost ceva c\u00e2ndva pe la Securitate sau prin armat\u0103 sau mili\u021bian, dar pe urm\u0103 a devenit meseria\u0219. N-a f\u0103cut niciodat\u0103 studii, de aceea vorbe\u0219te din c\u00e2nd \u00een c\u00e2nd neao\u0219, adic\u0103 f\u0103r\u0103 acord, ca \u0219i al\u021bii din familie: mai ales Veta \u0219i Puiu. Veta e nevasta de a doua a lui Tase \u0219i cu 12 ani mai t\u00e2n\u0103r\u0103, fost\u0103 buc\u0103t\u0103reas\u0103.Lae, b\u0103iatul mai mare, a f\u0103cut liceul \u0219i a ocupat tot felul de posturi m\u0103runte: a fost pedagog, func\u021bionar la o adminitra\u021bie financiar\u0103 etc. Acum e cam tot a\u0219a ceva. Marieta, nevast\u0103-sa, a f\u0103cut chiar doi ani de facultate, dup\u0103 care s-a l\u0103sat, de aceea e o tip\u0103 destul de pre\u021bioas\u0103 \u0219i oricum e mai citit\u0103 dec\u00e2t ceilal\u021bi. E \u00eens\u0103, \u00een fapt, ceea ce se poate numi o t\u00e2rf\u0103 p\u0103guboas\u0103 \u0219i cu suflet. Michi, fata lui Lae din prima c\u0103s\u0103torie, dore\u0219te cu \u00eenver\u0219unare s\u0103 emigreze, mai ales c\u0103 mama ei bun\u0103 se afl\u0103-n Canada \u0219i fostul iubit \u00een SUA.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Puiu n-a terminat liceul, p\u00e2n\u0103 \u00een 1989 a fost \u0219ofer \u0219i mic bi\u0219ni\u021bar, acum are o firm\u0103 mic\u0103 \u0219i destul de fantomatic\u0103. Este un\u00a0 \u201etwo-timing man \u201d, cum spun americanii, adic\u0103 tr\u0103ie\u0219te cu dou\u0103 tipe deodat\u0103. E \u0219mecher, \u00eentreprinz\u0103tor, dar de talie mic\u0103.<\/p>\n

Na\u0219ul \u00eei este superior \u0219i ca studii, are un liceu, poate chiar o facultate la f.f. Na\u0219a e contabil\u0103, femeie ciudat\u0103, trece cu siguran\u021b\u0103 de la o stare la alta. Sufer\u0103 c\u0103 nu are copii, se pare c\u0103 nu poate face, \u00eel \u021bine cu greu \u00een strun\u0103 pe so\u021b, care e incredibil de crai.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lili, secretara lui Puiu, e o pasionat\u0103 \u0219i o nec\u0103jit\u0103, via\u021ba \u00eei d\u0103 mereu cu \u0219utul \u00een gur\u0103, dar u e fat\u0103 rea \u0219i \u00een condi\u021bii propice ar putea \u00eenlori. \u0218i ea \u0219tie asta.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 AMANTA MORTULUI sau Noua \u0219i adev\u0103rata cas\u0103 cu \u021boape\u00a0 <\/em>tragicomedie \u00een dou\u0103 p\u0103r\u021bi cu zece c\u00e2ntece <\/em>1979-2009. <\/em>\u00centr-un bloc din Bucure\u0219ti, o femeie (Georgeta) este m\u0103ritat\u0103 cu o brut\u0103, fost b\u0103t\u0103u\u0219 la Securitate, ajuns colonel, iar dup\u0103 Revolu\u021bia din 1989, cu Contrarevolu\u021bia ei cu tot, exportator, om cu stare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Femeia are un amant (Sandu), care locuie\u0219te \u00een acela\u0219i bloc cu ei, dar \u0219i un fost amant (Matei), care o iube\u0219te \u00eenc\u0103 \u0219i o someaz\u0103 s\u0103 se \u00eentoarc\u0103 la el, amenin\u021b\u00e2nd-o chiar cu toporul. Nevasta lui \u00eel urm\u0103re\u0219te \u00eens\u0103 \u0219i vine \u0219i ea \u0219i o amenin\u021b\u0103 pe Georgeta c\u0103 dac\u0103 nu-i d\u0103 bani, o spune b\u0103rbatului de amant. Mai umbl\u0103 \u0219i cu mo\u0219mondeli de farmece, pe care i le arunc\u0103 sub un fotoliu, la un moment dat, c\u00e2nd ea lipse\u0219te din camer\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen aceast\u0103 lume idilic\u0103 apare nepoata Georgetei, Viorica. Ea se preg\u0103te\u0219te s\u0103 dea examen\u00a0 la facultatea de teatru. Cum vine, m\u0103tu\u0219\u0103-sa \u00eei ia to\u021bi banii, so\u021bul ei \u00eei face curte, apoi \u0219i amantul. Dar momentul \u00een care pic\u0103 ea coincide \u0219i cu g\u0103sirea \u00een lift a batistei femeii de c\u0103tre so\u021b care o ancheteaz\u0103 ca la Securitate, afl\u0103 ceva \u0219i hot\u0103r\u0103\u0219te s\u0103 se pun\u0103 la p\u00e2nd\u0103, ca s\u0103 verifice rela\u021bie ei cu Sandu, dar s\u0103 \u00eencerce \u00een acela\u0219i timp \u0219i ceva la nepoat\u0103, care s-ar putea l\u0103sa descoperit\u0103, dac\u0103 nu m\u0103car s\u0103-i dea \u00een g\u00e2t pe cei doi! De aceea \u00eensceneaz\u0103 o plecare urgent\u0103 \u0219i intempestiv\u0103 din ora\u0219.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen lipsa lui, lucrurile se \u00eent\u00e2mpl\u0103 cam dup\u0103 cum a prev\u0103zut tipul, numai c\u0103 la \u00eentoarcere, vr\u00e2nd s-o seduc\u0103 pe nepoat\u0103, e sechestrat \u00een camera acesteia, tot acolo unde fusese sechetrat mai \u00eenainte \u0219i Sandu, care \u00eencercase acela\u0219i lucru. Cei doi se iau la b\u0103taie pe \u00eentuneric, lovindu-se orbe\u0219te unul pe altul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Viorica fuge s\u0103-i de dreumul m\u0103tu\u0219ii, care fusese \u0219i ea drogat\u0103 \u0219i sechestrat\u0103 de Sandu \u00een garsoniera lui, ceea ce so\u021bul nu \u0219tia.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen casa r\u0103mas\u0103 goal\u0103, unde nu se mai aud nici cei doi sechestra\u021bi, p\u0103trunde cu o falc-\/n cer \u0219i cu una \u00een p\u0103m\u00e2nt, agit\u00e2ndu-\u0219i toporul Matei, urmat de nevast\u0103. El strig\u0103 dup\u0103 so\u021bul Georgetei, care, venind, \u00eel luase din drum \u0219i \u00eei tr\u0103sese un scurt, dar eficient toc de b\u0103taie, ca la ei la Secu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se \u00eentoarce \u0219i nepoata, cu m\u0103tu\u0219a. Profit\u00e2nd de prezen\u021ba vecinilor, le propune s\u0103 asiste la deschiderea u\u0219ii, \u00een spatele c\u0103reia sunt sechestra\u021bi cei doi nemernici, care au atentat la onoarea ei. Niciunul \u00eens\u0103 nu mai mi\u0219c\u0103 , dup\u0103 cum se constat\u0103 la prima vedere.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar Sandu \u00ee\u0219i revine, spre bucuria Georgetei, \u00eens\u0103 Emilia, m\u0103rturisind c-a fost amanta exportatorului (so\u021bul Georgetei) \u00eel acuz\u0103 pe Sandu c\u0103 l-a ucis. Sandu e \u00eennebunit de fric\u0103, cere Georgetei s\u0103 cumpere t\u0103cerea celor trei martori: Viorica, Emilia, Matei. Apoi vrea s\u0103 tran\u0219eze cadavrul lui Onel, dar se r\u0103zg\u00e2nde\u0219te: \u00eei vine ideea s\u0103-l arunce pe fereastr\u0103 \u0219i-l roag\u0103 pe Matei s\u0103-l ajute. \u00cen toat\u0103 z\u0103p\u0103ceala, Emilia \u00ee\u0219i cere drepturile de amant\u0103, vrea jum\u0103tate din averea mortului. Georgeta ezit\u0103. Emilia pleac\u0103 urmat\u0103 de Sandu, apoi de Matei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 R\u0103mas\u0103 singur\u0103 cu Viorica, Georgeta \u00ee\u0219i m\u0103rturise\u0219te deciziile, b\u0103nuiala c\u0103 Sandu nu o mai iube\u0219te, nu-i dec\u00e2t omul interesului. Totu\u0219i, acum, fiind bogat\u0103, ar fugi cu el \u00een Patagonia. Viorica \u00eei cere \u00eens\u0103, dac\u0103 tot s-a-mbog\u0103\u021bit, s\u0103-i dea \u00eenapoi banii cu care a venit, c\u0103 vrea s\u0103 plece acas\u0103 \u0219i nu mai are cu ce. \u00cei r\u0103spunde repede c\u0103 numai ea a adus \u00een cas\u0103 toate nenorocirile \u0219i precis e dracul gol! I se-arunc\u0103 apoi \u00een bra\u021be, \u00ee\u0219i cere iertare, c\u00e2nd intr\u0103, deodat\u0103, Matei, cu totul r\u0103v\u0103\u0219it, c\u0103 nevast\u0103-sa\u00a0 s-a \u00eencuiat cu Sandu la ei \u00een apartament!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se-ntorc \u0219i cei doi. Sandu \u00eei cere Georgetei s\u0103 fac\u0103 h\u00e2rtiile, c\u0103 Emilia prime\u0219te c\u00e2t i-a propus. Dar Georgeta sare la Sandu, se ia apoi la b\u0103taie cu Emilia, c\u00e2nd… se stinge deodat\u0103 lumina!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apare, din camera Vioric\u0103i, Onel, plin de s\u00e2nge, care-a f\u0103cut scurtcircuit cu o \u0219urubelni\u021b\u0103, ca s\u0103-\u0219i fac\u0103 o apari\u021bie mai spectaculoas\u0103. Matei alearg\u0103 iar la tablou \u0219i acum sunt to\u021bi iar la lumin\u0103!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Onel le spune c\u0103 a auzit tot sau aproape tot. \u0218i e m\u00e2hnit. \u0218i \u00eentristat. Da cel mai mult, m\u0103rturise\u0219te, \u00eei e fric\u0103 s\u0103 nu bea, ca s\u0103 n-o omoare pe Georgeta \u00een b\u0103taia pe care oricum trebuie s\u0103 i-o trag\u0103. Matei sare c-o ia la el, dar Georgeta \u00eel vrea tot pe Sandu, Viorica \u00ee\u0219i cere mereu banii cu care a venit, iar Emilia vrea s\u0103 r\u0103m\u00e2n\u0103 \u00een locul Georgetei. Ce face \u00een aceast\u0103 situa\u021bie Onel, ce face\u00a0 cu onoarea lui \u0219i ce fac ceilal\u021bi?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar mai ales, ce vrea Dumnezeu cu ei?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Citi\u021bi piesa \u0219i ve\u021bi afla!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PESC\u0102RU\u0218UL\u00a0 LUI\u00a0 HAMLET \u2013 <\/em>parodie \u00een trei acte, \u00een versuri \u0219i proz\u0103 \u2013 2004.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Toat\u0103 ac\u021biunea se petrece la Snagov, \u00een zilele noastre, la vila familiei G\u00e2ndil\u0103. G\u00e2ndile\u0219tii s-au \u00eembog\u0103\u021bit dup\u0103 1989, dar nici \u00eenainte n-au dus-o prea r\u0103u, prin comer\u021b exterior, prin oleac\u0103 de securitate, sub acoperire comercial\u0103. Acum au o firm\u0103 \u00eenfloritoare \u00een industria bocancilor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Decor unic. Ziua \u0219i noaptea, \u00eentr-un col\u021b al terasei gr\u0103dinii. Eventual, o piscin\u0103. C\u00e2teva umbrele \u00een culori vesele exprim\u0103 un exotic dorit, dar rezult\u0103 un kitsch. Pe teras\u0103, \u00eentr-un cui, un pesc\u0103ru\u0219 \u00eemp\u0103iat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0102RU M\u00c2NA, TANTI! <\/em>sau Pe pragul desp\u0103r\u021birii, pies\u0103 \u00een dou\u0103 p\u0103r\u021bi cu 14 c\u00e2ntece. SENVICI CU INFINIT <\/em>sau Al treilea cort \u2013 teleplay \u2013 2006 \u2013 2010.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aceste \u0219ase piese de mai sus au fost publicate \u00een volumul Pu\u0219i Dinulescu, Teatru<\/em>, Minerva, 2010. Mai recent\u0103, CAPCANA IUBIRII <\/em>a fost regizat\u0103 de autor \u00eentr-un spectacol-lectur\u0103.<\/p>\n

*<\/p>\n

Prefa\u021ba autorului<\/em><\/strong><\/p>\n

 <\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mi-e team\u0103 s\u0103-ncep aceast\u0103 prefa\u021b\u0103, fiindc\u0103 m\u0103 g\u00e2ndesc la Alexandru Odobescu, minunatul autor al lui Pseudokyneghetikos, care vr\u00e2nd s\u0103 scrie o prefa\u021b\u0103 a ajuns la ditamai carte. \u0218i ce carte!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Subiectul acestei prefe\u021be nu este \u00eens\u0103 v\u00e2n\u0103toarea, ca la \u00eendep\u0103rtatul meu confrate, ci ratarea.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u0219a c\u0103 m-apropiu astfel mai mult de Cehov, al c\u0103rui subiect predilect, mai ales \u00een piese, este ratarea.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum? S\u0103 m\u0103 fac eu \u00eensumi ratat?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De ce nu? Oricum, via\u021ba mea de familist s-a ratat, fiindc\u0103 n-am fost \u00eensurat niciodat\u0103 \u0219i acum, ajuns la 71 de ani, f\u0103r-un picior \u0219i mai ales \u0219i plin de hachi\u021be, cine-o s\u0103 m\u0103 mai ia?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M\u0103-mpac \u0219i cu ideea asta, treac\u0103 de la mine!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mai grav e poate c\u0103 n-am rodit. Nu las \u00een urma mea nici un ADN.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Doar virusurile min\u021bii mele, asta las. Personaje, situa\u021bii, \u00eent\u00e2mpl\u0103ri, fic\u021biuni sau\u00a0 pur \u0219i simplu p\u00e2re, fantezii, adun\u0103turi cu \u00eenceput \u0219i sf\u00e2r\u0219it, ce mai, proze… Mai scurte sau mai lungi…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aici sunt cele scurte, \u00eentinse pe-aproape o mie de pagini, \u00eentr-o carier\u0103 de aproape 50 de ani…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar o carier\u0103 f\u0103r\u0103 carier\u0103! Vezi, de-aia sunt un ratat!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen loc, la v\u00e2rsta mea, s\u0103 ocup \u0219i eu un fotoliu la Academie sau s\u0103 iau m\u0103car un Premiu Nobel, eu m\u0103 f\u0103lesc doar cu un premiu al uniunii scriitorilor autohtoni, luat \u0219i \u0103la acum 28 de ani \u0219i cu un premiu al asocia\u021biei din Bucure\u0219ti, luat acum 35 de ani. \u0218i nici m\u0103car nu figurez \u00een monstruasa, prin dimensiunile ei, istorie a literaturii a lui acad. N.Manolescu \u0219i nu m\u0103 aflu nici chiar \u00een istoria tot a\u0219a de groas\u0103, dar parc\u0103 mai pu\u021bin ambi\u021bioas\u0103 a dragului nostru de Alex.\u0218tef\u0103nescu, furnizor de tichii de m\u0103rg\u0103ritar, pobate-nt\u00e2i pe propriul s\u0103u cap, at\u00e2t de frumos \u00eenc\u0103 \u0219i ferit de necazurile calvi\u021biei con\u0219tiente de sine.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i-atunci ce mai vreau? Ce-mi mai trebuie? Cum \u00eemi permit eu s\u0103 scot o carte monumental\u0103, de aproape 1000 de pagini, ce-s eu? Sunt eu Breban, sunt eu Buzura sau sunt m\u0103car un D.R.Popescu? Nici m\u0103car! Eu sunt un vierme , at\u00e2t!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe l\u00e2ng\u0103 Dinu S\u0103raru, care cum de n-a intrat \u0219i el \u00een Academie?- eu nu sunt dec\u00e2t un vierme, dar ce zic eu vierme? Nu! Sunt pur \u0219i simpu un sub-vierme!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i to\u021bi \u0103\u0219tia \u0219i chiar \u0219i al\u021bii, nu chiar a\u0219a sus pro\u021b\u0103pi\u021bi, sunt dintre oamenii serio\u0219i, pe la casele lor, mul\u021bi sunt \u0219i bunici, sunt fala na\u021biunii \u0219i a familiei lor, ba chiar se bag\u0103 bani \u00een ei, ca s\u0103 fie f\u0103cu\u021bi cunoscu\u021bi lumii \u00eentregi, c\u0103 malurile jegoase ale D\u00e2mbovi\u021bei sunt prea str\u00e2mte pentru ei \u0219i mergem a\u0219a cu to\u021bii \u00eenainte, p\u00e2n\u0103 unde s-o mai putea, p\u00e2n\u0103 unde s-o mai cine \u0219tie\u00a0 ce…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E drept c-am f\u0103cut \u0219i gre\u0219eli \u00een via\u021b\u0103.\u00a0 Probabil c\u0103 cea mai mare este c\u0103 nu mi-a ajuns scrisul \u0219i m-am f\u0103cut \u0219i regizor.\u00a0\u00a0 <\/em><\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era prin 1966, lucram la Ploie\u0219ti. Sau s\u0103 fi fost deja 1967? P-acolo…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F\u0103ceam naveta cu trenul. Era unul pe la opt jumate sau nou\u0103 jumate \u0219i ne l\u0103sa \u00een gara Ploie\u0219ti Vest.\u00a0\u00a0 <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Printre tovar\u0103\u0219ii de navet\u0103 erau mai mul\u021bi actori \u0219i era vesel, drumul nu dura dec\u00e2t o or\u0103, poate \u0219i mai pu\u021bin, stam deobicei la vagonul-restaurant \u0219i ne beam acolo cafeaua sau berea. \u00cen aceste condi\u021bii, cum era \u0219i normal, m-am combinat cu o actri\u021b\u0103. \u0218i unde mai pui c\u0103 la revista literarr\u0103, care se-nfiin\u021ba atunci \u0219i acolo, \u0219eful meu, \u0218tefan B\u0103nulescu, mi-a \u00eencredin\u021bat \u0219i cronica dramatic\u0103. A\u0219 fi putut s\u0103 tai \u0219i s\u0103 sp\u00e2nzur de pe-acest post, dar revista n-a mai ap\u0103rut, logodna mea cu actri\u021ba s-a spart, n-am recuperat nici inelul, fiindc\u0103 ea mi-a spus\u00a0 c\u0103 l-a aruncat \u00een lac, \u00een lacul Her\u0103str\u0103u.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar am r\u0103mas cu dorul de-a fi regizor, m\u0103 obi\u0219nuisem cu mirosul de actri\u021b\u0103, pe care cine l-a-ncercat nu-l mai uit\u0103 niciodat\u0103.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen 1968 m\u0103 angajez la Televiziune, acolo \u00eencep s\u0103 fac filme, \u00eempreun\u0103 cu Boris Ciobanu \u0219i peste doi ani intru la IATC, fac Regia de Film, termin\u0103nd-o \u00een ciuda unor \u00eenfrunt\u0103ri p\u0103tima\u0219e cu profesorii mei, ie\u0219ind la liman totu\u0219i numai \u00een urma unei \u00eent\u00e2mpl\u0103ri, dup\u0103 c\u00e2t se pare.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E o \u00eent\u00e2mplare pe care trebuie s-o povestesc, ceva m\u0103 m\u0103n\u00e2nc\u0103 \u0219i trebuie s-o spun.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram distrus. A doua zi aveam programat\u0103 restan\u021ba la Arta regizorului de film \u0219i televiziune. Vitanidis, cu care dam examenul, m\u0103 ura. \u0218i eram repetent \u0219i a doua oar\u0103 nu mai puteam r\u0103m\u00e2ne, a\u0219a era regula.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Examenul se d\u0103dea cu un film, pe care nu-l putusem face, n-avusesem bani ca s\u0103-l pot termina \u0219i trebuia astfel s\u0103 m\u0103 prezint \u00een fa\u021ba du\u0219manului. M\u0103 g\u00e2ndeam chiar s\u0103 nu m\u0103 prezint deloc. Mai ales c\u0103 \u00een aceea\u0219i zi cu examenul meu era concurs pentru un post de redactor la Arhiva Na\u021bional\u0103 de Filme \u0219i m\u0103 g\u00e2ndeam mai bine s\u0103 m\u0103 prezint acolo.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i-n seara aceea de dinainte de examen eram invitat la un ceai, la Mi\u0219u Diaconescu. Pe-atunci era poet \u0219i mai c\u00e2nta \u0219i la ghitar\u0103. Mai t\u00e2rziu, cu pseudonimul Anghel Mora, avea s\u0103 devin\u0103 \u00eent\u00e2i scenarist al lui Veroiu \u0219i apoi un apreciat regizor de film de lung metraj. A murit t\u00e2n\u0103r, din p\u0103cate, nu foarte mult dup\u0103 Marea Revolu\u021bie Rom\u00e2n\u0103 din Decembrie, urmat\u0103 de contrarevolu\u021bia din aceea\u0219i zi. <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar eram \u00een seara aceea de dinainte de examen \u0219i eram distrus \u0219i v\u0103z\u00e2ndu-m-a\u0219a Mi\u0219u m\u0103-ntreab\u0103 ce-i cu mine. \u0218i-i spun toat\u0103 t\u0103r\u0103\u0219enia.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Las\u0103, c\u0103 poate se rezolv\u0103, \u00eemi zice el.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Cum, m\u0103?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i-atunci \u00eemi spune c\u0103 trebuie s\u0103 vin\u0103 la ceai \u0219i o tip\u0103, o doimaist\u0103, dup\u0103 care ar fi \u00eennebunit Ciulei.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Ciulei? m\u0103 mir eu<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Da, m\u0103! \u00ce\u021bi dai seama c\u0103 dac\u0103-i d\u0103 un telefon grecului, \u0103la se cac\u0103 pe el!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu prea am \u021binut eu cont de ce mi-a spus Mi\u0219u, am b\u0103ut ceva de necaz \u0219i chiar am adormit, \u00eentr-o camer\u0103, pe undeva. Dar am fost la un moment dat, parc\u0103, trezit din somn, parc\u0103, zic, fiindc\u0103 nu sunt foarte sigur \u0219i parc-a\u0219 fi stat de vorb\u0103 cu o tip\u0103 mi\u0219to, destul de \u00eenalt\u0103 \u0219i i-a\u0219 fi spus povestea mea. Nu mai \u0219tiu… ceva \u00een genul \u0103sta!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cert e \u00eens\u0103 c\u0103 a doua zi m-am prezentat la examen \u0219i n-aveam nimic ce s\u0103 prezint. Totu\u0219i, spre surprinderea mea, mi s-au pus doar c\u00e2teva \u00eentreb\u0103ri de form\u0103 \u0219i de sanchi \u0219i am luat cinci-ul de care aveam at\u00e2ta nevoie.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe Liviu Ciulei nu l-am cunoscut niciodat\u0103 \u0219i nici pe tipa respectiv\u0103 n-am mai \u00eent\u00e2lnit-o vreodat\u0103 \u0219i am mai stat un an printre \u0103ia \u0219i am devenit regizor.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar victoria mea \u00een meciul \u0103sta cu Bestia a fost ca o pr\u0103jitur\u0103 otr\u0103vit\u0103. Bestia asta, precum \u0218iva parc\u0103, avea bra\u021be multe \u0219i lungi.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i mai era o chestie \u00een povestea asta cu regia la care eu nu m-am prins. Banii! Da, da! Banii!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fiindc\u0103 un regizor depinde de o produc\u021bie. \u0218i produc\u021bia \u00eenseamn\u0103 bani \u0219i doar cu bani se pot angaja actori, scenografi, operatori, p\u00e2n\u0103 departe \u00een jos, p\u0103n\u0103 la \u0219oferi, costumiere, tapi\u021beri, ma\u0219ini\u0219ti, c\u0103 de-aia c\u00e2nd se termin\u0103 un film \u0219i vezi o list\u0103, care nu se mai sf\u00e2r\u0219e\u0219te, te tot \u00eentrebi ce-or fi f\u0103c\u00e2nd to\u021bi \u0103\u0219tia, e cert \u00eens\u0103 c\u0103 f\u0103r\u0103 ei nu se poate…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u0218i uite \u00een ce m\u0103 b\u0103gasem!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen loc s\u0103 stau eu lini\u0219tit, o pisic\u0103 s\u0103 se frece de picioarele mele \u0219i eu s\u0103 visez cu pixul \u00een m\u00e2n\u0103, doar cu el… s\u0103racul!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 N-am reu\u0219it s\u0103 fac p\u00e2n\u0103 la urm\u0103 dec\u00e2t dou\u0103 filme de lung metraj \u0219i s\u0103 montez dou\u0103 piese de teatru.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A fost poate un mare noroc pentru literatua din mine sau care-a ie\u0219it din mine, fiindc\u0103 am fost parc\u0103 for\u021bat s\u0103 m\u0103-ntorc la ea, la draga de literatur\u0103, pe care totu\u0219i m\u0103 g\u00e2ndisem s-o abandonez.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cent\u00e2i pentru c\u0103 nu credeam c\u0103 sunt \u00een stare de prea mari performan\u021be \u00een scris \u0219i c\u0103-n film e drumul meu. Iar dup\u0103 v\u00e2rsta de 60 de am f\u0103cut alt\u0103 mi\u0219care, surprinz\u0103toare poate chiar \u0219i pentru mine \u0219i am laut-o-n serios de tot cu teatrul. Cu dramaturgia..<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cine s\u0103 mai \u00een\u021beleag\u0103 ceva?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Oamenii mici oricum nu pot \u00een\u021belege. Ei se cantoneaz\u0103 \u00een c\u00e2te-o carier\u0103, o fac cel mult pe aia cu r\u00e2vn\u0103 \u0219i-n general asta e cheia unui succes sigur \u00een via\u021b\u0103.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Un Eminescu \u0219tim \u00eens\u0103 cum a respins cu superbie ideea de a-\u0219i lua un doctorat \u00een Germania, care l-ar fi putut chivernisi.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar el ardea! Privi\u021bi-i fotgrafiile succesive, vede\u021bi c\u00e2t de repede-a-mb\u0103tr\u00e2nit! El n-avea timp de doctorate!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu c\u0103 m-a\u0219 compara eu cu Eminescu, ar fi o prostie! Dar trebuie \u00een\u021beles c\u0103 anumi\u021bi oameni nu pot fi \u00een\u021bele\u0219i sau \u00eendruma\u021bi conform unui simplu \u0219i s\u0103n\u0103tos bun sim\u021b.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poate de-aia nu m-am f\u0103cut inginer ca tata, care tare-ar fi vrut s\u0103 urmez \u0219i eu tradi\u021bia familiei, mai ales c\u0103 mai mul\u021bi unchi \u0219i veri din partea lui \u0219i chiar frate-meu au p\u0103\u0219it pe aceast\u0103 cale.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar eu, dac\u0103 aveam la matematic\u0103 5, c\u00e2nd sistemul de notare era cel sovetic, adic\u0103 de la 1 la 5, c\u00e2nd s-a revenit la cele zece note tradi\u021bionale, eu am r\u0103mas tot cu nota 5!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar profesorul de matematic\u0103, un g\u0103g\u0103uz, unul, Gaidarji, spunea:<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – S\u0103 \u0219tie \u0103la c\u0103 o s\u0103 mearg\u0103 la c\u0103rat cartofi!<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eu eram \u0102la, n-aveam nume. \u0218i la oral nu m\u0103 scotea din 3, dar \u00een scris, fiindc\u0103 nu eram bou, scoteam un 7 \u0219i a\u0219a treceam…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Mai ai mult?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 –\u00a0 Nu. Stai c\u0103 termin acuma… Dar de unde pornisem \u0219i unde vroiam s-ajung?<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A! Da! Era vorba de r\u0103t\u0103cirea mea prin regia artistiic\u0103. P\u0103i, regizorii m\u0103 socoteau un intrus, fiindc\u0103 eram scriitor, dar scriitorii, acum \u0219i ei, bucuro\u0219i c\u0103 sc\u0103paser\u0103 de mine, a\u0219a credeau, nu m\u0103 mai socoteau, practic, de-al lor.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram \u00eentre linii…<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u0219a m-am trezit la v\u00e2rsta asta f\u0103r\u0103 carier\u0103, f\u0103r\u0103 sprijin \u0219i-ntr-o lume literar\u0103, unde criticii aproape c\u0103 nu mai exist\u0103 \u0219i care sunt se-nchin\u0103\u00a0 doar la bisericu\u021bele puternicilor zilei, ca s\u0103 nu mai vorbim \u0219i de alte \u0219mecherii… iar eu r\u0103t\u0103cesc \u0219i se trage din toate p\u0103r\u021bile \u0219i-ncerc s\u0103 supravie\u021buiesc, mai mult t\u00e2r\u00e2ndu-m\u0103, \u00eenconjurat de s\u00e2rme ghimpate \u0219i pe deaasupra se trage, se trage al dracului…<\/em><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pu\u0219i Dinulescu<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong>4 ianuarie 2014<\/p>\n

 <\/p>\n

LA CINCI ANI DE \u00ceNT\u00c2LNIRI<\/strong><\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Criticul Marian Popa are \u00een lucru o monografie dedicat\u0103 operei lui Pu\u0219i Dinulescu. \u00cen cartea sa Anca<\/em>, a pus \u00eendeschidere motto-uri printre care din Schlegel \u0219i G\u00e2rbea. Cum parc\u0103 i-a\u0219 lua-o \u00eenainte cu mai dreapta busculare a lui Pu\u0219i, m\u0103 \u00eentreb, totu\u0219i, dac\u0103 ar re\u021bine, de aceast\u0103 dat\u0103, astfel de motto-uri:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 …Care este mai exact obiectul idealului? Ceea ce diferen\u021biaz\u0103 omul de animal este c\u0103, \u00een timp ce la animal percep\u021bia este totdeauna actual\u0103 \u0219i practic\u0103 sau utilitar\u0103, form\u00e2nd corp at\u00e2t cu dorin\u021ba c\u00e2t \u0219i cu obiectul \u2013 la om percep\u021bia se poate disocia \u2013 el poate s\u0103 observe propria sa dorin\u021b\u0103, s-o prind\u0103, s-o separe de percep\u021bia obiectului<\/em>, s-o izoleze \u0219i s-o men\u021bin\u0103 \u00een fa\u021ba lui ca pe un obiect actual \u0219i real. Animalul animat de o dorin\u021b\u0103, merge imediat spre satisfac\u021bia sa imediat\u0103; de altfel, omul practic, utilitar, merge \u0219i el tot a\u0219a. Animalul, ca \u0219i omul practic,\u00a0 r\u0103m\u00e2ne \u00een planul realului, omul artist \u201ereu\u0219e\u0219te s\u0103 se smulg\u0103 din el \u0219i s\u0103 a\u0219eze acest real \u00een care figureaz\u0103 propria sa dorin\u021b\u0103 ca pe un tablou<\/em>\u201d (D. Draghicesco).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 … Sunt vise ce parc\u0103 le-am tr\u0103it c\u00e2ndva \u0219i undeva, precum sunt lucruri vie\u021buite despre care ne \u00eentreb\u0103m dac\u0103 n-au fost vis. La asta m\u0103 g\u00e2ndeam deun\u0103zi seara c\u00e2nd r\u0103v\u0103\u0219ind printre h\u00e2rtiile mele ca s\u0103 v\u0103d ce se mai poate g\u0103si de ars \u2014 h\u00e2rtiile \u00eencurc\u0103 \u2014 am dat peste o scrisoare care mi-a de\u0219teptat amintirea unei \u00eent\u00e2mpl\u0103ri ciudate, a\u0219a de ciudat\u0103 c\u0103, de n-ar fi dec\u00e2t \u0219apte ani de c\u00e2nd s-a petrecut, m-a\u0219 sim\u021bi cuprins de \u00eendoial\u0103, a\u0219 crede c\u0103 \u00eentr-adev\u0103r am visat numai, sau c\u0103 am citit-o ori auzit-o demult. (Mateiu Caragiale)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026 Ovazihian<\/strong>: Nu prea e\u015fti nebunatic\u0103. R\u0103posata mea so\u0163ie se c\u0103\u0163\u0103ra pe pere\u0163i…<\/p>\n

Elena Suditu<\/strong>: Am s\u0103 fiu…
\nOvazihian<\/strong>: Nici subtext n-ai, feti\u0163o…
\nElena Suditu<\/strong>: Am s\u0103 am \u015fi subtext… (Teodor Mazilu)<\/p>\n

…ea r\u00e2dea \u2013 se bucura mult \u2013 eu eram serios \u2013<\/p>\n

dar fugeam \u0163in\u00e2nd-o de bra\u0163. \u015fi doar mai t\u00e2rziu,<\/p>\n

c\u00e2nd a fulgerat \u015fi s-a f\u0103cut o scurt\u0103 zi alb\u0103, am v\u0103zut<\/p>\n

c\u0103 trecusem cu mult de curtea noastr\u0103. (Mircea Iv\u0103nescu).<\/p>\n

… Nu las \u00een urma mea nici un ADN. (Pu\u0219i Dinulescu)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am \u00eenceput Colocviile de mar\u021bi<\/em>, ultima zi de mar\u021bi a lunii, la Centrul Cultural Jean Louis Calderon <\/em>din Bucure\u0219ti, la finele lui 2009 cu o \u00eent\u00e2lnire \u0219i o lansare Pu\u0219i Dinulescu:<\/p>\n

\u00a0<\/em><\/p>\n

Salonul literar \u201cSorana\u201d \/ Clubul Calderon, Str. Jean Louis Calderon, nr. 39 v\u0103 invit\u0103 mar\u0163i 8 decembrie 2009 ora 17 la lansarea c\u0103r\u0163ii Le vieux garcon <\/em>par Pouschy Dinulesco.<\/p>\n

Traduit du roumain par Michel Wattremez<\/p>\n

Editions Meronia, Bucarest 2009<\/p>\n

Vizionarea filmului dinulescian Noces a sirene<\/em> (1997)<\/p>\n

Prezint\u0103: Helene Astalos, Paula Romanescu, Pu\u015fi Dinulescu<\/p>\n

Amfitrion: George Anca<\/p>\n

 <\/p>\n

Autorul este bucure\u015ftean, absolvent al Facult\u0103\u0163ii de Litere \u015fi al Academiei de Teatru \u015fi Film<\/p>\n

Romancier, dramaturg, poet \u015fi scenarist<\/p>\n

 <\/p>\n

\u201cEt notre vie a passe. Un des mes amis, critique litteraire, ecrivait qu’un roman est une histoire sur une perte de temps. Je crois que Protopopesco avait raison. C’est bien ce qu’est mon roman: la photographie d’une perte de temps\u201d (page 236)<\/em><\/p>\n

 <\/p>\n<\/div>\n

\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 8 decembrie 2009.<\/em> Eminescu sau exilul au f\u0103cut de data aceasta loc, \u00een rostirile convorbitorilor, bucuriei unei traduceri bune: Le vieux garcon<\/em> par Pouschy Dinulesco, Roman, traduit du roumain par Michel Wattremez, Editions Meronia, Bucarest, 2009. \u015ei-au exprimat aprecierile: Helene Astalos, George Astalos, Paula Romanescu, Adina Romanescu, George Anca \u2013 amfitrionul Colocviilor <\/em>\u00eempreun\u0103 cu Mihaela Popescu, directoarea a\u015fez\u0103m\u00e2ntului gazd\u0103 -, Horia C. Matei, Mihai Elin, Sorana Georgescu-Gorjan, Noni Cristea, Gabriela Tarabega, Ionel S\u0103vitescu \u015f.a.. Autorul, marele scriitor Pu\u015fi Dinulescu, a citit, \u00eempreun\u0103 cu actri\u0163a Doina Ghi\u0163escu, pagini \u00een rom\u00e2n\u0103 \u015fi \u00een traducere francez\u0103 din romanul lansat pentru prima oar\u0103 \u00eentr-o limb\u0103 str\u0103in\u0103, precum \u015fi din volume de poezie a sa erupt\u0103 prin surpriz\u0103\u00a0 \u00een ultimii ani.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Aceast\u0103 versiune, considerat\u0103 reu\u015fit\u0103, inclusiv de vorbitorii francezi de fa\u0163\u0103, autorul \u015fi-a ascuns-o, aflat la Paris, \u00een casa lui Georges Astalos, prezent acum \u015fi el la Calderon. Edituri franceze i-au refuzat (traduc\u0103torului) publicarea din lips\u0103 de \u201cdisiden\u0163\u0103\u201d, \u00een timp ce autorul alesese s\u0103 ignore, printr-o veritabil\u0103 poetic\u0103 invers\u0103, teroarea comunist\u0103, s\u0103 scrie o poveste de dragoste \u00een Bucure\u015ftii studen\u0163iei anilor \u201960, anume la asasinarea lui Kennedy. Numai c\u0103, romanul publicat \u00een rom\u00e2ne\u015fte \u00een 1980, Galaxia burlacilor, <\/em>are, \u00een traducere, o continuare a iubirii, ca \u00een Dragoste \u00een timpul holerei <\/em>de Gabriel Garcia Marquez, p\u00e2n\u0103 la senectute, burlacul narator \u015fi Monica neconsum\u00e2ndu-\u015fi-o \u00eens\u0103. Voir comunism \u015fi holer\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Comentatorii s-au transformat \u00een personaje, b\u0103rba\u0163ii \u00een b\u0103t\u0103tori de pa\u015fi de front, doamnele \u00een \u00eendr\u0103gostite domni\u015foare b\u0103tr\u00e2ne. De la Eu \u015fi Robert Calul <\/em>(inclusiv numele teatrului s\u0103u particular din anii \u201990) la Ga\u015fca \u015fi diavolul<\/em>, c\u0103r\u0163ile sale <\/em>se \u00eensumeaz\u0103 \u00eentr-o comedie unic\u0103, de eros ironic, boem\u0103 \u015fi dramatism pierrotesc, poate \u015fi cabotin, de genul personajului jucat de Laurence Olivier. Oricum, colocviile s-au transfigurat \u015fi prin vizionarea filmului dinulescian (termenul meu) Nunt\u0103 cu sirene<\/em>, c\u00e2nd se insinuaser\u0103 \u00een tr\u0103irea noastr\u0103 (artistic\u0103 dejament) \u015fi Irina Petrescu, Mitic\u0103 Popescu, Ernest Maftei. Deosebit de un Edgar Wallace, care-\u015fi transforma piesele \u00een romane, Pu\u015fi Dinulescu \u015fi-a bricolat din filmu-\u015fi piesa Nunta lui Puiu <\/em>ce se joac\u0103 la Craiova \u015fi Pite\u015fti (\u201csunt un dramaturg de provincie\u201d). Ba \u00eenc\u0103, s\u0103pt\u0103m\u00e2na trecut\u0103, a fost o reprezentare-lectur\u0103 la cenaclul metropolitan\u00a0 condus de Mircea Micu, a ultimei versiuni din\u00a0 Adev\u0103rata cas\u0103 cu \u0163oape. <\/em>Ca \u00eentr-un eroism stilistic, de recunoscut tot printr-o sacrificial\u0103 receptare, Pu\u015fi Dinulecu s-a pl\u00e2ns, \u00een Calderon, c\u0103 nu l-a \u00eenjurat nimeni. Nu-i ajunsese c\u0103-l f\u0103cusem pornograf. Dar \u015fi Astalo\u015f, c\u0103 nu exist\u0103 pornografie, c\u0103, altfel, ar fi desfiin\u0163at\u0103 jum\u0103tate din literatura universal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 31 august 2014. Cinci ani, \u00eempreun\u0103 cu Pu\u0219i Dinulescu, am f\u0103cut colocviile, <\/em>multe din respect pentru el, colocviul din 28 august 2014 fiind De la Ion Creang\u0103 la Pu\u0219i Dinulescu. <\/em>Rup\u00e2ndu-mi un picior, \u00eei recitesc c\u0103r\u021bile \u0219i voi spune, am impresia, c\u0103 m\u0103 speriu, \u00een valoric, comensur\u00e2ndu-l. Mai vedem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 El \u00ee\u0219i face nez\u0103g\u0103zuit moda. \u00a0C\u0103r\u021bi retro, c\u0103r\u021bi noi pe cine fericind ori enerv\u00e2nd. Am recenzat \u0219i eu vreo trei (vide mai jos, dup\u0103 autoprefa\u021b\u0103, cu titluri separate \u2013 le pute\u021bi s\u0103ri momentan pentru a ajunge poate la antiinvolu\u021bia \u00een curs de probatoriu, chiar peste autoreflec\u021biile pu\u0219iene despre ratare \u00een ton cu Nae Ionescu sau Cehov), ba a\u0219 ad\u0103uga \u0219i un Nick \u00een dodii per il maestro.<\/p>\n

Lia Bugnar<\/a> a dat cu o leap\u0219\u0103 \u00een mine: 10 c\u0103r\u021bi care m-au marcat. M-am uitat ce a mai scris lumea \u0219i am realizat c\u0103 lista mea nu e deloc preten\u021bioas\u0103 – ceea ce b\u0103nuiesc c\u0103 era de a\u0219teptat. Iat\u0103:<\/p>\n

1. Charles and Mary Lamb – Tales from Shakespeare
\n2. Gellu Naum – Cartea cu Apolodor
\n3. Mark Twain – Proze
\n4. Pu\u0219i Dinulescu<\/a> – \u00cengerul Contabil
\n5. Mircea Horia Simionescu – Dic\u021bionarul Onomastic & Bibliogr…afia General\u0103
\n6. Raymond Queneau – Amicul meu Pierrot
\n7. Leonid Dimov – Poezii
\n8. Legile lui Murphy
\n9. Charles Bukowski – Notes of a dirty old man
\n10. Alex Tocilescu – Eu et al. <\/em><\/p>\n<\/div>\n


<\/em><\/p>\n

\n

<\/h2>\n

Fra\u021bii Marx:<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Colec\u0163ia de c\u0103r\u0163i babane: \u00cengerul Contabil<\/strong><\/p>\n

Babelor,<\/p>\n

Habar n-am dac\u0103 cartea despre care v\u0103 voi vorbi se mai g\u0103se\u015fte pe undeva, dac\u0103 a fost reeditat\u0103, dac\u0103 i s-a acordat vreodat\u0103 aten\u0163ia meritat\u0103. Cred c\u0103 nu, deci i-o acord eu.<\/p>\n

Este vorba, desigur, despre romanul \u00cengerul Contabil, al lui Pu\u015fi Dinulescu sau Dumitru Dinulescu. Nu \u015ftiu exact cum a semnat-o, \u00eemi imaginez c\u0103 Dumitru, dar Pu\u015fi este la fel de posibil. Pe autor \u00eel cheam\u0103 Dumitru, prietenii \u00eei spun Pu\u015fi. \u00cen fine.<\/p>\n

Cartea a ap\u0103rut prin anii 80. Dac\u0103 ar fi s\u0103-mi dau cu p\u0103rerea, a\u015f zice c\u0103 \u00een 85, cu o aproxima\u0163ie oarecare. \u015ei este, cum s\u0103 v\u0103 spun, dragele mele, hm, nu \u015ftiu. Hai s\u0103 fac un rezumat, din ce-mi mai aduc aminte (am citit-o de multe ori, dar \u015fi demult).<\/p>\n

Romanul \u00eencepe \u00een rai. Albert Einstein este Dumnezeu, iar Max Planck \u015fi Niels Bohr sunt adjunc\u0163ii s\u0103i. Se ceart\u0103 pe o tem\u0103 legat\u0103 de fizic\u0103\u2026<\/p>\n

Realizez c\u0103 nu pot face un rezumat. Cartea este prea nebun\u0103 ca s\u0103 poat\u0103 fi descris\u0103 \u00een c\u00e2teva cuvinte. \u00cen principiu este povestea lui Costic\u0103, care lucreaz\u0103 la Televiziune. Costic\u0103 are un fiu, Tino, f\u0103cut cu ani \u00een urm\u0103 cu o italianc\u0103. Italianca moare, Tino vine \u00een Rom\u00e2nia s\u0103-\u015fi cunoasc\u0103 tat\u0103l. Dar Costic\u0103 a fost r\u0103pit de mar\u0163ieni, \u00eempreun\u0103 cu Marta, fata unui general de armat\u0103, \u015fi cu vecinul s\u0103u, un tip sc\u00e2rbos, pe care cred c\u0103 \u00eel cheam\u0103 Vanghelie. Costic\u0103 are \u015fi un motan, Alexandru, \u015fi se \u00eentreab\u0103 \u00een OZN cum se va descurca motanul f\u0103r\u0103 el. Iubitoarelor de pisici le pot spune de pe acum c\u0103 motanul se va descurca destul de bine.<\/p>\n

Costic\u0103, Marta \u015fi Vanghelie ajung pe Marte, unde sunt mic\u015fora\u0163i, pentru c\u0103 mar\u0163ienii sunt foarte mici. Costic\u0103 a fost r\u0103pit, afl\u0103m, pentru c\u0103 a descoperit involuntar cum pot fi distruse toate armele nucleare de pe P\u0103m\u00e2nt f\u0103r\u0103 a provoca pagube.<\/p>\n

\u00cen fine. Se \u00eent\u00e2mpl\u0103 multe. O parte a ac\u0163iunii are loc \u00een iad, unde ajung \u015fi oameni, \u015fi mar\u0163ieni. Va fi vorba despre un meci al echipei Bayern Muenchen, despre microchipuri implantate subcutan, despre un \u00eenger mexican, despre rai, despre iad, despre fizic\u0103, despre pisici, despre Bucure\u015fti, despre lacul Mogo\u015foaia (sau Her\u0103str\u0103u?), ac\u0163iunea se va muta la Paris, la Roma, la Bucure\u015fti, din nou pe Marte, se vor \u00eent\u00e2mpla milioane de chestii, care de care mai nebune, mai nea\u015fteptate, mai delicioase. Cititorul se va \u00eendr\u0103gosti de \u00eengerul Angelique, cititoarea de c\u0103petenia mar\u0163ienilor. Cartea merit\u0103 un loc de cinste \u00een amvonul literaturii rom\u00e2ne.<\/p>\n

Criticul Grigore Traian Pop, de care nu am mai auzit niciodat\u0103 \u00eenainte de a \u00eel g\u0103si pe google, afirm\u0103 urm\u0103toarele:<\/p>\n

\u201c\u00censtr\u00e3inarea, kitschul, evaziunea, onirismul, absurdul, personalitatea frustat\u00e3, artificial\u00e3, mediocritatea si suficienta, inadaptabilitatea, comicul, satiricul, grotescul, fantasticul, ba chiar si tragicul s\u00eent micile si marile perspective din care este apreciat\u00e3 literatura si arta lui Dumitru Dinulescu (proz\u00e3, teatru, film) cu \u00eent\u00eempl\u00e3toare si nu \u00eentotdeauna semnificative trimiteri la Pirandello, Kafka, Caragiale, Musil, Camus, Gogol, Swift s.a.\u201d.<\/p>\n

Are perfect\u0103 dreptate.<\/p>\n

A, \u00eenc\u0103 ceva: dac\u0103 nu g\u0103si\u0163i \u00cengerul Contabil, pute\u0163i citi lini\u015ftite Galaxia Burlacilor, Linda Belinda sau Eu \u015fi Robert Calul, de acela\u015fi autor. C\u0103r\u0163i despre Rom\u00e2nia, Bucure\u015ftiul, \u015fi Mangalia anilor 60, \u015fi despre dragoste, prietenie, ping pong, ceaiuri, muzic\u0103. A\u015f numi aceste lecturi nu numai necesare, dar imperios necesare oric\u0103rei babe cu sim\u0163ul umorului \u015fi al ridicolului \u015fi al triste\u0163ei.<\/p>\n

V\u0103 pup \u015fi cump\u0103ra\u0163i, cump\u0103ra\u0163i, cump\u0103ra\u0163i c\u0103r\u0163ile lui Pu\u015fi sau Dumitru Dinulescu.<\/p>\n

Rhetta<\/p>\n

*<\/p>\n

 <\/p>\n

Alex <\/strong>\u0218tef\u0103nescu:<\/strong><\/p>\n

Afurisirea \u00a0unui istoric literar <\/strong><\/p>\n


\n<\/em>Pu\u015fi Dinulescu a involuat ca scriitor. De la o superficialitate agreabil\u0103 a ajuns la incoeren\u0163\u0103, vulgaritate \u015fi pl\u0103cere de a denigra. Coment\u00e2nd \u00eentr-o carte de 344 de pagini (ap\u0103rut\u0103 la, c\u00e2ndva, prestigioasa Editura Minerva) Istoria critic\u0103 a literaturii rom\u00e2ne de Nicolae Manolescu, el seam\u0103n\u0103 cu o bab\u0103 rea care \u00eel afurise\u015fte pe \u015foferul unui autobuz pentru c\u0103 n-a oprit \u00een sta\u0163ie.<\/p>\n

Nicolae Manolescu n-a oprit ca s\u0103 \u00eel ia \u00een Istoria sa. Drept urmare, revoltat (dar declar\u00e2nd, cu vizibil\u0103 ipocrizie, c\u0103 este revoltat de absen\u0163a altor scriitori), Pu\u015fi Dinulescu (“Dumitru Dinulescu”, pe vremea c\u00e2nd era mai rezonabil) \u00eel nume\u015fte cum \u00eei vine la gur\u0103 (la stilou, la computer) pe cunoscutul critic. Din aceast\u0103 izbucnire cel mai mult are de pierdut el \u00eensu\u015fi, pentru c\u0103, orbit de vehemen\u0163\u0103, las\u0103 deoparte orice precau\u0163ie \u015fi \u00ee\u015fi divulg\u0103 amatorismul \u00een materie de literatur\u0103, ca \u015fi un – deloc pitoresc, deloc simpatic – mahalagism, de care eu, cel pu\u0163in, l-am crezut mult\u0103 vreme cu totul str\u0103in.<\/p>\n

Darea \u00een spectacol \u00eencepe \u00eenc\u0103 de la prima copert\u0103 pe care st\u0103 scris: Ga\u015fca \u015fi diavolul. Istoria bolnav\u0103 a domnului Manolescu. “Diavol”?! “Bolnav\u0103?!” Ce naive, ce ineficiente \u015fi ce compromi\u0163\u0103toare pentru cine le folose\u015fte sunt asemenea invective! Ca s\u0103 le comba\u0163i este suficient s\u0103 taci \u015fi s\u0103 z\u00e2mbe\u015fti ironic.<\/p>\n

Pe copert\u0103 sunt \u015fi dou\u0103 imagini. Una, a unui diavol vermiform, cu un ochi lips\u0103 \u015fi cu un trident \u00een coad\u0103. Iar a doua, a lui Nicolae Manolescu, \u00eencruntat \u015fi cu limba scoas\u0103. Cine poate lua \u00een serios aceast\u0103 infantil\u0103 stigmatizare a autorului unei istorii a literaturii?<\/p>\n

Urmeaz\u0103 diatriba propriu-zis\u0103, \u00eentins\u0103 pe 344 de pagini:<\/p>\n

“Iart\u0103-m\u0103, dar pentru dumneata cel mai important lucru pare a fi cariera… E\u015fti ca o molie d-aia, \u00een\u0163epenit\u0103 \u00eentr-un loc de p\u00e2nd\u0103…”;<\/p>\n

“\u00cenva\u0163\u0103 \u00eent\u00e2i s\u0103 faci un portret, o descriere \u015f…\u0163, dar nu te \u00eenfoia cu mofturi de pisic\u0103 gravid\u0103 \u015fi cu judec\u0103\u0163i de ga\u015fc\u0103, judec\u0103\u0163i complotate \u00een sieste dup\u0103 m\u00e2nc\u0103ruri grase…”;<\/p>\n

“… nu te mai citez c\u0103 e prea insalubru \u015fi prea pre\u0163ios-jegos ce scrii \u00een finalul introducerii…”;<\/p>\n

“…Manolescu are ceva fanatic \u00een ambi\u0163ia lui devoratoare, \u00een setea bolnav\u0103 de putere, pentru care \u015fi-a abandonat talentul de-odinioar\u0103, intr\u00e2nd \u00een m\u00e2zga \u015fi balele combina\u0163iilor…”;<\/p>\n

“…are totu\u015fi un pic de zgomot \u00een r\u00e2s, dar e mai mult un fel de sc\u00e2r\u0163\u00e2it de u\u015f\u0103 ruginit\u0103…”<\/p>\n

“…are \u015fi ceva de fantom\u0103” etc. etc.<\/p>\n

\u00centr-un magazin din Oxford, \u00een care m\u0103 aflam \u015fi eu ast\u0103-var\u0103, o femeie \u00een v\u00e2rst\u0103, cu o privire fix\u0103, a \u0163inut un lung discurs interminabil, din care nu se \u00een\u0163elegea dec\u00e2t c\u0103 e furioas\u0103. Discursul ei sem\u0103na foarte mult cu monologul lui Pu\u015fi Dinulescu.<\/p>\n

\u00a0<\/em><\/p>\n

Dumitru Dr\u0103ghicescu:<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revela\u021bie \u0219i anamnez\u0103.<\/em> – <\/em>Putem invoca, \u00een favoarea ipotezei noastre, pe Platon \u0219i a sa teorie a ideilor. Se cunoa\u0219te importan\u021ba capital\u0103 pe care filosoful grec l-a atribuit reminiscen\u021bei <\/em>\u00een descoperirea adev\u0103rului. El opune opinia \u0219tiin\u021bei, pentru el principiul prin care omul se eleveaz\u0103 de la una la alta este precizamente\u00a0 reminiscen\u021ba, aceast\u0103 anamnez\u0103 care se produce spontan pentru a vizualiza vestigiile verit\u0103\u021bii, ale frumuse\u021bii, ale unit\u0103\u021bii, ale egalit\u0103\u021bii<\/em>, \u00eent\u00e2lnite \u00een obiectele opiniei. Ne pare c\u0103 aceste atribute ne sunt cunoscute<\/em> \u0219i c\u0103 noi nu facem dec\u00e2t s\u0103 le recunoa\u0219tem. Sunt dou\u0103 mii cinci sute de ani de c\u00e2nd se caut\u0103 semnifica\u021bia acestei anamneze, c\u0103ci Platon \u00eensu\u0219i n-a dat o solu\u021bie acceptabil\u0103 enigmei. De altfel, acest principiu, el nu l-a inventat de la \u00eenceput; el a dat un nume metodei pe care o folosea Socrate, dezvoltat\u0103 \u0219i generalizat\u0103 de el. Ce semnifica, \u00een fapt, aceast\u0103 maieutic\u0103<\/em>, sau arta\u00a0 de a mo\u0219i spiritele? Dac\u0103 nu c\u0103 verit\u0103\u021bile exist\u0103 \u00een spiritul nostru \u00eensu\u0219i \u0219i c\u0103 este vorba doar de a le scoate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum exist\u0103 ele acolo? Ce poate s\u0103 semnifice aceasta?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Totul se explic\u0103 \u0219i se clarific\u0103 \u00een fine dac\u0103 se admite c\u0103, \u00een natura uman\u0103, subzist\u0103 ca un germen divin, un dumnezeu \u00een putere. Dumnezeu este, \u00eentr-adev\u0103r, presupus a poseda omniscien\u021b\u0103. Dac\u0103 el este \u00een germene \u00een savant, atunci teoriile matematice, descoperirile, inven\u021biile, ipotezele sunt ca reminiscen\u021be ale acestei \u0219tiin\u021be absolute \u2013 rezultate ale g\u00e2ndirii care este ca dezvoltarea \u0219tiin\u021bei divine con\u021binute \u00een puterea din oameni Prin chiar aceste inven\u021bii, prin aceste revela\u021bii, Dumnezeu, ca atot\u0219tiitor cre\u0219te \u0219i se dezvolt\u0103 \u00een umanitate. Marii savan\u021bi fac astfel oper\u0103 divin\u0103. \u00cen ei, prin ei, divinul se actualizeaz\u0103 \u0219i se revel\u0103 lumii. Dumnezeu este deci \u00een incon\u0219tientul savan\u021bilor ca o memorie eclipsat\u0103, ca o amnezie care \u00eencepe s\u0103 se vindece. Cresc\u00e2nd \u00een om, divinul omniscient\u00a0 se deschide \u00een reminiscen\u021be care se actualizeaz\u0103 d\u00e2nd \u0219tiin\u021ba.<\/p>\n

 <\/p>\n

*<\/em><\/p>\n

\u00a0POEZIE-TABU LA PU\u0218I DINULESCU<\/strong><\/p>\n

 <\/p>\n

Joi 14 noiembrie 2013 (scrisesem 2913), Boema 33 s-a deschis cu poezii de Pu\u0219i Dinulescu, recitate de autor \u0219i de actri\u021ba Vali Pena. Ca \u0219i cum legenda pornografierii se confirma, potrivit avocatului acuz\u0103rii, Marcel Fandarac, a intervenit, \u00een ap\u0103rare, Mircea B\u00e2rsil\u0103, declar\u00e2ndu-l pe Pu\u0219i erou pentru nocturnitate. Daniel Vorona a suflat: mare literatur\u0103 (replic\u0103 la ceva gen: asta nu e poezie). Pe tema cum scriu prozatorii poezie, fusese evocat \u0219i poemul The Sea Sprite And The Shooting Sea<\/em> de Jack London. \u0218i o p\u0103rere c\u0103 Pu\u0219i se expune dinadins, pentru a fi mitraliat. C\u0103ci, nu? \u201eTu non sei e non sarai \/ Publius Vergillius Maro \/ mai\u201d (Pb,7)<\/p>\n

Cum \u0219i-a publicat poeziile pe cont propriu, ca Joyce sau Eliade, mai c\u0103 nu s-au b\u0103gat \u00een seam\u0103, ci s-au tabuizat ca la carte.<\/p>\n

Dup\u0103 Poezii bestiale<\/em>, (Pb) 2002, a urmat Frumoasa \u0219i lapovi\u021ba poezii intraductibile \u0219i interzise tinerilor sub 16 ani <\/em>(F\u0219l), 2006. Prima include, \u00een ordine alfabetic\u0103, 240 de poezii, \u201erod al unor decenii de speran\u021be \u0219i obr\u0103znicii\u201d, a doua \u00ee\u0219i radicalizeaz\u0103 programatic tabu-ul: \u201eAceast\u0103 carte va face multe fe\u021be s\u0103 se posomorasc\u0103 la \u00eent\u00e2lnirea cu cele mai dure cuvinte posibile din limba rom\u00e2n\u0103, cuvinte care exprim\u0103 de obicei organe sau acte sexuale \u0219i chiar anume chestii, care pot fi taxate drept perversit\u0103\u021bi: laba, muia \u0219i cam at\u00e2t. \/ Totu\u0219i eu nu sunt vulgar, nu sunt poate dec\u00e2t un terorist al limbajului, pe care-l folosesc f\u0103r\u0103 perdea, f\u0103r\u0103 m\u0103nu\u0219i sau altfel de prezervativ. \/ Numai din obr\u0103znicie. Nu \u0219i din ordin\u0103rie\u201d. (F\u0219l, 5). Totalitatea agresiunii ludice, cu scoaterea chilo\u021bilor la o petrecere, ar fi procedeul comediei de peste masca sa.<\/p>\n

Cauzativ neglijat de critici cu istorii iertate, r\u0103m\u00e2ne ca un Marian Popa s\u0103 tabelizeze comparatist acest neo spital al amorului, cu sau f\u0103r\u0103 Zulnia, \u00eenc\u0103 ducal\u0103, a lui Conachi. De student, a audiat chiar \u00een amfiteatru crudit\u0103\u021bi din c\u00e2ntecele unor arti\u0219ti populari adu\u0219i de profesorul Mihai Pop, c\u00e2t s\u0103-\u0219i ia, cu Sion, eufemistic, poeziile drept ceasuri de mul\u021b\u0103mire. Sau decameron-vodevil \u00een c\u0103ldurile ciumei comuniste. \u201c\u0218i cauza \u00een karma se restr\u00e2nge, \/ Cu limf\u0103, cu organe \u0219i cu s\u00e2nge\u201d (F\u0219l. 69).<\/p>\n

Poetul, actor de mare fractur\u0103 interioar\u0103 \u2013 un obraz pl\u00e2nge, altul r\u00e2de -, deap\u0103n\u0103 un jurnal erotic, mimat argotic, defulatoriu, masochist, misogin, hamletian, huysmansian… L\u0103s\u0103m Burlacul<\/em> de la \u0219osea spre Mogo\u0219oaia<\/em>, \u00cengerul contabil <\/em>din Ga\u0219ca \u0219i diavolul<\/em>, ba Robert Calul<\/em>, nu \u0219i \u021boapele tot a\u0219a de teatrale, baladabile. S\u0103 tot fi f\u0103cut 60, c\u0103 la 70 a tradus Lorca. O tram\u0103 de dram\u0103 perpetu\u0103, pran\u0103 panaram\u0103-dell’arte-b\u0103\u0219c\u0103lion, a nu mai ie\u0219i, c\u00e2ndva, din repertorii \u0219i stagiuni. \u201e<\/em>A fi amorezat sub luna care arde… \/ A sta fragmentic… \/ Asta e identic \/ Cu-a am\u0103gi c\u00e2te-un adaos \/ Marelui, cumplitului haos\u201d (Pb, 7).<\/p>\n

Comedia comediilor \u0219i toate-s comedie-parodie-vin\u0103rie-superbie-roman\u021berie-sexomanie-honeyanye-pi\u0219\u0103rie-scatologie-ahfrumoserie-dezbr\u0103c\u0103rie-sfid\u0103rie-b\u0103\u0219c\u0103lie-\u021big\u0103r\u0103rie-amor\u0103rie-rim\u0103rie-ber\u0103rie brosc\u0103rie-\u021b\u0103\u021b\u0103rie-\u021b\u00e2\u021b\u0103rie-gol\u0103nie-menajerie-iubir\u0103rie-stomatologie-nasolerie dor\u0103rie-derizor\u0103rie-cabotinerie-calambur\u0103rie-blonderie-idilerie-futerie-pu\u0219erie-c\u0103rn\u0103rie-linderie-l\u0103c\u0103rie-viscolerie-cronic\u0103rie (dac\u0103 n-a ie\u0219it cel mai lung cuv\u00e2nt de cuvinte despuiate din orgia foarte calculat\u0103 estetic-antitetic, stop… se trece la F\u0219l)-bleu-verterie-mu\u0219c\u0103torie-futincurie-pizdam\u0103tie-singenistrie-vremvremerie-episoderie-futulerie-inginerie-frigiderie-tengur\u0103rie-eroterie-limerick\u0103rie-luminoscoperie- mahmuderie-soneterie-t\u0103rb\u0103c\u0103rie-dementerie-veronic\u0103rie-panahihirie.<\/p>\n

Personaje Pb. Feminin: Cristina, Roxana, Reli, Sanda, Angela, Olivia, Nu\u021bi, Eliza, Minodora, Viorica, Leana, Gina, Cornelia, Puia, Ursula, Carmen, Augusta, Ilona, Mo\u021bica, Magda, Jeni, Clementina, Silvia, Anca, Ioana, Mioara, Viviana, Tania, L\u0103cr\u0103mioara, Luci, Linda, Magda, Mihaela, Milica, Anna, Rodica, Alina, Clitemnestra, Cassian Nina, Eugenia, Tamara, Lili, ini\u021biale. Masculin: William Shakespeare, \u0218ekspir, Publius Vergilius Maro, Vlase, Bogdan, Demis Roussos, Ilie, Costic\u0103, Chopin, Bimbocel, E.A. Poe, Ovidiu, Mircea Corni\u0219teanu, Yeti, Nae, Borg, N\u0103stase, Dumnezeu, Cezar, Hamlet, Ionel, Elvys, Cielito Lindo, Virgil Teodorescu, Radu, Cristi, Pu\u0219i, Dendri\u021boiu, Mazilu, Constantin Dr\u0103ghici, Dante, Aristotel, Platon, Joseph Haydn, Renoir, Ghiorghiu-Dej, Guy de Maupassant, Ion, Othello, Gogol, Sorescu, Daniel Turcea, Theodor Vandervelde, Pascuale, Nichita, Dr\u0103g\u0103noiu, Sabin, Valentin Popescu, Net King Cole, John Coltrane.<\/p>\n

Personaje F\u0219l: Dumnezeu, Pu\u0219i Dinulescu, Jeni, Gheorghiu-Dej, N\u0103stase, Benedetto Croce, B\u0103cu\u021b, Eminescu, Beniuc, Vasile-Alecsandri, Ildiko, Ursula, Aurora, Jacques Chirac, Veronici, Chivu, Dumitrescu, Vinicius, Coca, Mugur Arvunescu, Monte Cristo, Knut Hamsun, Flora Ion, G\u0103boan\u021b\u0103, Ilie, Ivan, Cozm\u00e2nc\u0103, Dan Petrescu, Bu\u0219. Pu\u0219, Emil, Doina, Sanda, Sharon Stone, Ion Cristescu, Marivaux, Malraux, Fandarac, Ion Voicu, Tan\u021ba, Gigel, Nea Stan, Anton Pann, Lucica, Daniel Suceav\u0103, Du\u021ba, Melania, Lumini\u021ba, Marin Tarangul, Ric\u0103, Madam Constantinescu, Kant, Hegel, Coralia, George, Mirela, Gogu\u021b\u0103, Azap.<\/p>\n

Romanul scenic al sexuirii de tinere\u021be (Pb), pe spa\u021bii \u0219i personaje fibrilatorii, pe c\u00e2t de simfonic, pe at\u00e2t de stradival, vrea s\u0103 posomorasc\u0103 bombastic pudibonderia milenarist\u0103. Lapovi\u021ba de-a doua (F\u0219l) nostalgiaz\u0103 sexul ar\u0103t\u0103tor printre \u021binute formalisme, destule citabile clasic, nepistruiat-piz-pul, Tic\u0103. Pb:\u201eOricum, e bine dac\u0103 po\u021bi \/ S\u0103 pui iubirii ro\u021bi \/ S\u0103 mearg\u0103 ca pe bulevard \/ Cu pas zglobiu de leopard, \/Unde neoanele se ard \/ \u0218i nu e, vere, niciun gard\u201d (12). \u201eDar poezia mea nu e frivol\u0103 \/ Cum nu este nicio yol\u0103, \/\/ Ce plutind pe marea asta verzulie \/ Scoate-n v\u00e2nt \/ At\u00e2ta \u0219i at\u00e2ta b\u0103\u0219c\u0103lie, \/ Cum nu-i alta pe p\u0103m\u00e2nt\u201d (31). \u201eVersurile mele z\u0103lude \/ Cam impude, \/ Cam imude \/ Sau imunde\u201d (62). \u201e\u0218i trecem prin martiriul toamnei, \/ Se las\u0103 \u00eentunericul mai jos, \/ Tot sunt mai ros, tot sunt mai ros \/ De sentimentele care se-ntorc pe dos\u201d (214). \u201eTe c\u00e2nt acum pe tine, \/ Pe tine, care te-a c\u0103lcat \/ Ma\u0219ina 31 la intrarea \u00een inima mea\u201d (298). \u201eIat\u0103 italienii! \/ Descrie-i con\u0219tiincios, \/ Poet al str\u0103zii\u201d (346).<\/p>\n

F\u0219l: \u201eMi-a intrat pe geam o crac\u0103 de cais, \/ Avea fructele coapte sau aproape… \/ Era \u00een zori \u0219i trupul meu \u00eentre prosoape, \/ Trezit de-abia, se r\u0103zg\u00e2ndea din vis… \/\/ O zi cu soare mult, o var\u0103 la-nceput \/ Era \u0219i \u00een aceast\u0103 grav\u0103 diminea\u021b\u0103, \/ Dup\u0103 o noapte de bere, de \u021big\u0103ri \u0219i grea\u021b\u0103… \/ Deodat\u0103 am primit de la caise un s\u0103rut, \/\/ De parfumuri dulci \u0219i-nvaporate. \/ Erau ca buzele unei studente, \/ Pierdut\u0103-n doruri repetente… \/ Ca luna ce apune peste sate, \/ Ca puiul de c\u0103\u021bea jigodic, \/ Ca geniul meu sinistru \u0219i parodic \/\/ \u00cen acela\u0219i timp \/\/ Caisul\u201d (35). \u201eSe zbate s\u0103 se prind\u0103 \/ \u00cen uter, efectul de oglind\u0103 \/ Al fecund\u0103rii s\u0103 \u00eentind\u0103… \/\/ \u0218i-a\u0219a ie\u0219i din pul-un ou. \/ M\u0103 simt \u0219i eu astfel erou. \/ Fundamentat de-al futului ecou… (61).\u201d \u201eTr\u0103ise, p\u00e2n\u0103 nu demult, \u00een Mahmudia, \/ Un tip care lucrase-n DIA \/ \u0218i \u00ee\u0219i iubea so\u021bia… \/\/ Dar nu-i pl\u0103cea din Pu\u0219i Dinulescu \/ Dec\u00e2t proza, nu gusta poezia \/ \u0218i nici picanteria… \/ Dar \u00eentr-o zi dezinteria \/ L-a r\u0103pus, \/ La Mahmudia…\u201d \u201e- Nu \u00eel \u0219tii cumva pe Paul? \/ – Care Paul? \/ – Care-noat\u0103-n pizda m\u0103-tii craul!\u201d (135) \u201eNu-mi plac femeile pedante. \/ \u00cemi plac femeile perdante \/ Care-au citit pe Eminescu \u0219i pe Dante…\u201d (137) \u201e- \u00cel cunoa\u0219te\u021bi voi pe Puiu? – Care Puiu? \/ – Care bag\u0103-n pul\u0103 cuiu’!\u201d (151). \u201eC\u00e2t de bine e-n tramvai! \/ S\u0103 treci cu el prin ianuarie, \/ S\u0103 treci cu el prin februarie, \/ S\u0103 treci cu el prin poezie… \/\/ Dar tramvaiu’ merge-ncet \/ \u0218i poezia merge repede, \/ A\u0219a c\u0103 tot mereu r\u0103m\u00e2i \/ \u00cen diferen\u021ba de mi\u0219care\u201d (154). \u201e-\u00cel cunoa\u0219te\u021bi voi pe Sandu? \/ – Care Sandu? \/ Care fute-n cur tot \u0219trandu’!\u201d (158). \u201eSe duce-a lunii august lotc\u0103, \/ Eu nu mai beau nici votc\u0103 \/ \u0219i nici vin, nici bere… \/ Mai calc-aici c\u00e2te-o muiere, \/\/ Doar din c\u00e2nd \u00een c\u00e2nd… \/ \u0218i viciile pier pe r\u00e2nd, \/ Ca stelele m\u0103trea\u021b\u0103, \/ \u00cen drum spre diminea\u021b\u0103\u201d 167). \u201eSunt genial, dar ce folos? \/ Am piciorul ros, \/ Glicemia ridicat\u0103 \/ \u0218i nu m\u0103 place nicio fat\u0103\u201d(169). \u201eOra-i cinci \u0219i jum\u0103tate, \/ Luna-i martie \u0219i Socrate \/ St\u0103 de veacuri \u00een \u021b\u0103r\u00e2n\u0103, \/ Iar eu stau cu m\u00e2ndra \/\/ L\u00e2n\u0103-n l\u00e2n\u0103, \/ Pe panhihira ei sp\u00e2n\u0103 \/ \u0218i m\u0103 duc, vis\u00e2nd p\u0103duri \/ \u0218i ne sc\u0103rpin\u0103m la curi… \/ Fa\u021ba ei e de sm\u00e2nt\u00e2n\u0103… \/ St\u0103 \u0219i-mi suge v\u00e2na-n v\u00e2n\u0103… \/ P\u00e2n\u0103, p\u00e2n\u0103, p\u00e2n\u0103 \/ Iar ajungem l\u00e2n\u0103-n l\u00e2n\u0103… \/\/ \u0218i fularul meu de l\u00e2n\u0103 \/ St\u0103 pe buza ei cea sp\u00e2n\u0103, \/ Pune s\u0103rut\u0103rii fr\u00e2n\u0103, \/ Io-s s\u0103lbatic, ea e z\u00e2n\u0103… \/\/ St\u0103m cu spa\u021biul, \/ Bem cu timpul \/ \u0218i ajungem \u00een Olimpul, \/ Unde spa\u021biul \/\/ St\u0103 cu timpul la pahar… \/\/ Iar \u00een c\u00e2mpul cu m\u0103rar, \/ Eu m\u0103 duc mereu cu m\u00e2ndra \/ \u0218i m\u0103-ntorc pe partea aia \/ Un’ s-aude cucuvaia… \/\/ Ne-ag\u0103\u021b\u0103m \u0219i noi de timp \/ \u0218i ie\u0219im din nou \u00een spa\u021biu, \/ Ne prelingem printre nori, \/ \u00cen ploi lungi \u0219i \u00een ninsori, \/ Noaptea-ntreag\u0103 p\u00e2n\u0103-n zori, \/ Vai, i-a\u0219a mi\u0219to s\u0103 zbori\u201d (202-203).<\/p>\n

Acele cuvinte posomor\u00e2toare vor fi fiind prohibite ca venind \u00eenjur\u0103turi \u00een carne vie. Diafan, \u00een Ga\u0219ca \u0219i diavolul<\/em>, Pu\u0219i Dinulescu citeaz\u0103 diafanit\u0103\u021bi din poe\u021bii l\u0103sa\u021bi pe din afar\u0103 de fiar\u0103 \u0219i alt\u0103 fiar\u0103. \u00cen piese de \u021boape, m\u00e2ng\u00e2ie urechea cu c\u00e2nticele moldovinizate.<\/p>\n

\u00a0\u00cen C\u0103l\u0103toriile lui Nea Pu\u0219i<\/em> (Lider, 2013), (se)destinde \u00een versuri cu adres\u0103: \u201eA\u0219a-i de la o vreme: \/ Femeile sunt una \/ \u0218i peisajele sunt alta… \/ \u0218i asta dup\u0103 Turcia, dup\u0103 Malta…\u201d (278); per Spania, \u00ee\u0219i citeaz\u0103 traducerea sa din Romansa comandantului<\/em> de Federico Garcia Lorca: \u201eSingur\u0103tatea mea f\u0103r\u0103 odihn\u0103! \/ Ochii mici ai trupului meu \/ \u0219i ochii mari ai calului meu \/ noaptea nu se \u00eenchid, \/ nici nu privesc \u00een partea cealalt\u0103 unde un vis \/ cu treisprezece b\u0103rci \/ se-ndep\u0103rteaz\u0103 u\u0219or. \/ Dar ochii mei, cura\u021bi \/ \u0219i duri, scutieri neadormi\u021bi, \/ privesc spre nordul \/ de st\u00e2nci \u0219i de metale, \/ unde un trup f\u0103r\u0103 vene \/ consult\u0103 c\u0103r\u021bi de joc \u00eenghe\u021bate\u201d (289-290).<\/p>\n

Anton Pann: Spitalul amorului sau C\u00e2nt\u0103torul dorului<\/em>: \u201e…De nu crede\u021bi ce vorbesc, \/ \u0218i v\u0103 pare c\u0103 glumesc, \/ Toate s\u0103 vi le numesc, \/ S\u0103 nu g\u00e2ndi\u021bi c\u0103 b\u00e2rfesc:\/\/ Una e Vi\u0219a lui Bran, \/ Alta e Mu\u0219a lui Stan \/ Cu care m\u0103 iubeam an, \/ \u0218i lu\u0103 pe nea Coman. \/\/ Una-i Voica dintre Tei, \/ \u0218i Ilinca vara ei, \/ Ce-o iubeam ca ochii mei, \/ \u0218i lu\u0103 pe nea Matei. \/\/ Alta-i Floarea din v\u0103lcea \/ \u0218i Safta care-mi pl\u0103cea, \/ Dar Marica le-ntrecea, \/Ran\u0103 inimi-mi f\u0103cea.\u201d<\/p>\n

Costache Conachi, Ce este nurul<\/em>: \u201eAh, nurule, \u00eemp\u0103rate a podoabelor fire\u0219ti, \/ Fiin\u021b\u0103 necunoscut\u0103 priceperii omene\u0219ti, \/ Tu ce \u021b\u00e2i \u00eemp\u0103r\u0103\u021bia \u00eentr-un cuprins de obraz \/ \u0218i st\u0103p\u00e2ne\u0219ti lumea toat\u0103 numai prin plac \u0219i prin haz, \/ Cu duhul \u0219i cu s\u00e2m\u021b\u00e2rea pururea \u00eentr-aripat, \/ Dai fiin\u021b\u0103 la fiin\u021ba \u00een care e\u0219ti r\u0103v\u0103rsat. \/ \u00centocmai \u0219i mai mult \u00eenc\u0103 dec\u00e2t fierul la magnit \/ Tragi pe inimi cu pl\u0103cerea \u0219i le supui la iubit. \/ Frumus\u0103\u021ba f\u0103r\u0103 tine este un chip zugr\u0103vit, \/ Ce nu-nghimp\u0103 la s\u00e2m\u021b\u00e2re, nici porne\u0219te la-ndr\u0103git. \/ Ea podoabelor supus\u0103, tu podoabe cov\u00e2r\u0219e\u0219ti, \/ Ea oglinzii s\u0103 \u00eenchin\u0103, tu oglinda o sfin\u021b\u0103\u0219ti. \/ Ochii ce te au pre tine cu s\u00e2m\u021b\u00e2rile gr\u0103ind \/ Parc\u0103 farmec\u0103 cu libov, parc\u0103 fulger\u0103 clipind. \/ Guri\u021ba ce s\u0103 de\u0219chide supt a tale z\u00e2mbituri \/ D\u0103 graiului o dulcea\u021b\u0103 prin care tu inimi furi. \/ Ah, nurule, \u00eemp\u0103rate, \u021b\u00e2e numai m\u0103 \u00eenchin, \/ Pentru tine sl\u0103vesc lumea, pentru tine eu suspin.\u201d<\/p>\n

 <\/p>\n

SUB TALPA(NA) ARHANGHELULUI PU\u015eI<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cManolescu poate fi gelos c\u0103 nu a avut un Kadare rom\u00e2n, ca s\u0103-\u015fi consolideze ‘teoria’: \u00eei faci temenele Tiranului, dar rezi\u015fti eroic prin literatur\u0103. Nu a fost de mirare c\u0103 Niki a avut un ‘mare prieten’ ca Ivasiuc, un mare ‘maestru’ ca Iva\u015fcu, iar \u00een ultimul deceniu de dictatur\u0103 a c\u0103utat ocrotire la… Gogu R\u0103dulescu!, sf\u0103tuit de Zigu Ornea, cel care \u00eel introdusese, la sf\u00e2r\u015fitul lunii iunie1990, dup\u0103 Marea Mineriad\u0103, la Iliescu, cel cu s\u00e2nge pe m\u00e2ini, altfel ‘Om cu o<\/em> mare\u201d (Paul Goma, Jurnal<\/em>, 27 aprilie 2009). Un Kadare, dar un Dinulescu!?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen aparen\u0163\u0103, Pu\u015fi face, ca totdeauna, comedie, tot cu \u0163oape, tot \u00een salonul refuza\u0163ilor, sporind \u00eens\u0103 cu o carte bibliografia despre N.M. – Ga\u015fca \u015fi diavolul. Istoria bolnav\u0103 a domnului Manolescu<\/em>, Minerva, 2009 (ultim\u0103 op\u0163iune dup\u0103 variante de titluri de pe parcursul caravanei polemice: \u201cManolescu \u015fi ai s\u0103i\u201d – cf. \u201cOaie \u015fi ai s\u0103i\u201d de Eugen Barbu -, \u201cManolescu sub aripa diavolului\u201d,\u201dDemascarea lui Manolescu\u201d). Ceva diferit de\u00a0 \u00a0Criticul literar Nicolae Manolescu <\/em>de Laszlo Alexandru, Dacia 2003 (cf. Polemici pro \u015fi contra Paul Goma<\/em>) sau Scutul lui Perseu. Nicolae Manolescu \u00eentre oglinzi paralele <\/em>de Mircea Mih\u0103ie\u015f, Curtea Veche, 2003 (cf. dou\u0103 c\u0103r\u0163i cu \u015fi despre Vladimir Tism\u0103neanu sau una despre Leonard Cohen). De fapt, subiectul, declan\u015farea lui ar fi \u201cIstoria\u201d din care prozatorul, dramaturgul, poetul, teleastul Pu\u015fi lipse\u015fte mi\u015fele\u015fte, \u00eempreun\u0103 \u201ccu ai lui\u201d, nedemasca\u0163i, ne sub arip\u0103, \u00eengeri prin el binevestitori, extra\u015fi de sub talpa arhanghelului- cum este reprezentat pe u\u015fa altarului un om-vierme pe post de satan\u0103. \u015ei lui NM, crede, s-ar cuveni s\u0103-i plac\u0103 fiind \u201c\u00eenjurat\u201d, \u00een fine, cu talent.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar cititorilor s\u0103-le plac\u0103 (e scandal, regie, burl\u0103).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201dStima\u0163i cititori, ierta\u0163i-mi m\u0103g\u0103riile, dar sunt \u015fi eu om, ca \u015fi N. M., \u015fi am \u015fi eu r\u0103ut\u0103\u0163ile mele, dar deosebirea este c\u0103 unul ca mine n-a f\u0103cut niciodat\u0103 caz de impar\u0163ialitatea, seriozitatea \u015fi alte-alea, \u00een care m-a\u015f b\u0103l\u0103ci \u015fi eu\u201d (p.24). \u201cPentru c\u0103 pe Manolescu nu-l intereseaz\u0103 operele, nu-l intereseaz\u0103 textele, nu-l intereseaz\u0103 dec\u00e2t amicii \u015fi interesele mai mult sau mai pu\u0163in vizibile pentru toat\u0103 lumea, achitarea unor poli\u0163e\u201d (p.30). \u201cpe domnul N.M. nu prea-l intereseaz\u0103 textele, important e cine le semneaz\u0103\u201d (32). \u201cDac\u0103 nu ai religia textului, n-ai niciun Dumnezeu, domnule Manolescu\u201d (33). \u201c\u015ei cum \u00ee\u0163i permi\u0163i tu, Manolescule, s\u0103-i pui la index pe Bassarabescu, pe Br\u0103tescu-Voine\u015fti, pe Nichifor Crainic \u015fi Radu Gyr, pe Magda Isanos, pe Panait Istrati \u015fi pe Ion Dru\u0163\u0103?\u201d (33). \u201cS\u0103 trecem \u00eens\u0103 la lucruri mai vesele.!\u201d (39). \u201cDe altfel, Mazilu nu prinde \u015fi el din istoria lui N.M. dec\u00e2t o pagin\u0103 \u015fi \u00een aceea, de la \u00eenceput, este pus sub observa\u0163ie cu severitate, fiind taxat ca un c\u0103l\u0103tor prins \u00een tramvai f\u0103r\u0103 bilet.\u201d (40). \u201cDocument\u00e2ndu-se despre Ion Ghica, Dana \u00eel descoper\u0103 \u00een trecere pe C.A. Rosetti \u015fi-i \u00eenchin\u0103 o monografie mai scurt\u0103, \u00een 1984: Introducere \u00een opera lui C. A. Rosetti<\/em>, care, considerat mai mult un textier de \u015eerban Cioculescu, dar \u015fi de mine, remarc eu cu obr\u0103znicie, atrage \u015fi aten\u0163ia \u00eencruntat\u0103 a lui Manolescu, probabil din solidaritate cu fosta iubit\u0103, ridic\u00e2ndu-l pe politician p\u00e2n\u0103 la \u00een\u0103l\u0163imea de 6 pagini literare, adic\u0103 mai mult dec\u00e2t Octavian Goga \u015fi c\u00e2t Nicolae B\u0103lcescu, mai tare dec\u00e2t Hoga\u015f (2 pagini), Tudor Vianu (3 pagini), Ion Ag\u00e2rbiceanu (2 pagini) sau \u015et. O. Iosif sau Gala Galaction sau F\u0103nu\u015f Neagu, la acela\u015fi nivel cu Mihail Sebastian \u015fi Nichita St\u0103nescu, peste V. Voiculescu, Teodor Mazilu, George Top\u00e2rceanu, Constantin Stere \u015fi Zaharia Stancu sau Nicolae Labi\u015f.\u201d (52). \u201cNicolae Breban e tratat foarte bine, are 12 pagini, mai mult dec\u00e2t Mihail Sebastian, Vasile Voiculescu, Gib I. Mih\u0103escu \u015fi Cezar Petrescu la un loc. Eugen Simion, cu care \u00een tinere\u0163e nu se avea bine deloc, acum are aici 7 pagini, c\u00e2t Noica \u015fi Negoi\u0163escu la un loc, mai mult dec\u00e2t Ibr\u0103ileanu. Nici Buzura nu st\u0103 prea slab, cu tot at\u00e2ta spa\u0163iu ca Ion Marin Sadoveanu, George Top\u00e2rceanu \u015fi Eugen Jebeleanu la un loc. D.R. Popescu are 6 pagini, c\u00e2t Mihai Sebastian sau c\u00e2t Tudor Vianu, Pompiliu Constantinescu \u015fi Nicolae Labi\u015f la un loc. Numai F\u0103nu\u015f Neagu, r\u0103mas cam de c\u0103ru\u0163\u0103, nu a primit dec\u00e2t 3 pagini, dar trebuie s\u0103 fie fericit, c\u0103 a sc\u0103pat doar cu at\u00e2t, a trecut totu\u015fi clasa, chiar dac\u0103 prietenii lui Nicolae Velea, Ion B\u0103ie\u015fu sau Mircea Micu n-au primit nimic.\u201d(59). \u201cCe vede Manolescu \u00een Papu? De\u015fi \u00eei recunoa\u015fte marile merite, cu care de obicei Manolescu este foarte parcimonios, numindu-l aici \u201ccomparatist excep\u0163ional\u201d, \u00eel ceart\u0103 totu\u015fi p\u0103rinte\u015fte pentru lansarea nefericitei idei protocroniste\u201d (p.61). \u201cDar \u00eendr\u0103znelile po\u0163i s\u0103 le ai numai dumneata, domnule N.M., prolifer\u00e2ndu-\u0163i la nivelul de sentin\u0163e demiurgice ni\u015fte partipriuri de domni\u0163\u0103 r\u00e2zg\u00e2iat\u0103, miz\u00e2nd pe o gravitate care nu-i dec\u00e2t grosol\u0103nie \u015fi, chiar eu, care sunt at\u00e2t de pudic, am s\u0103-mi permit totu\u015fi \u015fi un termen mai tare: nesim\u0163ire. \/ A\u015fa c\u0103 v-a\u0163i speriat? Credea\u0163i c-o s\u0103 fiu mai dur? Vede\u0163i ce bl\u00e2nd sunt?\u201d (64). \u201cDracul se pare c\u0103 nu are moarte, dracul e \u00eentotdeauna viu, e o permanen\u0163\u0103 \u015fi mai ales se pare c\u0103 \u00eenainteaz\u0103 \u00een grad la soroc \u015fi iese la pensie, ca to\u0163i oamenii, dar vin dup\u0103 el al\u0163ii \u015fi al\u0163ii din aceea\u015fi tagm\u0103. \/ Dar nu ne \u00eentoarcem noi la Manolescu? Ba cum s\u0103 nu! Cu mare pl\u0103cere.\u201d (71). \u201c\u015ei m\u0103 g\u00e2ndesc neap\u0103rat cine, ce \u015fi cum a f\u0103cut din dumneata o zdrean\u0163\u0103 de critic, dup\u0103 ce te-am cunoscut c\u00e2nd erai t\u00e2n\u0103r \u015fi cu pieptul \u00een b\u0103taia v\u00e2ntului ca un alerg\u0103tor, venit de la Marathon la Atena pentru a anun\u0163a victoria Binelui asupra R\u0103ului.\u201d (74). \u201cPaul Goma e opozi\u0163ia real\u0103, nu o trup\u0103 f\u0103r\u0103 arme participant\u0103 la un joc de r\u0103zboi. De aceea Paul Goma nu are ce c\u0103uta \u00een Istoria<\/em>\u00a0 lui Manolescu\u201d (72). \u201c\u015ei pentru c\u0103 mi-e fric\u0103 de prea mult\u0103 seriozitate \u015fi mi-e fric\u0103 \u015fi de r\u0103utatea mea, care cine \u015ftie \u00een momentul \u0103sta ce mai poate scoate din ea, s\u0103 st\u0103m pu\u0163in \u015fi s\u0103 citim sau s\u0103 cit\u0103m un pic de poezie, de poezie adev\u0103rat\u0103\u201d (76). \u201cTe manife\u015fti, s\u0103rmane profesor, prin acte de voin\u0163\u0103 sau caritate, nu prin gust pentru dreptate sau pentru metafizic\u0103, mai \u015ftii\u201d\u201d (194). \u201c Mihail Sebastian, care nu probabil, ci sigur ocup\u0103 un solid loc doi, dup\u0103 I.L. Caragiale\u201d (205). \u201cM\u0103 opresc deodat\u0103 din teatru, unde voi reveni, pentru c\u0103 acolo e \u00eentradev\u0103r casa mea\u201d (214). \u201cEu tot aduc \u00een discu\u0163ie c\u00e2te pagini are unul sau altul \u015fi poate c\u0103 treaba asta nu \u0163ine dec\u00e2t de ludicul din mine, care m\u0103 duce spre mi\u015ftouri ieftine.\u201d(220). \u201c\u00cen cartea cea groas\u0103 din 2001, Marian Popa \u00eei aplic\u0103 lui Manolescu o corec\u0163ie de o severitate \u015fi o precizie care treze\u015fte invidia oric\u0103rui alt autor care se ocup\u0103 de personajul N.M.\u201d (229). \u201cCei care citesc aceast\u0103 carte sunt oricum tipi selec\u0163i \u015fi cu sim\u0163ul umorului\u201d (238). \u201cMarius Robescu, un alt exemplu de uitare nejustificat\u0103, Ion Iuga sau Gheorghe Anca, un talent polimorf, un cultural globe-trotter, cu o poezie \u00eentotdeauna surprinz\u0103toare, nou\u0103 \u015fi vie.\u201d(239). \u201cSigur, poate par eu prea generos \u015fi g\u0103sesc a\u015fa de mul\u0163i scriitori de valoare, dar, \u00een\u0163elege\u0163i-m\u0103, dar privi\u0163i-m\u0103 \u00een ochi, domnilor, vede\u0163i ce vreau s\u0103 spun. Adic\u0103 vreau s\u0103 spun, ca s\u0103 fiu clar, c\u0103 \u00een locul celor ale\u015fi de domnul Manolescu, pentru a-i b\u0103ga \u00een criptele alea de istorie, ar putea intra al\u0163ii \u015fi mult mai justificat.\u201d (239-240). \u201cIerta\u0163i-m\u0103, dragi cititori, c\u0103 m-am oprit aici, pe lespezile unei vechi iubiri, de\u015fi n-au vreo leg\u0103tur\u0103 cu prostia despre care scriu.\u201d (244). \u201cDar esen\u0163ialul (mereu folosesc cuv\u00e2ntul esen\u0163ial<\/em>, dar, \u00een\u0163elege\u0163i-m\u0103, sunt \u00eensetat de esen\u0163e!) nu-i actualitatea \u00eentr-o pies\u0103 de teatru, s\u0103 zicem, c\u0103 mai actual dec\u00e2t un Telejurnal ce-i? P\u0103i, mai bine ia-\u0163i Telejurnalul \u015fi r\u0103m\u00e2i acas\u0103 cu el! Ce cau\u0163i la teatru?\u201d (268). \u201cNici Ion Vinea nu figureaz\u0103-n cartea ta, domule Manolescu\u201d (309). \u201cDar ce? L-am ascultat eu pe Nichita? A\u015f! Mi-am v\u0103zut de-ale mele, mi-am tr\u0103it via\u0163a ca pe cartea asta, s\u0103rind de la una la alta, c\u00e2nd \u00eenjur\u00e2nd, c\u00e2nd emo\u0163ionat, distrus, c\u0103zut pe g\u00e2nduri sau iubind, iubind mereu \u015fi pe cine merita \u015fi pe cine nu merita.\u201d (316). \u201cNoi, scriitorii mici: Velea, eu, Br\u0103tescu-Voine\u015fti, Iulian Neac\u015fu, Postolache, Tudor Vasiliu, Pitu\u0163 trebuie s\u0103 fim solidari \u015fi s\u0103 ne facem \u015fi noi un Salon al refuza\u0163ilor.\u201d (337).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cartea pretextat\u0103 de Istoria critic\u0103 a literaturii rom\u00e2ne pune \u00een scen\u0103, poate psihanalitic, un flux al reactivit\u0103\u0163ii regizat nu de \u015eerban, nici de Tocilescu, parc\u0103 de un Hamlet burlesc-elegiac spre a-\u015fi dovedi unchiul fratricid, ba chiar de Pu\u015fi, dac\u0103 nu de unul din copiii uci\u015fi ai Medeeai, care nu apare (cei doi fra\u0163i sunt executa\u0163i \u00een culise, spre respectarea canonului tragic-scenic din vremea lui Euripide \u2013 un Dinulescu al Eladei?) Am citat f\u0103r\u0103 oprire ca s\u0103 vad\u0103 \u015fi al\u0163ii, neajun\u015fi la cartea cu o copert\u0103 \u201chidoas\u0103\u201d, potrivit unui psiholog, speriat ori de diavol, ori de critic, prescurtat \u015fi cric. \u015ei Eliade s-a pronun\u0163at c\u0103 dac\u0103 ar fi avut bani ar fi cump\u0103rat c\u00e2t mai multe exemplare din toate c\u0103r\u0163ile lui Paul Goma pentru a le d\u0103rui prietenilor \u015fi cunoscu\u0163ilor (rom\u00e2nilor). L-am \u00een\u0163eles \u015fi citind cartea lui Pu\u015fi, invidiind, prima oar\u0103, personajul, care are un motiv epatant pentru a scoate a doua edi\u0163ie \u00een care s\u0103 treac\u0103 la \u201cdic\u0163ionar\u201d (la \u201cantologie\u201d, \u00een edi\u0163ia a treia, impulsionat\u0103 de volumul al doilea al acestui scriitor \u00eempotriva antiscriitorului, antihristului etc.) numele Euripide Dinulescu (numele poetului este Cezar Iv\u0103nescu, iar crima, premeditat\u0103).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Premiera de la libr\u0103ria Sadoveanu, cu Doru Braia anti Ruy Blas, Ion Coja \u00een step-pre\u015fedin\u0163ie, el \u015fi Gelu Voican Voiculescu \u00eencadr\u00e2ndu-l pe lansat (diferit de Gigi), a \u015fi fost tradus\u0103 \u00een \u201cCotidianul\u201d, ne omonim, a se spera, tot cu \u201cga\u015fc\u0103\u201d (redac\u0163ional, Pafka, a\u0163i schimbat aripa diavolului pe d\u00e2nsa, ga\u015fca?) Ce face domnul Pu\u015fi mereu, acum era chiar momentul, nu scandal \u2013 nici cartea nu e \u2013 hai, show boem, de trezire la text, c\u0103 nu via\u0163a lui, ci, foarte probabil, drama, tras\u0103 ca din repertoriul dell arte al clovnului shakespearian sau al vidushaka lui Kalidasa. C\u0103 tot e ticul lui Pu\u015fi \u201cs\u0103 ne \u00eentoarcem\u201d \u00een p\u0103durea lui de etichete-pamflet, simetrice p\u0103durii de simboluri, incendiat\u0103 pe un rug-istorie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Virgiliu i-ar fi Mazilu, ori Sebastian, \u00een destule tablouri. Corul nu se mai sf\u00e2r\u015fe\u015fte, vaiete, chiote, le\u015finuri la at\u00e2tea sacrific\u0103ri de pugatoriu, s\u0103 zicem (nu e infernul at\u00e2t de la \u00eendem\u00e2n\u0103 \u015fi \u00eensu\u015fi diavolul \u2013 aici autorul ne-o fi tri\u015f\u00e2nd din bonomie \u2013 nu-\u015fi declin\u0103 identitatea, d\u00e2ndu-ne de b\u0103nuit, f\u0103c\u00e2ndu-ne s\u0103 ne b\u0103nuim \u00een\u015fine.).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pu\u015fi s-a vrut – de student-regizor – cabotin, ca pentru fi jucat de Sir Lawrence Olivier. Pe c\u00e2nd autorul, John Osborn, t\u00e2n\u0103rul p\u0103rinte al Furio\u015filor (beatnics, Pu\u015fi, ori cum ne intima Vera C\u0103lin?), la b\u0103tr\u00e2ne\u0163e s-a \u00eentors \u00eempotriva acelora, poate ca foiletonistul-canonard-istoric \u00een cauz\u0103 (cum te-ar fi desfuriat pe tine dac\u0103 \u015fi pe maestrul s\u0103u, Iva\u015fcu, l-a eludat ca pe o meandr\u0103?) Vai Pu\u015fi, n-ai \u00eemb\u0103tr\u00e2nit, c\u00e2t te-ai l\u0103uda \u00een carte c\u0103 ai avut ocazia s\u0103-\u0163i pierzi un picior, ori te cam \u00eentrebi ce se alege de via\u0163a ta dup\u0103 cartea asta, cum o s\u0103 ajungi cer\u015fetor. Nu te-ai \u00eentristat dec\u00e2t ca s\u0103 dai drumul pe alte tonuri r\u00e2setelor \u00een\u0163elepte, erotice, paramonahale. Frate e\u015fti lui Manolescu \u015fi nou\u0103, refuza\u0163ilor. Ne-ai pomenit, ne-ai luat sufletul tu, c\u0103 el nu ni-l \u015fmecherise-degustase. Ca s\u0103 nu spun ce retroclaustrat e\u015fti \u00een boema ta bucure\u015ftean\u0103, \u00eengro\u015fat\u0103 \u015fi cu figuran\u0163i holi\u015fti, \u00eentre busturile lui Eminescu \u015fi Ovid (Densusianu).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Vorba ta, s\u0103 ne \u00eentoarcem, brother (big-ul e nick-name-ul N.M.), la \u201cpaznicul de c\u0103r\u0163i\u201d, istoria ca ograd\u0103 personal\u0103, o m\u00e2n\u0103 de cenu\u015f\u0103, un fel de gunoi, coco\u0163at \u00eentr-o rubric\u0103, uitat de libertate, sadism de sine; \u00eel face harcea-parcea pe bietul \u015fi bunul Nicolae Filimon; stima\u0163i cititori, ierta\u0163i-mi m\u0103g\u0103riile, dar sunt \u015fi eu om; cu deosebit\u0103 nesim\u0163ire; calamitatea Vi\u015fniec; Boule; Sebastian s-a inspirat din Luceaf\u0103rul<\/em>; marele profesor Tudor Vianu; l-o fi ini\u0163iat Ivasiuc \u00een ceva foarte concret? Cine \u015ftie; cine era \u00een spatele lui trebuie<\/em>; Masa Remarca\u0163ilor; dracu n-are moarte; dar cu Nae Ionescu ce-ai avut; dar cu Nicihifor Crainic; Eminescu def\u0103imat; lupta \u00eentre moderni\u015fti \u015fi protocroni\u015fti; toat\u0103 \u015fmecheria e ga\u015fca, omul f\u0103r\u0103 ga\u015fc\u0103 e ca melcul f\u0103r\u0103 cochilie; \u00eentre protocroni\u015fti \u015fi manolescoizi; Zaharia Antinescu (prototipul lui Caragiale pentru Trahanache \u2013 sic); Patapievici Snob\u0103sescu; ageamiu \u00een materie de teatru; detractorul lui Camil Petrescu; maestru tr\u0103g\u0103tori de sfori; voin\u0163a discre\u0163ionar\u0103 a decimatorului; un tip purtat sub arip\u0103 de Cel cu coad\u0103; focul e karma ce arde pentru a ne des\u0103v\u00e2r\u015fi; dezgustul pentru snobi; toate curvele cred \u00een farfurii zbur\u0103toare; eu, care sunt tot un polemist; acest negu\u0163\u0103tor de suflete moarte, care se nume\u015fte Nicolae Manolescu; Manolescu e rece ca o molusc\u0103; are \u015fi ceva de fantom\u0103 etc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Temele se \u00eenl\u0103n\u0163uie vodevil autosacramental pierotesc nemanolesc. Trist o fi inaccesul la diavol, maimu\u0163\u0103rirea lui criticoid\u0103, cu parodie din zona tabu, reconstituit\u0103 crail\u00e2c matein boemian la sentiment, i-auzi p-asta. R\u0103u f\u0103cea N.M. s\u0103-l fi b\u0103gat pe Pu\u015fi \u00een Istorie<\/em>, nu mai aveam stabor hamletian \u00eentru ar\u0103tarea fantomei.Chiar lui Pu\u015fi \u00eei convine din ce \u00een ce, deposedat de ur\u0103, chiar epuiz\u00e2nd m\u0103car \u015fi repro\u015ful, iubindu-\u015fi neb\u0103g\u0103torul. C\u0103 nu se las\u0103, c\u0103 nu-i ajunge nici at\u00e2tica muzica din La pia\u0163\u0103, purt\u00e2ndu-se, ca Iosif Sava, pe l\u00e2ng\u0103 Mazilu la oper\u0103? Da’ Pu\u015fi declam\u0103 anima. Tr\u0103ie\u015fte roluri de-o mai mult dec\u00e2t literatura \u015fi numai literatura, textul, logosul alfabetizat (cred c\u0103 Goma zice alfaba<\/em>tizat). Nu c\u0103 nu i-o fi p\u0103s\u00e2nd de Mircea Eliade \u015fi Ioan Alexandru, de Ionesco-Unesco. Se sf\u00e2rtec\u0103, \u00een replic\u0103 interdic\u0163iei paranoide, extinse de la nepieritoarea Sec\u0163ie c\u0103t\u0103rnit\u0103, pentru m\u00e2ntuirea prin implanturi de crea\u0163ie empatic\u0103, be\u0163iv\u0103nit\u0103, la o adic\u0103, p\u00e2n\u0103 a nu se comanda plutonului rima uciderii intelectuale, fizice, ancestrale.Ce oper\u0103 buf\u0103 ar fi de compus ca etern\u0103. Din nou \u2013 ciupi\u0163i-l \u2013 cu Eminescu (-Sebastian), Miori\u0163a (-Alexandri), protocroni\u015ftii edgarieni \u015fi nu numai,\u00a0 \u00eent\u00e2lniri de r\u00e2s-pl\u00e2ns cu Alexandru Piru, Teodor Mazilu, \u015etefan\u00a0 Stoian, Marin Preda, Ion Coja, Horia Lovinescu, George Calboreanu, Nicolae Manolescu. Sinecdoca oratoriului-carte pare a fi testamentul lui \u015etefan \/Apus de <\/em>soare, cu toate numele caden\u0163ate-ducere-eroism, \u00een contrapartid\u0103 cu\u00a0 fresca dedublat\u0103 a scriitorilor b\u0103ga\u0163i (ca \u00eentr-o bezn\u0103) \u015fi neb\u0103ga\u0163i ( de dez\u0103g\u0103zuit \u00eenml\u0103\u015ftinarea ignor\u0103rii, c\u0103 doar s-a dus vreamea c\u00e2nd un titan, eventual C\u0103linescu, se mai \u00eenh\u0103ma, de unul singur, la iadul-raiul literaturii rom\u00e2ne, cu origini \u015fi prezent. \u00cen chinuri reabilitante recitative din Octavian Goga, Radu Gyr, Nichita, leaduri \u015fi prozeme pe prietenie din Mihai Elin, Iulian Neac\u015fu, Iolanda Malamen, Alexandru Grigore, Teodor P\u00e2c\u0103, Mircea Micu, Adrian Dohotaru, Tudor Vasiliu, Paul Vinicius, Marius Ianu\u015f, Adi Cusin, George Anca, Ruxandra Cesereanu, Gheorghe Pitu\u0163, Ion Dr\u0103g\u0103noiu, Sandu Stelian, Ion Iuga, Ion Larian Postolache, Pan Izverna, Vintil\u0103 Iv\u0103nceanu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Istorie (Pu\u015fi versus Niki), memorialistic\u0103 (\u015fi cu Niki), polemic\u0103 (tot la Niki). Incomparabil\u0103. Autopremiu. Autodafe. I-ai f\u0103cut un mare serviciu criticului neb\u0103g\u0103tor, s\u0103 aud\u0103 numai corul \u00eentemni\u0163a\u0163ilor din Fidelio<\/em> \u2013 tu c\u00e2n\u0163i Spiess. Deconstruirea inchizitorului se dilueaz\u0103 \u2013 \u0163i-o mai fi trecut \u2013 f\u0103c\u00e2nd loc operei paraistorice, pe terenul t\u0103u dramaturgic, culisat memorial-elogiastic, contra-polemos, unde chemi suflet dup\u0103 suflet \u2013 spune drept de c\u00e2te ori ai pl\u00e2ns trep\u0103d\u00e2nd tastatura \u00een onoarea lui Manolescu? \u015ei ce b\u0103iat frumos erai \u015fi s\u0103 ajung\u0103 \u00een final Cicikov \u2013 Gogol a fost rom\u00e2n (a citit undeva Cimpoi, cu bunic dac \u015fi poet) iar sufletele alea moarte din Tighina, ca o alt\u0103 istorie, necritic\u0103, a lui Niki-Pu\u015fi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dac\u0103 tr\u0103ia, a\u015fa scria \u015fi Vasile V\u0103duva; chiar prin ’73, cu leucemie, tot a publicat un articol din rubrica lui contra plaivasului pre\u015fedintelui de atunci al Uniunii Scriitorilor, Virgil Teodorescu, pentru c\u0103 be\u015ftelise ni\u015fte tineri (cum \u015fi al nostru de acum ne las\u0103 f\u0103r\u0103 clasici, f\u0103r\u0103 s\u00e2nge, f\u0103r\u0103 P\u0103m\u00e2nturi<\/em>, din Preda, c\u0103 le scrie p\u0103m\u00e2nturi<\/em>). Doamne, \u00eel aud inton\u00e2nd pe Vasile (voce ca a ta, mai bas din ce bariton vei fi fiind matale), lua\u0163i plaivasul dumneavoastr\u0103 de pre\u015fedinte…, mi se f\u0103cea \u015fi fric\u0103, \u015fi a \u015fi fost ca o anchet\u0103 prin preajma rezervei din pavilionul soljeni\u0163\u00e2nian. Ai scris tu \u015fi pentru el \u015fi pentru noi. Cu Fane Stoian am fost la \u00eenmorm\u00e2ntarea lui Vasile, cu tine la a lui Fane, tu te-ai nimerit \u015fi la infarctul lui Alexandru Grigore (Paul Dobrescu scrie c\u0103 s-a pr\u0103bu\u015fit chiar peste cel\u0103lalt mort, din sicriu) \u2013 m\u0103car moartea find a ne fi literatur\u0103 neindexabil\u0103, spre o recunoa\u015ftere eliberat\u0103 din decapitare \u015fi aruncare de cap \u00een f\u00e2nt\u00e2n\u0103, cam cum debitezi tu puccinian, dar \u015fi humosresc\u0103 dup\u0103 humoresc\u0103 de s\u0103 \u015fi \u00eendr\u0103znima a r\u00e2de c\u0103 a pl\u00e2nge. C\u0103 auzindu-l dr. Neagu pe Vasile c\u0103-l doare piciorul, i-a zis, p\u0103i \u0163i-l taie, \u015fi uite c\u0103 doctorul fu asasinat \u00een G\u0103e\u015fti, Pa\u015fte 2009 (\u00eel \u015fi sunase pe Pan Izverna, c\u0103 unde-l poate \u00eent\u00e2lni pe N.M., ermetic, \u00eentre patru ochi, de ce, s\u0103-i dau dou\u0103 palme; tot pe chestia istoriei \u2013 Dumnezeule, c\u00e2\u0163i r\u0103m\u0103ser\u0103m \u00eenc\u0103 neasasina\u0163i dec\u00e2t simbolic).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La Pu\u015fi, compasiunea pentru Dana este \u015fi pentru N.M. \u201cP\u00e2r\u0163urile\u201d prefera\u0163ilor lui N.M., \u00een top cu Mircea C\u0103rt\u0103rescu, se orchestreaz\u0103 \u00een grotesc r\u0103coritor, topless. \u201c\u00cen l\u0103turi\u201d, tr\u00e2mbi\u0163eaz\u0103, cu Maiorescu, nu la adresa lui Andrei Mure\u015fanu, ci a lui N.M. \u015ei ce s\u0103 fi scris N.M. despre umorismul sau bucure\u015ftenismul impenitent ale lui Pu\u015fi (care a dat-o \u00een bar\u0103 la Ploie\u015fti, iar la prima lor \u00eent\u00e2lnire, de seminar, c\u00e2nd asistentul N.M. a invitat studen\u0163ii s\u0103 se \u00eemp\u0103rt\u0103\u015feasc\u0103 \u00eempreun\u0103 din opera lui Geo Bogza, Pu\u015fi s-a scuzat c\u0103 a m\u00e2ncat de diminea\u0163\u0103 \u015fi nu se poate \u00eemp\u0103rt\u0103\u015fi, iar acum ar vrea s\u0103 fie \u00eemp\u0103rt\u0103\u015fit cu grijania istoriei). Poz\u0103 retu\u015fat\u0103, stilistic\u0103 bulevardier\u0103, umor liric p\u00e2n\u0103 la \u201cpoezii bestiale\u201d? Evaporare romanesc\u0103 \u00een televiziune \u015fi pies\u0103 jucat\u0103 la Craiova?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De-aia e pur Pu\u015fi \u2013 \u015fi ca d\u00e2nsul suntem at\u00e2\u0163ia \u015fi \u00eenc\u0103 pe at\u00e2\u0163ia \u2013 c\u0103 n-a scris N.M. despre el, nu l-a b\u0103gat \u00een ga\u015fca-harem, l-a l\u0103sat de cartier, la Mogo\u015foaia, la ceai, la o bere, \u00een c\u00e2rje. M\u0103car s\u0103 fi montat A Game at Chess <\/em>de Thomas Middleton, cu albele englezii (regin\u0103 Dana, rege \u201cbulgarul\u201d) cu negrele spaniolii (nebuni Pu\u015fi cu ai lui pioni, c\u00e2t c\u0103 personajul-diavol e calul\/the Knight, ambasadorul filipic, de unde \u015fi incon\u015ftientul folcloric \u201cdar cu Crainic ce-ai avut\u201d?).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei ce-a c\u0103utat la Paris, la Aurora Cornu, la Paul Goma? Face pe curajosul \u00eentru distrac\u0163ia refuza\u0163ilor \u00een distribuirea lui stradal\u0103-catedral\u0103. Unde-o fi mai de fal\u0103 \u2013 \u00een Niki sau \u00een Pu\u015fi? \u00cen istorie sau \u00een pra\u015ftie? Tunul canonului lui N.M. ignor\u0103 bandul lui Pu\u015fi, nu chiar \u015fi invers. \u015ei ce (nu) mai face? Pe c\u00e2\u0163i enerveaz\u0103, \u00eencep\u00e2nd cu N.M., magnifiindu-l de-al pamfletului.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Om fi murind, uci\u015fi sau nu, pe acela\u015fi drum? Asasinarea prin ignorare t\u0103ticul Belindei o recompenseaz\u0103 cu s\u0103r\u0103\u0163ele, cu amintiri mi\u015fto-\u015fmechere \u015fi estetic\u0103 \u00eentre Mazilu \u015fi Musil. Pe filiera Costin \u2013 Eminescu \u2013 Goga, dar mai ales Caragiale \u2013 Sebastian \u2013 Mazilu. Mai rar ca Pu\u015fi. Ca Zoe, coane Fane. Ce lec\u0163ii \u015fi cui le-o fi d\u00e2nd plaivasul nemescnik, dar \u015fi ce praftori\u0163\u0103, cu c\u00e2rja, prime\u015fte de la un scriitor pentru scriitori r\u0103ma\u015fi \u00een via\u0163\u0103, c\u00e2t de c\u00e2\u0163i, \u00een carnavalul refuza\u0163ilor. Ce invidio\u015fi. Nemuritoare, mezafizic\u0103 buf\u0103, de Pu\u015fi nu-i zice Niki, ca Monica \u015fi, dup\u0103 ea, Goma. S\u0103-i iubim pe am\u00e2ndoi, Arhanghele.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cDe fapt, sigur, e o istorie de ga\u015fc\u0103 \u015fi se iau \u015fi scriitori din trecut, numai de dragul de a p\u0103rea totul \u015fi serios \u015fi autorul a se putea compara, m\u0103iculi\u0163\u0103 Doamne, cu George C\u0103linescu! Pentru c\u0103 se pare c\u0103 numai el a scris o istorie a literaturii p\u00e2n\u0103-n zilele lui \u015fi ilustrat\u0103 cu poze de mare calitate. Dar valoarea lui C\u0103linescu nu st\u0103 \u00een cantitate \u015fi poate nu \u00eentotdeauna \u00een judec\u0103\u0163i, ci \u00een stil, \u00een stilul formidabil. \/ Dar stilul dumitale, domnule Manolescu, e \u00eenc\u00e2lcit, mohor\u00e2t, lipsit de aer \u015fi ap\u0103.\u201d (p.87)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cParc\u0103 din cele scrise de Marian Popa rezult\u0103 un personaj de roman britanic \u015fi m\u0103 face s\u0103 m\u0103 g\u00e2ndesc la figura aceea a lui Soames Forsyte, pendul\u00e2nd \u00eentre abjec\u0163ie, usc\u0103ciune \u015fi dor de o femeie pierdut\u0103 pentru totdeauna. \u015ei m\u0103 g\u00e2ndesc c\u0103 poate c\u00e2ndva \u015fi Manolescu a iubit literatura, de\u015fi a tot violat-o, o iube\u015fte \u00eens\u0103 prea pragmatic, a\u015fa cum iube\u015fte arabul c\u0103mila, uneori \u015fi calul, ca \u00een neuitata poezie a lui George Co\u015fbuc.\u201d (231)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cCam asta-\u0163i lipse\u015fte dumitale, domnule Manolescu, focul, \u00ee\u0163i lipse\u015fte dragostea, dragostea pentru literatura rom\u00e2n\u0103, pentru cuv\u00e2ntul rom\u00e2nesc, pentru cei care vorbesc \u015fi scriu \u00een limba rom\u00e2n\u0103, e\u015fti ceva \u00een genul acelui Mann ohne Eigenschaften<\/span> (Omul f\u0103r\u0103 \u00eensu\u015firi) al lui Robert Musil, dar care, precum la Mazilu, dup\u0103 cum ai observat \u015fi dumneata, se caracterizeaz\u0103 cel mai bine prin impostur\u0103<\/span> acest personaj.\u201d (279-280)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cCa un adev\u0103rat Cicikov, N. Manolescu, v\u00e2n\u0103tor de suflete moarte, str\u0103bate paginile literaturii rom\u00e2ne cu tr\u0103sura lui diavoleasc\u0103, \u00eempins pe undeva, protejat pe undeva, da’ de cine \u015fi de c\u00e2nd \u015fi p\u00e2n\u0103 c\u00e2nd?\u201d (340).<\/p>\n

UN PICARO DUIOS-AMAR<\/strong><\/p>\n

 <\/p>\n

Pu\u0219i Dinulescu, C<\/em>\u0103l\u0103toriile lui Nea Pu\u0219i<\/em>, Editura Lider, Bucure\u0219ti, 2013<\/p>\n

 <\/p>\n

24 de retroc\u0103l\u0103torii pu\u0219iene \u2013 de sertar, recompuse, cumva testamentare, incluz\u00e2nd o revolu\u021bie \u0219i informa\u021bii amoroase \u2013 tenteaz\u0103 imposibilul unei armonii cu sine \u0219i cu via\u021ba lumii c\u0103l\u0103torite sub vechiul regim, \u00een zorii neocapitalismului, \u0219i la \u00eenceput de mileniu. Poate umorul, de la argou la subsol eufonic, va \u00eenc\u00e2nta pe mul\u021bi, pe al\u021bii, mai pu\u021bin. \u00censu\u0219i autorul-personaj, picaro bucure\u0219tean, se \u00eempiepteaz\u0103 ori se ia peste picior, \u00eentru desc\u0103tu\u0219area propriei literaturi, printre sirene-dulcinei, parc\u0103 anume pentru a se dezlega \u00een sf\u0103toase cump\u0103niri moral-politice, \u00eendeob\u0219te anticomuniste, anticapitaliste, totdeauna scriitorice\u0219ti, cinematografice, teatrem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Romanul picaresc, de aproape 450 de pagini, este scris cu bucuria molipsitoare a autorului nedobor\u00e2t nici de propriul geniu, arborat glume\u021b ori ba, nici de opu\u0219ii pe care-i rade comic \u0219i nu prea. C\u0103l\u0103toriile, deja trecute \u2013 turism jalnic, parodic \u0219i astfel cu at\u00e2t mai poetic-plastic – sunt surse de medita\u021bii confesive, mereu retezate de reveniri la locul faptei, ca pentru o demonstra\u021bie flaubertian\u0103 a stilului de transcenden\u021b\u0103 descriptiv\u0103. Tot ce spune cititorului \u00ee\u0219i spune sie\u0219i, \u00een oglind\u0103, sparge oglinda, c\u0103l\u0103torul a disp\u0103rut, s-a transfigurat, complice, c\u0103l\u0103toria-via\u021ba,-odiseea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u0103l\u0103torie (auto)polemic\u0103, de nu r\u0103zbun\u0103tor melancolic\u0103. \u201eFelul \u00een care am scris \u0219i am rescris aceast\u0103 carte e ca o r\u0103zbunare pe timpurile acelea, c\u00e2nd nicio pagin\u0103 din astea ale mele n-ar fi putut ap\u0103rea, cu stilul \u0103sta al meu sifilitic\u201d (Prefa\u021ba autorului<\/em>, p.5). Dickens \u201eprefera autenticul, ca \u0219i mine\u201d. (p.38). Pe aceea\u0219i pagin\u0103 (46), Hamlet \u0219i poporul rom\u00e2n: \u201eDe\u0219i conspira\u021bia sigur exist\u0103. Dar nici transcenden\u021ba care se organizeaz\u0103 prin c\u0103l\u0103toria \u00eenapoi \u00een via\u021b\u0103 a acestui spirit ne\u00eemp\u0103cat cu minciuna, cu uzurparea, nu poate fi neglijat\u0103\u201d; \u201eO! Doamne! Ce faci tu, popor rom\u00e2n, e\u0219ti doar o gelatin\u0103 f\u0103r\u0103 g\u00e2nduri, cum te cred Cioran sau Patapievici sau Mircea Badea sau \u021beparii t\u0103i politici, economici \u0219i care mai de care mai… \/ Huo! \/ Nu, nu cred c\u0103 merit s\u0103 vorbesc despre Vene\u021bia, prea sunt plin de teatru \u0219i de politic\u0103 \u0219i de futu-i mama ei de treab\u0103!\u201d. De final, \u201eCe s\u0103 mai adaug? E totul at\u00e2t de trist, ca un \u0219o\u0219on rupt, abandonat pe o c\u00e2mpie nesf\u00e2r\u0219it\u0103, pe care plou\u0103, tot plou\u0103, f\u0103r\u0103 sf\u00e2r\u0219it\u201d (p. 446)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Greu de povestit acest text(ualism) arhitecturat \u00een scriitur\u0103 de poate cel mai bun povestitor al epocii noastre oraliste, cu obstina\u021bia con\u0219tiin\u021bei unic literare (vinovat\u0103? fie)\u00a0 – \u201eat\u00e2t \u00eendr\u0103znelile mele lingvistice, cat mai ales via\u021ba unor g\u00e2nduri, ie\u0219ite din pana mea, alerg\u0103toare numai dup\u0103 o \u00eentristat\u0103 chibzuin\u021b\u0103, care s\u0103 nu fie totu\u0219i numai matur\u0103, dar poate \u0219i inteligen\u021b\u0103 \u0219i t\u00e2n\u0103r\u0103. \u00cenc\u0103…\u201d (p.6). \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Detensionarea prin c\u0103l\u0103torie, \u00een comunism (mai ales de la distan\u021ba c\u0103derii acestuia) \u2013 Praga \u0219i Budapesta, Orient-Expres, Paris, Mannheim, Bulgaria, Atena – face loc, \u00een postcomunism, unui fel de libertinaj voiajor, subjugat sporit p\u0103str\u0103rii cump\u0103tului evocator, construc\u021biei stilistice, fotografiei cinematografice, comediei scenometrice \u2013 O revolu\u021bie \u00een Bucure\u0219ti; A ajunge sau a nu ajunge la Lisabona; O v\u00e2j\u00e2ial\u0103-n Brescia; Papagalul din Malta; Pe plaja turc\u0103; \u00cen spania lui Federico; Soarele de Amsterdam; Parisul, dup\u0103 18 ani; Idil\u0103 \u00een Seychelles \u2013 \u0219i tot a\u0219a la \u00eenceperea mileniului \u2013 De la New York la Miami; Opatija, de l\u00e2ng\u0103 Cehov; Chetroaiele Cartaginei; Fiordurile Norvegiei; La degetul cel mic al lui Fidel; Con Italia da tasca!<\/em>; Mirajul Germaniei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eLuasem alea dou\u0103 burse de la Annette, mai tapasem, mai m\u0103-mprumutasem, ca s\u0103 \u00eenapoiez \u00een \u021bar\u0103 banii rom\u00e2ne\u0219ti, mai profitasem de ospitalitatea rom\u00e2nilor, chiar \u0219i a unor francezi, necunoscu\u021bi \u00eenainte, de fapt a unui francez: Alain, dar, gata! \u00cencepeam s\u0103 m\u0103 plictisesc de mine \u00eensumi. \u0102sta era lucrul cel mai grav. \u0218i apoi mai era Camus!\u201d (p. 69).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201e\u0218ti\u021bi? Via\u021ba mea e scrisul! Crede\u021bi c\u0103 dac\u0103 mi-a\u0219 turna prietenii, a\u0219 intra \u00een casa lor \u0219i p-orm\u0103 v-a\u0219 raporta dumneavoastr\u0103, m-a\u0219 mai putea vedea \u00een oglind\u0103? A\u0219 mai putea scrie? Pe dumneavoastr\u0103 care sunte\u021bi ni\u0219te profesioni\u0219ti \u0219i servi\u021bi patria, desigur, cu competen\u021b\u0103 \u0219i devotament \u0219i pe fa\u021b\u0103, toat\u0103 lumea v\u0103 pre\u021buie\u0219te! Dar pe turn\u0103tori nu-i privi\u021bi \u0219i dumneavoastr\u0103 cu dezgust?\u201d (p.94).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eVroiam s-ajung la Statuia Libert\u0103\u021bii \u0219i m\u0103 tot duceam spre sud. \u0218i nu mergeam dec\u00e2t pe jos. \/ P\u00e2n\u0103 la urm\u0103 n-am ajuns. N-am reu\u0219it s\u0103 dep\u0103\u0219esc\u00a0 Chinatown. Acolo am dat de ni\u0219te scene cam sinistre. Am observat c\u0103-n fa\u021ba unei case se tot opreau ni\u0219te ma\u0219ini extraordinare, ie\u0219eau apoi (din cas\u0103) tipii dintr-o fanfar\u0103, tr\u0103geau ni\u0219te sunete \u021bipate, apoi scoteau ceva, din casa aia, am observat c\u0103 erau sicrie, d-alea mi\u0219to, de lemn scump \u0219i bogat ornamentate\u201d (p.336).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eDin Norvegia \u00een Seychelles,<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eu, rom\u00e2nul cel mai bel…<\/em>\u201d (p. 388)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poeme sub\u021biri-groase \/ gra\u021bie-injurioase sunt \u0219i din\u00a0 Turcia sau Italia, traduceri din Lorca via Spania.\u00a0 Zeci de arti\u0219ti \u00ee\u0219i vor surprinde crochiurile duioase ori amare. Turi\u0219tii se vor vedea n\u0103p\u0103di\u021bi de contra-ghidul mai pe \u0219leau dec\u00e2t orice ghid, \u00een plin experiment ultracoerent. Hiperbola eului, c\u0103l\u0103torie de c\u0103l\u0103torie, se deverseaz\u0103 narativ din p\u00e2lnia \u00eenc\u0103-Stamate a lui Nea Pu\u0219i.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Picaro P \u201dPersonaje central del subg\u00e9nero literario de la picaresca, que representa al antih\u00e9roe desgraciado y de mal vivir, desenga\u00f1ado de la sociedad y que pone por encima de todo el mantenimiento de su libertad y el instinto de supervivencia.\u201d<\/p>\n

\n

*<\/p>\n

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NICK<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lui Pushi aka Rabindranath<\/em><\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F\u0103 altceva dup\u0103 ce stai de vorb\u0103. Le scrii pe urm\u0103. S\u0103 ai curaj s\u0103 mergi pe chestii-cheie. Vorbind, g\u00e2nde\u015fti, unii flec\u0103resc, m\u0103 enerveaz\u0103. Snobism, s\u0103 m\u0103 duc la vot, nici la scriitori, tab\u0103ra mea e dezorganizat\u0103, ailalt\u0103, organizat\u0103. Ai treab\u0103 cu popii, p\u0103rintele Serghei de Tolstoi. O bud\u0103 de infractori, li(t)ota asta de scriitori b\u0103ga\u0163i \u00een fa\u0163\u0103. Singurul scriitor e Breban.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0103 nu mai vii c\u0103 \u00eemi aprind \u0163igara. \u00ce\u015fi taie venele dac\u0103 o \u00eentrebi de ce fumeaz\u0103. Ar trebui s\u0103-\u0163i arunc cu\u0163itele, nici m\u0103car nu sunt ascu\u0163ite. Nu ai fost bun la matematic\u0103 pentru c\u0103 nu s-a \u00eenv\u0103\u0163at numerologie, Pitagora? Fizica trebuie studiat\u0103, radia\u0163iuni, ce materie nevie?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cei convine cu vistavoiul la poart\u0103. O peti\u0163ie. Se rezolv\u0103, tovar\u0103\u015fe inginer. Atunci mai direct, acum am evoluat, nu te omor. Majoritatea fac demen\u0163\u0103 alcoolic\u0103. S\u0103-i \u0163inem pumnii lui Bute. Chip\u0103ru\u015fi \u00een furaje.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Numai ei pe batist\u0103, tot \u0163ambalul. Vorba lungit\u0103, storc\u0103toare de demoni indu\u015fi. Gr\u0103mad\u0103 de defecte, ca \u015fi Danton. A defectat, ucis de securitate. Frica de evrei, alt holocaust. Feciorelnicia criminalilor uni\u0163i. Ce-am inventat m\u0103 inventeze, o katha. The Un-Dead. Drog bate. Mucabele la costum, tichie Platei \u00een fum. Ca o compasiune \u015fah, nu avansam, abia schimbam. Ne-om de\u015fifona umilin\u0163a involutar\u0103. Coran intelect.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0103-mi dai pielea \u00eenapoi, ca la Dorohoi. Jacob e Iago, Santiago de Compostella, Cristian Ionescu, \u00eent\u00e2lnit la o bere. \u00cen Gran Canare, cu Dan Munteanu, numai de Cior\u0103nescu n-am vorbit noi. \u00cen America de Sud e alt\u0103 limb\u0103 dec\u00e2t \u00een Spania. Mai \u00eenvechit\u0103. Teatrul e foarte viu, se simte traducerea, dac\u0103 e \u00een spaniol\u0103 sau \u00een sud-american\u0103. Se \u00een\u0163elege, da’ nu articulo de papel.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Duhori anti-duh. Transcriere de pe h\u00e2rtie \u00een virtual, descoperire. Cel mai lung roman, \u00een 40 volume, \u201eTokugawa Levasu\u201d de Sohachi Yamaoka. La Aiud, Sandu Tudor. Cu \u0163iganca la r\u00e2u, Pu\u015fi apud Lorca, mata de pelo \u2013 nu coc-Bal\u015f. Noroi, prea dur, Techirghiol, nu hum\u0103-tin\u0103, la marginea r\u00e2ului s-a-ntins pe spate putoarea \u00eentre ap\u0103 \u015fi uscat, nu clis\u0103, poate prund, lunca din Mirce\u015fti. Eu m\u0103 formez mereu. Azi sunt mai format ca ieri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cartea mansuetudinii scriind-o (de c\u00e2nd?), \u00een companii corporate (carcerate voluntar, cu vizite la internat, fiic\u0103-mea a mai r\u0103m\u00e2nea \u00een atelierul de icoane, suferind ca de vreme), c\u00e2t s\u0103 nu m\u0103\u00a0 mai uit la box. Cu Eliade, \u00een propriet\u0103\u0163i, yet a nu-\u015fi putea cump\u0103ra un aparat medical, ba o universitate s\u0103-i ofere, \u00eel duce b\u0103iatul lui Nestor \u015fi-l ia de la rector, mai discu\u0163ie \u2013 memorii-ideatic\u0103-simbol-b\u0103tr\u00e2ne\u0163e.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lenu\u015f, cu pizza \u015fi tort pentru ziua ei, dup\u0103 o s\u0103pt\u0103m\u00e2n\u0103. Fata, pe webcam, de ziua Szegedului, de-a vampirii lui Stoker, Doyle (Steckton), Wilde (Gray), \u015fi dac\u0103 \u00eengrop\u0103m cenu\u015fa boxului \u2013 ce de amenzi, c\u0103 va umbla f\u0103r\u0103 centur\u0103. Discipolii trepana\u0163i ai lui Lucifer. Celor de pe rutele sinuciderilor le va fi rambursat pre\u0163ul integral al biletului.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Frumo\u015fii sunt trufa\u015fi. Schimb\u0103 avioanele \u00een aer. \u015ei tu, \u015fi Pintilie, \u015fi Tocilescu. Ionu\u0163 \u00ee\u015fi pusese \u00eentr-o carte \u015eacote s\u0103 se joace, p\u0103i e al meu, s-a f\u0103cut c\u0103 n-aude. Furnici ancore. M-am scris. Te-ai apucat s\u0103 traduci Romance somnambulo. Verde, verde, che te chero verde. Verde carne, verde pelo. Mama lui de verde. N-are rime, ca \u00een Co\u015fbuc, \u00een marja unei poezii senzitive. \u0102sta a tradus stele mari de promoroac\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0103i nenic\u0103, p\u0103i tu \u015ftii c\u0103 to\u0163i malahi\u015ftii \u0103\u015ftia se trag din Ulysses. Tu e\u015fti anti-Joyce total. Luna mea gitana. Nu le poate vede – groaznic. Pe la semafoare cer\u015find. Yellow stone. Wyoming. Cuar\u0163ul, mai exact dec\u00e2t zirconiul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Din nou cu Br\u00e2ncu\u015fi d’ai purgatoriului transcris. Discret p\u00e2n\u0103 la discreditare, timidul lui Cezar. Ultima oar\u0103, nici la lume s\u0103 m\u0103 uit. Azi iar c\u0103r\u0163i \u015fi intelectuali supravie\u0163uind. N-ai cancer. Ai \u00eent\u00e2lnit o hacienda. Atmosfer\u0103 ca-n Spania. Costoso. Noi tot crucea nimerim nebapti\u015fti aferim.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De pierd caietele, bine c\u0103 nu se \u00een\u0163elege ce scrie. Mai e \u015fi duminic\u0103. S\u0103 nu dea de Aristide Kamanita al t\u0103u \u015fi al lui Zberea. Hamond ar putea regiza Furnicile. Ramona de la analize vrea o carte. Tu nu dormi, eu visez r\u00e2nduri. \u0102i b\u0103tr\u00e2ni \u00een lan\u0163 indemnizat, \u0103i tineri de \u015fi-or fi d\u00e2nd seama.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram trei, doi \u2013 eu cu taic\u0103-meu. Oi fi av\u00e2nd \u015fi eu un fiu. Eram adversari ireductibili, ori ne ap\u0103ram de represiune, umbl\u00e2nd \u00eempreun\u0103. Creierul \u00eempingea scalpul. \u00cenainte de vot, tura, abdomene, dup\u0103, corectura furnicilor. Amnezia\u00a0 halucinatorie Anand-Nandini ar fi cheia generativ\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kant nu contest\u0103 ideea de dumnezeu, nu e o categorie constituit\u0103, e un postulat necesar, unii l-au acuzat de ateism. Marx a spus c\u0103 evreii conduc lumea prin cre\u015ftinism. N-am auzit asta, poate c\u0103 religia e opiu. Blaga \u015fi Ro\u015fca au f\u0103cut teologie ca s\u0103 scape de armat\u0103. Metafizica e a lui Hegel, nu te miri c\u0103 Stuart-Mill \u00eel face schizofrenic, englezii sunt psihologi\u015fti, n-au niciun metafizician mare. Kant a \u00eengropat metafizica natural\u0103. St\u0103niloae zice c\u0103 omenia e contrariul individualismului. Spiritualitatea ortodox\u0103, acceptat\u0103 de poporul rom\u00e2n.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Re\u0163eaua din re\u0163ea, dublu structurat\u0103, politic\u0103 \u015fi terorist\u0103. Autoatentate. Vrem neoameni. Pe o p\u00e2nz\u0103 de tr\u0103dare. Cred c\u0103 te pot detesta. You’ll never beat the Irish. Rusul schimb\u0103 sezonul. Ros\u0103tur\u0103 de la proteza inghinal\u0103, cu ce s\u0103 m\u0103 dau, cu g\u0103lbenele, bine, cu aloe. Fix ca’n ’45. Exces de incopeten\u0163\u0103. Unknown. Silogismul troc. Pantologie. Dodifici toate speciile. Primul motto, din Schlegel. Simona are Moscova \u00een spate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era cum m-a\u015f fi dus la teatru, de \u00eenconjuram lacul \u00eenghi\u0163ind tirade. Criticul pentalogic, tot cinci mottouri, iar eu un viitor troc, contrastudiu. S\u0103n\u0103tatea de a nu repeta destinul celuilalt editor poate sub crim\u0103. Crabii neraci, cruste exterioare, de sc\u00e2rbo\u015fi. Un gol de-n chaos. Hai \u015fi cu pa\u015foptu’. Oi mai fi fost \u015fi n-oi fi vost’. S\u0103 credem aceste aranjamente, dac\u0103 nu vrem s\u0103 c\u0103dem pe sc\u0103ri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ziua de San Federico. Puci la Sevilla. S-a al\u0103turat \u015fi Granada. Fiecare \u00ee\u015fi f\u0103cea mendrele, se r\u0103zbuna pe diverse chestii. Be\u0163ia s\u00e2ngelui, treab\u0103 de r\u0103zboi civil, a\u015fa \u015fi Bosnia. Nici nu \u015ftiau de partea cui lupt\u0103. Inchizi\u0163ia, cea mai a dracu’.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Frica de dumnezeu \u015fi de prostia din jur. Evanghelia pe piept. Ai grij\u0103 ce scrii, lucrurile se vor \u00een\u0103spri. Cine b\u0103ie\u0163i, cine fete, cine fericit? Ai pustiit-o. Punjab. Ciorapul de la protez\u0103 \u00een ma\u015fina de sp\u0103lat. Am auzit de V1, V2, mais quand? \u00cen Groapa Paraschiv\u00a0 \u00eel bate pe Bosoncea. Nirvana alcoolic\u0103. Nu exist\u0103 sc\u0103pare. Nu se sus\u0163ine psihologic. Iar ai tras dungi? Unsu-tunsu. R\u0103zboia\u015f civil.\u00a0 Din peana lui Corneille. Baru\u0163u.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum se \u015fi pr\u0103v\u0103leau peste p\u00e2ini, mai moi la noi, after all, dar degeaba, deduceai din intona\u0163ia miorl\u0103it\u0103, aluia, aluia, aici \u00eei, ne trebuia, unde om fi crezut c\u0103 suntem, geaba meci. Vei fi auzit ploaia muezin\u0103. Vi\u015fine, vii \u015fi ne. Iacobini la coas\u0103. Mene, mierle, trene cer’le \u015fperle. Nu s-a sp\u0103lat pe m\u00e2na dreapt\u0103. C\u00e2t c\u0103 erai din Homer, Praleo. C\u0103lug\u0103ra gitana.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ce face\u0163i azi c\u00e2nd vorbe\u015fte Ostaka? De vorbit cu vorbe a nu mai vorbi, interzis pe via\u0163\u0103. Povestea tat\u0103lui a\u015ftept\u00e2nd biciclista, roat\u0103 vertical\u0103 d’alei \u00eencinse. Deci, sem\u0103n\u00e2nd tat\u0103lui meu, domnule, ai conversa repetat cu femeia, pe aceea\u015fi politic\u0103, nefanatic, yet, ar trebui s\u0103 fii contabil, s\u0103 joci table, s\u0103 cite\u015fti filosofie, voce n-ai.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M-ar visa c\u00e2inii. Victimul. Problema ta e \u0163inuta. S\u0103 te autoinventezi. Mersul t\u0103u nu-mi place. S\u0103 mergi ca A, nu ca B, ca un c\u00e2ine care-\u015fi caut\u0103 m\u00e2ncarea pe jos. S\u0103 faci at\u00e2rn\u0103ri. Scolioz\u0103. C\u00e2nd calci pe scen\u0103, fiecare deget de la picior are corespondent \u00een trup. S\u0103 \u015ftii s\u0103 \u015fi stai bine. Important e degetul cel mare. Caut\u0103 mersul s\u0103 fie de calitate. Via\u0163a e o scen\u0103. C\u00e2nd e\u015fti t\u00e2n\u0103r e mai u\u015for. S-o iei \u00eencet. \u00cen via\u0163a social\u0103, suntem actori. Emil Constantinscu a luat lec\u0163ii de la Caramitru. Leg\u0103tur\u0103 \u00eentre \u015fah \u015fi dramaturgie, deschidere, ap\u0103rare, final. H\u0103\u0163i\u015ful \u015fi schema.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tanti Fane, doctorilor, c\u0103 s\u0103 nu moar\u0103 p\u00e2n\u0103 nu termin\u0103 nepoata cartea de scris. Merg pe v\u00e2rfuri s\u0103-mi sui \u015fira. Crezusem c\u0103 te iei de c\u0103ma\u015f\u0103. Cin’ s-o mai vedea la televizor, belea? N-are cine mai ie\u015fi pe unde, ap\u0103, pulbere. Rela\u0163ia cu calcanii. \u0102\u015ftia demoleaz\u0103 climatul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De ce nu \u00eenv\u0103\u0163a\u0163i voi matematic\u0103? \u0102sta este casus belli. At\u00e2ta ai voie. \u015etii s\u0103 scrii? Moartea sufletului dumnezeiesc. Trestii de vulcan umane. Zb\u00e2rn\u0103. Ia pastilele. M\u00e2n\u0103 necunoscut\u0103. Cai cu boi. Dup\u0103 amprente. Torah. La subiect. Alta preia controlul. Tri\u015fti din \u0103\u015ftia. Ca la Massada. N\u0103scu\u0163i din aceea\u015fi pisic\u0103, dintr-o contradic\u0163ie. Te-a trecut pe extasy. Nu se poate \u00eent\u00e2mpla ce se \u00eent\u00e2mpl\u0103. Fur\u0103-\u0163i libertatea. Tetrarhia lui Diocle\u0163ian. A\u0163i dat \u00een beng\u0103, cu o clepsidr\u0103 \u00eenainte. Rextier. De lips\u0103 c\u0103rticea. Vara devreme. Clipit blind. Bibanul a mu\u015fcat. Dou\u0103 le\u015fin\u0103turi. Aud toate urletele. Overdoz\u0103. S\u0103 dispai. Vrei o banan\u0103? Mai stinge sabia. \u0162i-or da \u00een creast\u0103. M\u0103 g\u00e2dil. Bujiile \u00een menghin\u0103. Mama de la est. Noi r\u0103m\u00e2nem, voi pleca\u0163i. Cineva s\u0103-i dea o \u00eenghe\u0163at\u0103 pe b\u0103\u0163. Au b\u0103ut to\u0163i petrol. Te-a b\u0103tut soarele-n cap, uitat pe sc\u0103rile templului. Ne e dor de absen\u0163a ta. Blitzcreig. Am pozat matul cu calul t\u0103u \u015fi cu tine. The battle for Damascus. Mi fido di Maria. Se termin\u0103 guvernele.\u00a0 Unde e\u015fti, Petre? Lume bubuit\u0103. Dictobrut\u0103ria. Radiofratele. Urmeaz\u0103 c\u0103s\u0103pirea. Aduce\u0163i cazmaua. Pl\u00e2nge\u0163i to\u0163i \u00een pumni. Auzi voci, vezi lumini puternice c\u00e2nd \u00eenchizi ochii? Leprezentare. \u015earlament.\u00a0 Mama cur\u0163ii ce dore\u015fte?\u00a0 Crim\u0103 continu\u0103. Cum e vremea la Tiraspol? Absen\u0163a politicii. M\u00e2na Rusiei. Se uzeaz\u0103 praful de pu\u015fc\u0103. Galerii \u00een vacan\u0163\u0103, pe ger, pe cer. Hara\u015fo. Ce trebuie s\u0103 facem, domnule? Oamenii obi\u015fnui\u0163i. O mas\u0103 amorf\u0103 profund viciat\u0103. Slujbe de c\u00e2rc\u0103. Criado. Admini. S\u0103 control\u0103m. R\u0103zboi cultural. Conducerea la Moscova. Bastionul din Uppsala. Mazilu de noapte. \u015eapca \u015fi prosopul. \u00cenapoi. Cotrop. Sub talpa ruseasc\u0103 \u00eenc\u0103 50 de ani. Valizele \u015fi valea. \u00cenc\u0103iera\u0163i-v\u0103 mai tov\u0103r\u0103\u015fe\u015fte. Desc\u0103rca\u0163i-v\u0103 dracii printre cracii nudistelor tinere, hai cafteal\u0103, neamule. Sunt tr\u0103d\u0103tor. Doar cu m\u0103\u015ftile pe fa\u0163\u0103. Vara tr\u0103d\u0103torilor d’El\u0163\u00e2n-Makarkin-hipertrof-poa (personal operativ acoperit).\u00a0 Confiden\u0163ial. Du-te mai la est. Fiecare cuv\u00e2nt invers. Suveranitatea plenului. C\u0103ut\u0103m b\u0103t\u0103ile inimii. Xanax. Popularizarea eroilor clasei muncitoare. Stat de drep\u0163i. Guri\u0163\u0103 de aur. Burghezia abia se formeaz\u0103. Subcon\u015ftient colectiv stalinist indus. \u00cemi pare r\u0103u c\u0103 e\u015fti agitat. Nomen artis. Nu mai sta ghiocel. Aranj\u0103m cu Ivan s\u0103-\u0163i dea voie s\u0103 votezi. Nick-uri. Lucrativni. Iube\u015fte revolu\u0163ia. Stoljeni\u0163\u00e2n mare scriitor, nu Chiri\u0163\u0103. Nu citesc scrisorile deschise de trupele de cenzur\u0103. Ghilotina, alte capricii. Ben, curios dac\u0103 patriarhul \u00eei r\u0103spunde lui Coru\u0163, poate curu\u0163ii lui Doja-Pu\u015fi-Andru. De ce nu aplic\u0103m noi dialectica lu\u2019 Socrates? \u00a0….alegerilii din 1946, 30 decembrie 1947, 11 iunie 1948, lovilu\u0163ia din ’89, mineriadele, duminica orbului, iar acum\u00a0 lovilu\u0163ia din luna lu’ iulie.\u00a0 Rusia ne a\u015fteapt\u0103 cu bra\u0163ele deschise.<\/p>\n

\n<\/div>\n

\n

*<\/p>\n

\u00a0<\/em><\/p>\n

Dumitru Dr\u0103ghicescu:<\/em><\/p>\n

\u00a0<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revela\u021bie \u0219i anamnez\u0103. – <\/em>Putem invoca, \u00een favoarea ipotezei noastre, pe Platon \u0219i a sa teorie a ideilor. Se cunoa\u0219te importan\u021ba capital\u0103 pe care filosoful grec l-a atribuit reminiscen\u021bei <\/em>\u00een descoperirea adev\u0103rului. El opune opinia \u0219tiin\u021bei, pentru el principiul prin care omul se eleveaz\u0103 de la una la alta este precizamente\u00a0 reminiscen\u021ba, aceast\u0103 anamnez\u0103 care se produce spontan pentru a vizualiza vestigiile verit\u0103\u021bii, ale frumuse\u021bii, ale unit\u0103\u021bii, ale egalit\u0103\u021bii<\/em>, \u00eent\u00e2lnite \u00een obiectele opiniei. Ne pare c\u0103 aceste atribute ne sunt cunoscute<\/em> \u0219i c\u0103 noi nu facem dec\u00e2t s\u0103 le recunoa\u0219tem. Sunt dou\u0103 mii cinci sute de ani de c\u00e2nd se caut\u0103 semnifica\u021bia acestei anamneze, c\u0103ci Platon \u00eensu\u0219i n-a dat o solu\u021bie acceptabil\u0103 enigmei. De altfel, acest principiu, el nu l-a inventat de la \u00eenceput; el a dat un nume metodei pe care o folosea Socrate, dezvoltat\u0103 \u0219i generalizat\u0103 de el. Ce semnifica, \u00een fapt, aceast\u0103 maieutic\u0103<\/em>, sau arta\u00a0 de a mo\u0219i spiritele? Dac\u0103 nu c\u0103 verit\u0103\u021bile exist\u0103 \u00een spiritul nostru \u00eensu\u0219i \u0219i c\u0103 este vorba doar de a le scoate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum exist\u0103 ele acolo? Ce poate s\u0103 semnifice aceasta?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Totul se explic\u0103 \u0219i se clarific\u0103 \u00een fine dac\u0103 se admite c\u0103, \u00een natura uman\u0103, subzist\u0103 ca un germen divin, un dumnezeu \u00een putere. Dumnezeu este, \u00eentr-adev\u0103r, presupus a poseda omniscien\u021b\u0103. Dac\u0103 el este \u00een germene \u00een savant, atunci teoriile matematice, descoperirile, inven\u021biile, ipotezele sunt ca reminiscen\u021be ale acestei \u0219tiin\u021be absolute \u2013 rezultate ale g\u00e2ndirii care este ca dezvoltarea \u0219tiin\u021bei divine con\u021binute \u00een puterea din oameni Prin chiar aceste inven\u021bii, prin aceste revela\u021bii, Dumnezeu, ca atot\u0219tiitor cre\u0219te \u0219i se dezvolt\u0103 \u00een umanitate. Marii savan\u021bi fac astfel oper\u0103 divin\u0103. \u00cen ei, prin ei, divinul se actualizeaz\u0103 \u0219i se revel\u0103 lumii. Dumnezeu este deci \u00een incon\u0219tientul savan\u021bilor ca o memorie eclipsat\u0103, ca o amnezie care \u00eencepe s\u0103 se vindece. Cresc\u00e2nd \u00een om, divinul omniscient\u00a0 se deschide \u00een reminiscen\u021be care se actualizeaz\u0103 d\u00e2nd \u0219tiin\u021ba.<\/p>\n

*<\/p>\n

\u00a0<\/em><\/p>\n

PU\u0218I\u00a0 SCRIE O PIES\u0102<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pu\u0219i scrie o pies\u0103, de prin august, intr\u0103m \u00een septembrie. Caragiale \u00een proz\u0103, el are \u0219i volum de teatru publicat-jucat (cele trei-patru romane, ba\u0219ca), iar a\u0219a cum am spus c\u0103 de cinci ani ne pred\u0103m zilnic cursuri de estetic\u0103, normal c\u0103 se revolte a nu-i ie\u0219i (c\u00e2t a tras la teatrem…, dar scenometria mea tot nu l-a impresionat). \u00cei spun: dramatizeaz\u0103 Robert Calul. Pauz\u0103. Sau, dar aici \u00eemi dai copy-right, f\u0103 o pies\u0103 din tomul Pu\u0219i contra Dumitru Dinulescu <\/em>de Grigore Traian Pop, Crater, Bucure\u0219ti 2001. Poate nu s-a \u00eent\u00e2mplat p\u00e2n\u0103 acum o biografie urmat\u0103 de o contrabiografie a biografiatului (Addenda sau \u00een c\u0103utarea scriitorului pierdut<\/em> de Pu\u0219i Dinulescu) \u00eentre acelea\u0219i coper\u021bi. Vezi conflictul. Personae: Grigore (sau biograful), Pu\u0219i (sau biografiatul) \u2013 eventual \u0219i killerul (prefa\u021batorul) \u0219i George (subsemnatul). Schi\u021bez o scenometrie pentru teatremul t\u0103u.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GRIGORE: Un etern \u0219ov\u0103ielnic.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PU\u0218I: \u0218ov\u0103irea sau \u0219ov\u0103ielnicul nu sunt izvorul experimentului ci curiozitatea sau Curiosul. Noi, scriitorii adev\u0103ra\u021bi, nu suntem \u0219ov\u0103ielnici, fiindc\u0103 scriem cum ne dicteaz\u0103 subcon\u0219tientul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GEORGE: Well, Salinger, Camus…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PU\u0218I: tot curiozitate e la baz\u0103, ca tot nemuritorul I. L. Caragiale \u00een localizarea Curiosul pedepsit.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>GRIGORE: 1968, debutul editorial al lui Dumitru Dinulescu, Vintil\u0103 Iv\u0103nceanu, Florin Gabrea, Virgil Mazilescu, Emil Brumaru, Dumitru \u021aepeneag, Leonid Dimov.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 KILLER: Carte care m\u0103 oblig\u0103 s\u0103 m\u0103 despart definitiv de Pu\u0219i cel de dinainte. O s\u0103-mi fie dor de el. Dar despre mor\u021bi numai de bine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GRIGORE: Puseul textualist \u0219i antipasti\u0219a.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PU\u0218I: Eu am f\u0103cut intertextualism \u00eenainte, \u00eens\u0103, f\u0103r\u0103 nicio leg\u0103tur\u0103 cu curentul \u00eemp\u0103m\u00e2ntenit de Nedelciu aici. \u00cen Poveste cu Monica <\/em>din Linda Belinda, <\/em>\u00een romanul Galaxia burlacilor<\/em>,\u00a0 \u00een Jurnal comprimat<\/em>, \u00een Spre Sulina \u2013 scrisori din vilegiatur\u0103<\/em>, tot din Linda Belinda, <\/em>\u0219i-n multe alte locuri!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GRIGORE: Costic\u0103 Mardare, Bouvard \u0219i Pecuchet sau avatarurile textualismului.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PU\u0218I: Timpul cerne valorile, dar le mai cernem \u0219i noi. \u00cen 1979, \u00een februarie, am venit la Mogo\u0219oaia. Am venit s\u0103 stau \u0219i eu printre scriitori. Acas\u0103 aveam o situa\u021bie insuportabil\u0103 \u0219i m-am refugiat aici. Pe atunci era \u00eenc\u0103 acolo o adev\u0103rat\u0103 Academie. Marin Preda, Teodor Mazilu, Mircea Dinescu, Lucian Raicu, Mircea Iv\u0103nescu, Cezar Iv\u0103nescu, Grigore Hagiu, Alexandru Papilian, S\u00e2nziana Pop, aveau s\u0103 vin\u0103 cur\u00e2nd Virgil Mazilescu \u0219i Petre Stoica, venea Horia Lovinescu, mai ap\u0103rea \u0219i F\u0103nu\u0219 Neagu, st\u0103tea acolo \u0219i demen\u021biala Florica Mitroi cu sora ei, \u0218tefania, care era so\u021bia lui Mazilu. Dintre to\u021bi, cu Mazilu, chiar m-am \u00eemprietenit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 GEORGE: M\u0103 duc dup\u0103 killer.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dezolat, de unde pies\u0103? Trecem la Robert Calul, nuvela princeps, ba microroman, care regenereaza in roman ca Eu \u0219i Robert Calul, Revan\u0219a lui Robert Calul. \u201eV\u0103 invit s\u0103 urm\u0103ri\u021bi \u00eent\u00e2mpl\u0103rile mele \u0219i ale lui Robert Calul \u00eentr-un microroman scris \u00een 1966, din care am publicat o variant\u0103 m\u0103run\u021bit\u0103 de 25 pagini, b\u0103tute la ma\u0219in\u0103, din care nu se mai \u00een\u021belege nimic, \u00een timp ce, din cea pe care vi-o prezint \u0219i are 83 de pagini, b\u0103tute la ma\u0219in\u0103, se \u00een\u021belege totul\u201d. C\u00e2t c\u0103 n-o s\u0103 cabulipsec teatremul, voi tran\u0219a paginile din care nu se mai \u00een\u021belege nimic, pe cele 83 din care se \u00een\u021belege tot, s\u0103-le dramatizeze Edgar Wallace aka Pu\u0219i. Dar \u00eemi trebuie \u00eent\u00e2i\u00a0 un intermezzo general valabil, \u00eentr-un ubicuu parc bacovian, \u00een mai vechi cinci ani dec\u00e2t ai b\u0103tr\u00e2ne\u0219tilor colocvii scnometrice.<\/p>\n

*<\/p>\n

PU\u0218I\u00a0 DINULESCU<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

EU\u00a0 \u015eI\u00a0 EA<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ce minunat c\u00e2nta muzica. Restaurantul era \u00een semi-obscuritate. De\u015fi eram afar\u0103. Dansam.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram mul\u0163i pe ring \u015fi din aceast\u0103 cauz\u0103 ne cam izbeam.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De pe ring nu se vedea luna. Eram la Restaurantul Parcului din Bucure\u015fti. Ghiceam totu\u015fi luna, frumoas\u0103 ca o t\u00e2n\u0103r\u0103 creol\u0103, p\u0103rul fiind foarte negru \u015fi fa\u0163a foarte alb\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei luna ne electriza.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ne atr\u0103gea cum atrage marea \u00eenot\u0103torul.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apa atrage omul viu, spunea un navigator.<\/p>\n

Eram \u00een Delt\u0103, pe Canalul Litcov.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Vrea s\u0103-l prind\u0103, continua el. \u0218i d\u0103 afar\u0103 omul mort.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De ce? m-am mirat eu.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u015fa-i la toate vie\u0163uitoarele. Fiindc\u0103 le crap\u0103 fierea.<\/p>\n

\u015ei luna ne electriza.<\/p>\n

Abia acum, dup\u0103 cinci ani, v\u0103d c\u0103 nu era sincer\u0103.<\/p>\n

Vroia urgent, cu orice pre\u0163, c\u0103s\u0103toria. \u015ei eu vroiam.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar ea \u015fi-a dat seama:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 E\u015fti un om de nimic, asta e\u015fti.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De ce sunt un om de nimic?<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu te concentrezi pe nimic.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Precis?<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Da.<\/p>\n

M-a p\u0103r\u0103sit. Ce lucru idiot.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram la Tulcea, la Restaurantul Delta. M\u0103 g\u00e2ndeamla ea.<\/p>\n

Acum cinci ani, tot aici, \u00eei scriam. Ce \u00eenfocat eram!<\/p>\n

Acum 3-4 luni am \u00eent\u00e2lnit-o \u015fi m-a-ntrebat:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Nu \u015ftii o cas\u0103 de v\u00e2nzar la tine-n cartier? Vrem s\u0103 ne lu\u0103m o cas\u0103 frumoas\u0103. Nu \u015ftii?<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu… am s\u0103 m\u0103 interesez…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Azi am fost la Murighiol, la camping. Am m\u00e2ncatpe\u015fte. Am indigestie.<\/p>\n

\u015ei-mi coace un deget.\u00a0 La picior.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M-am desc\u0103l\u0163at \u015fi scriu aceste r\u00e2nduri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Afar\u0103, Dun\u0103rea curge lini\u015ftit\u0103 ca un dulap sau ca durerea mea de dup\u0103 \u0103\u0219tia cinci ani.<\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong>ROBERT CALUL<\/em><\/strong> (Abstract scenometric:)<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Robert Calul a fost prietenul meu cel mai bun, singurul prieten care m\u0103-n\u0163elegea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT CALUL: M\u0103 port f\u0103r\u0103 s\u0103 joc teatru. Sunt mereu acela\u015fi, a\u015fa cum inima m\u0103-ndeamn\u0103 s\u0103 fiu. Sunt Robert Calul, cel f\u0103r\u0103 habar \u015fi nevoie de altceva dec\u00e2t de propriul lui altar. Sunt o rug\u0103ciune.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Onora\u0163i prieteni,\u00a0 sunt un biet p\u0103un\u2026 Privi\u0163i-mi penele\u2026 Culorile lor pastelate, vou\u0103, ochilor vo\u015ftri, obi\u015fnui\u0163i doar cu alb \u015fi negru\u2026 ca-n filmele tragice\u2026 vou\u0103\u2026 A fi copac e un nonsens\u2026 De fapt sunt pictor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 UNUL: Sunte\u021bi pictor?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT (scrisoare adresat\u0103 Suzanei):<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u00e2ngele meu te caut\u0103. Bu\u015fteanul s-a \u00eempiedicat \u00een om. Printre zambile, substan\u0163a f\u0103r\u0103 gust a mor\u0163ii plute\u015fte, din cer se desprinde somnul limpede. M\u0103 doare capul. S\u00e2ngele meu te caut\u0103. E\u015fti at\u00e2t de frumoas\u0103\u2026 <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tu ar trebui s\u0103 c\u00e2n\u0163i mereu la pian, degetele tale albe \u015fi lungi, degetele tale ca apa \u015fi tulpinile, ca aerul\u2026<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Te iubesc. E\u015fti colorat\u0103 \u00een toate formele spectrului de lumin\u0103. Unghiile tale ro\u015fii, p\u0103rul t\u0103u portocaliu, fularul t\u0103u verde, pantofii t\u0103i galbeni\u2026 <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unghiile tale ca trandafirii cei mai aprin\u015fi, p\u0103rul ca fl\u0103c\u0103rile, fularul ca iarba \u015fi pantofii ca polenul margaretelor. <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Suzana, tu e\u015fti pas\u0103rea rar\u0103, e\u015fti singurul fir de iarb\u0103 \u00een care cred\u2026 am certitudinea\u2026<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scrisoarea aceasta a fost compus\u0103 ca imn de laud\u0103, ca rug\u0103ciune, ca spasm. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

Al nostru, al am\u00e2ndurora, <\/em><\/p>\n

Robert<\/em>.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 AVIATORUL: Mai bine s\u0103 ne plimb\u0103m pe-aici. Aerul e curat\u2026 Printre copacii acoperi\u0163i cu z\u0103pad\u0103 \u015fi \u0163ur\u0163uri chiar\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Tu \u00ee\u0163i ba\u0163i joc de mine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 AVIATORUL: Da. ( Robert se repede \u015fi-i arde o palm\u0103. Aviatorul se pr\u0103bu\u015fe\u0219te. Se ridic\u0103).<\/p>\n

\u00a0De ce m\u0103 ba\u0163i?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013ROBERT: Fiindc\u0103 m\u0103 enervezi, fiindc\u0103 nu suport s\u0103 fiu luat \u00een r\u0103sp\u0103r\u2026 tocmai acum\u2026 \u00een situa\u0163ia asta\u2026 nenorocit\u0103\u2026 c\u00e2nd nu \u015ftiu ce-i cu Suzana\u2026 O pierd, m\u0103-n\u0163elegi, o pierd. Se va \u00eemboln\u0103vi. Am presentimentul c\u0103 se va \u00eemboln\u0103vi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: De ce-o fi murit?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DOCTORUL: Nu poate fi\u00a0 niciun dubiu, E moart\u0103.<\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Unde-i fi tu, Robert? (\u00cent\u00e2i nu l-am recunoscut. Era cu spatele la mine, \u0163inea \u00een degete o balan\u0163\u0103 olteneasc\u0103, \u00eentr-unul din talgere pusese un parmen, \u00een cel\u0103lalt un cre\u0163esc). Ce faci?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Pia\u0163a\u00a0 (\u0219i r\u00e2se iar. M\u0103 lu\u0103 de bra\u0163 \u015fi abia am putut s\u0103 m\u0103 \u0163in cu d\u00e2nsu-n pas, cu pa\u015fii lui de uria\u015f, de cogeamite zdrahon). Ai v\u0103zut balan\u0163a mea? Ieri sear\u0103 \u00ee\u0163i vorbeam de atingeri, azi \u00ee\u0163i vorbesc de balan\u0163\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Dar n-am chef de lec\u0163ii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: P\u00e2n\u0103 acum ai fost un b\u0103iat silitor\u2026 un b\u0103rbat silitor. Probabil te-ai emancipat. Asta m\u0103 bucur\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: E\u015fti un om bucuros, am zis eu \u015fi l-am \u00eentrebat apoi, poate fiindc\u0103 n-aveam altceva de \u00eentrebat:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Cum \u0163i-a pl\u0103cut asear\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Ce m\u0103 mai \u00eentrebi? \u015etii doar\u2026 a fost o prostie\u2026\u00a0 Ca de obicei\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Ca de obicei, da\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Repe\u0163i ce spun eu, vezi?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0ROBERT: Vrei s\u0103 lu\u0103m troleibuzul?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL:Dar unde s\u0103 mergem? N-am chef de mers nic\u0103ieri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Mergem la mine. Vreau s\u0103-\u0163i citesc ni\u015fte poezii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTO: Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Atunci am s\u0103 \u0163i le trimit prin po\u015ft\u0103. Tot ai s\u0103 le cite\u015fti.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Bine, trimite-le prin po\u015ft\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Uff!\u00a0 e\u015fti c\u00e2ine, nu om! Sau m\u0103car las\u0103-m\u0103 s\u0103-\u0163i vorbesc de balan\u0163\u0103. Am \u015fi scris o poezie cu titlul ei. C\u00e2nd m-ai \u00eent\u00e2lnit tocmai terminasem s\u0103 le-o recit negustorilor-gr\u0103dinari. \u015etii c\u0103 le-a pl\u0103cut? Nu vrei s\u0103 \u0163i-o recit \u015fi \u0163ie?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Atunci, ce dracu vrei?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Scuz\u0103-m\u0103, Robert, dar c\u00e2nd m\u0103 vezi \u00een ce hal sunt, tu m\u0103 iei cu lucruri d-astea, care n-au rost. \u0218tiic\u0103 am \u0219i eu chestiile mele\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Dar tu, tocmai tu, m\u0103 sf\u0103tuiai s\u0103 m-apuc\u2026 Altfel nu m-a\u015f fi apucat\u2026n-a\u0219 fi scris nici un r\u00e2nd\u2026 p\u00e2n\u0103 acum. Nu-\u0163i aduci aminte de discu\u0163ia noastr\u0103 despre odele amicale?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu-mi aduc aminte de nimic!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Cum? Dar ce-i cu tine?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Balan\u0163a\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: Da. A \u00eenceput \u015fi la tine s\u0103 sc\u00e2r\u0163\u00e2ie, domnule inginer!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Dar sunt \u015fansonetist!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ROBERT: E\u015fti un rahat. Arat\u0103-mi diploma de \u015fansonetist!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Am luat din gre\u015feal\u0103 dou\u0103 bilete, ia-l dumneata pe cel\u0103lalt.<\/p>\n

STUDENTA LA MEDICIN\u0102: S\u0103 \u0163i-l pl\u0103tesc?<\/p>\n

DEBUTANTUL: Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scoase totu\u015fi cinci zeci de bani \u015fi vr\u00e2nd-nevr\u00e2nd mi-i strecur\u0103 \u00een buzunar. Spuse cum o cheam\u0103 \u015fi c\u0103-i student\u0103 la medicin\u0103, dar c\u0103 incidentul cu biletul o amuzase.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu-mi faci \u015fi mie o autopsie?<\/p>\n

STUDENTA: Ba, da, dar nu-i corect \u201eautopsie\u201d, ci \u201enecropsie\u201d.<\/p>\n

DEBUTANTUL: Fie\u2026<\/p>\n

STUDENTA: C\u00e2nd?<\/p>\n

DEBUTANTUL: S\u0103 m\u0103 mai g\u00e2ndesc\u2026<\/p>\n

STUDENTA: P\u0103i una zici \u015fi\u2026<\/p>\n

DEBUTANTUL: \u00cen dou\u0103 zile \u00ee\u0163i dau r\u0103spunsul. (Am ajuns \u00een dreptul casei ei).<\/p>\n

STUDENTA: Nu vrei s\u0103 m\u0103 s\u0103ru\u0163i?<\/p>\n

DEBUTANTUL: Ba da. Dar s\u0103 \u0219tii c\u0103 atunci te iau cu mine!<\/p>\n

STUDENTA: \u00cent\u00e2i, hai s\u0103 bem ceva!<\/p>\n

DEBUTANTUL: S\u0103 bem? Dar nu beau. Nu beau, din principiu.<\/p>\n

STUDENTA: \u015ei din mai ce?<\/p>\n

DEBUTANTUL: Tot din principiu. La poft\u0103\u2026 (B\u0103ur\u0103m).<\/p>\n

STUDENTA: \u00cemi place de tine c\u0103 e\u015fti un adev\u0103rat b\u0103rbat!<\/p>\n

DEBUTANTUL: Nu crezi c\u0103-i prematur s\u0103 spui asta?<\/p>\n

STUDENTA: M\u0103 iube\u015fti?<\/p>\n

DEBUTANTUL: Da.<\/p>\n

STUDENTA: Atunci, s\u0103 mergem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Cum se face c\u0103 e\u015fti at\u00e2t de inteligent\u0103? De mult \u00eemi doresc o femeie inteligent\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: De ce nu \u015ftii?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Fiindc\u0103 e\u015fti a\u015fa de dr\u0103gu\u0163 \u015fi spui lucrurilor pe nume.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: De ce nu te dezbraci?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Fiindc\u0103 mi-e ru\u015fine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Fat\u0103 inteligent\u0103 \u015fi s\u0103-i fie ru\u015fine?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: N-am chef s\u0103 m\u0103 dezbrac, s\u0103rut\u0103-m\u0103 \u00eent\u00e2i. (Atunci am aprins lumina \u015fi am dat \u015fi drumul la radio.).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: \u015ei nu \u0163i se pare c\u0103 via\u0163a e altceva dec\u00e2t ceea ce facem noi acum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Nu, nu mi se pare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Dup\u0103 p\u0103rerea mea, via\u0163a e mai dur\u0103 \u015fi lucrurile astea n-au rost. N-are nici un rost s\u0103 fim animale.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Dac\u0103 p\u0103rin\u0163ii no\u015ftri n-ar fi fost animale, noi n-am mai exista.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Bine, dar eu nu simt nevoia s\u0103 am copii. Dac-a\u015f avea copii, ar fi probabil mult mai pro\u015fti dec\u00e2t mine. La ce s\u0103-i am?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: S\u0103 ai o bucurie la b\u0103tr\u00e2ne\u0163e… Ce-o fi cu noi?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Noi suntem \u015fi apa \u015fi rechinul \u00een acela\u015fi timp.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Bine. Dar m\u0103 iube\u015fti?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: P\u00e2n-acum ziceai c\u0103 da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Ast\u0103-sear\u0103 nu te mai iubesc, sunt obosit. Poate m\u00e2ine sear\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Nu m-ai \u00een\u0163eles.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Te-am \u00een\u0163eles, dar e acela\u015fi lucru. Tu trebuie s\u0103-n\u0163elegi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: N-am ce.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: P\u0103cat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: \u00a0S\u0103 ne cert\u0103m.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Pe c\u00e2t timp?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Pe totdeauna. Tu nu e\u015fti altceva dec\u00e2t un animal.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Dar sunt inteligent\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: \u015etiu, dar\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Dar tu nu e\u015fti animal?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Ba da, dar nu pot iubi tot un animal.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: \u00ce\u0163i trebuie un om\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013_DEBUTANTUL: Aiurea\u2026 \u00cemi trebuie o idee, omul e un animal. Totu\u015fi ideile sunt \u00een oameni. Pot iubi oamenii pentru ideile lor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Dar pentru ideile mele\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu le cunosc \u015fi nu m\u0103 intereseaz\u0103 s\u0103 le cunosc, de-acum \u00eencolo… Caut altceva!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Ce?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 STUDENTA: Tu mereu cau\u0163i altceva?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Da.<\/p>\n

 <\/p>\n

*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL:Cum s-a-nt\u00e2mplat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 FEMEIA B\u0102TR\u00c2N\u0102: \u00a0Dar cine sunte\u0163i dumneavoastr\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Un prieten.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Dar ce s\u0103 se fi \u00eent\u00e2mplat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Cum cu cine? Cu prietenul meu.\u00a0 Ce s-a-nt\u00e2mplat cu Robert?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Care Robert?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Robert, prietenul meu. A locuit aici \u015fi-acum o lun\u0103 a murit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Bine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Altceva mai dori\u0163i?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Cum? Nu l-a\u0163i cunoscut?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Ba da. Sunte\u0163i chiar prietenul lui? (… v\u0103zui o tingire… O am desprins-o din perete).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: \u00a0E de alam\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: N-ave\u0163i un ziar?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Vre\u0163i s\u0103 lua\u0163i tingirea? f\u0103cu b\u0103tr\u00e2na.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Nu. Dar vreau s-o \u00eenvelesc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Pot s\u0103 vi-o d\u0103ruiesc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Mul\u0163umesc. Era a lui Robert?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: \u00a0Dumneavoastr\u0103 l-a\u0163i omor\u00e2t pe Robert?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: De ce?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Era un chiria\u015f teribil de nesuferit. Fiica mea era \u00eendr\u0103gostit\u0103 de el. \u015etiam c\u0103 noaptea, c\u00e2teodat\u0103, intra \u00een camera lui.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E frumoas\u0103 fiica dumneavoastr\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Nu, dar e inteligent\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL:\u00a0 C\u00e2t de inteligent\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA:\u00a0 Foarte inteligent\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: A\u0163i omor\u00e2t-o \u015fi pe ea?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Bine\u00een\u0163eles.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: Atunci cum de nu v-au arestat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Sunt nebun\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0DEBUTANTUL: \u0218i de ce nu v-au internat \u00eentr-un ospiciu?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: C\u00e2nd i-am ucis pe Robert \u015fi pe fiica mea evadasem pentru prima oar\u0103, acum am evadat a doua oar\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: De unde cuno\u015ftea\u0163i care sunt rela\u0163iile \u00eentre Robert \u015fi fiica dumneavoastr\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: De la o vecin\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: \u015ei era adev\u0103rat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 DEBUTANTUL: C\u00e2nd i-a\u0163i ucis \u015ftia\u0163i c\u0103 nu-i adev\u0103rat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 B\u0102TR\u00c2NA: Da.<\/p>\n

DEBUTANTUL:Atunci de ce i-a\u0163i ucis?<\/p>\n

B\u0102TR\u00c2NA: Din motive tehnice.<\/p>\n

*<\/p>\n

 <\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce ai venit? am \u00eentrebat eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Fiindc\u0103 mi s-a telegrafiat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cine \u0163i-a telegrafiat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei cum te chiam\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu m\u0103 mai recuno\u015fti?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nici eu nu te mai recunosc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci e o gre\u015fal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E foarte romantic\u0103 situa\u0163ia \u00een care ne g\u0103sim.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u00e2t de romantic\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Roz de romantic\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am s\u0103rit din pat, m-am ridicat \u00een picioare, am luat-o de mijloc \u015fi repede, ca s\u0103 nu uit, ca nu cumva timpul s\u0103 treac\u0103 \u015fi vorbele mele s\u0103 aib\u0103 timpul de-a se duce, i-am spus:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Hai s\u0103 ne logodim.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 A\u015fa repede?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nici nu \u015ftiu cine e\u015fti.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci de ce m-ai luat \u015fi m-ai \u00eengrijit?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mi se f\u0103cuse mil\u0103 de tine. C\u00e2nd am ie\u015fit din cas\u0103 \u015fi te-am g\u0103sit pr\u0103bu\u015fit \u00een fa\u0163a por\u0163ii, am crezut \u00eent\u00e2i c\u0103 e\u015fti altcineva, pe urm\u0103 am \u015ftiut c\u0103 nu e\u015fti dec\u00e2t tu. Nu mai era nimeni \u00een apropiere. A trebuit atunci eu singur\u0103 s\u0103 te t\u00e2r\u0103sc p\u00e2n\u0103 \u00een\u0103untru, s\u0103 te pun \u00een pat, \u015fi s\u0103-\u0163i dau doctorii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u00e2t timp am stat a\u015fa, f\u0103r\u0103 s\u0103 m\u0103 trezesc?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 O s\u0103pt\u0103m\u00e2n\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci \u00eenseamn\u0103 c\u0103 nu \u0163i s-a telegrafiat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ba da. Ie\u015fisem din cas\u0103 fiindc\u0103 mi se telegrafiase.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cine-\u0163i telegrafiase?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce scria \u00een telegram\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu \u015ftiu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cum, nu \u015ftii?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Era \u00eentr-o limb\u0103 str\u0103in\u0103, \u00eentr-o limb\u0103 pe care n-o cunosc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Poate a fost o gre\u015fal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. A fost o gre\u015fal\u0103. Tocmai m\u0103 duceam la po\u015ft\u0103 s\u0103 le spun c\u0103 e o gre\u015fal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei nu te-ai mai dus?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 N-am mai putut.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar cui \u00eei era adresat\u0103 telegrama?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mie mi-era adresat\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci nu putea fi vreo gre\u015fal\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nici nu \u015ftiu ce s\u0103 mai cred.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Bine. Dar ne logodim?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Poate c\u0103 da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci s\u0103 fix\u0103m data.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Tu n-ai nimic de f\u0103cut \u00eenainte de asta?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ba da, trebuie s\u0103-mi iau r\u0103mas bun de la Robert, prietenul meu care a murit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De c\u00e2nd e\u015fti tu bolnav poate l-o fi \u015fi \u00eenmorm\u00e2ntat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. Trebuie totu\u015fi s\u0103-mi iau r\u0103mas bun. Nu \u015ftiu cum s\u0103 fac asta, dar trebuie. Nu vrei s\u0103 m-aju\u0163i \u015fi tu?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ba da. A\u015f dori\u2026 mi-e fric\u0103 numai s\u0103 nu te \u00eencurc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 N-ai s\u0103 m\u0103 \u00eencurci. Uite, m\u00e2ine diminea\u0163\u0103 plec\u0103m \u015fi g\u0103sim ce-avem de f\u0103cut. P\u00e2n\u0103 atunci trebuie s\u0103 ne obi\u015fnuim unul cu altul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Eu m-am \u015fi obi\u015fnuit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar mie mi-era mult mai greu. \u00cen decursul acelei s\u0103pt\u0103m\u00e2ni ea avusese tot timpul s\u0103 m\u0103 priveasc\u0103, s\u0103-\u015fi \u00eenchipuie de mine cine \u015ftie ce, \u00een orice caz m\u0103 avusese tot timpul \u00een fa\u0163\u0103. Dar eu? De-abia m\u0103 trezisem, abia acum o vedeam prima dat\u0103 \u015fi mi se p\u0103rea extrem de ridicol s\u0103 fiu al\u0103turi de ea, fiindc\u0103, desigur, nu meritam \u015fi fiindc\u0103 era mai normal a\u015fa. Adic\u0103 normal, cum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 R\u0103m\u0103s\u0103se o singur\u0103 solu\u0163ie, ultima solu\u0163ie. Am \u00eenceput s\u0103 m\u0103 plimb prin camer\u0103 \u015fi pa\u015fii mi se f\u0103ceau din ce \u00een ce mai de\u015fi. C\u00e2nd m-am oprit, ochii mi s-au pironit \u00eentre ai ei. A\u015f fi dorit mult s\u0103-i pot scoate, s\u0103-i desprind, s\u0103-i pot pune la loc, numai dac-ar fi insistat, dar lucrurile nu erau at\u00e2t de simple, cum puteau p\u0103rea la prima vedere.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cum a murit Robert? \u00eentreb\u0103 ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Vreau s\u0103 scriu o carte despre el, am z\u00e2mbit eu. Despre el \u015fi despre mine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei despre tine?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu, mai mult despre Robert. Dar de unde \u0219tii cum \u00eel chema?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013N-ai spus tu mai devreme? Dar a\u015f vrea s\u0103 nu m\u0103 p\u0103r\u0103se\u015fti niciodat\u0103, insist\u0103 ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dac\u0103 nu m\u0103 p\u0103r\u0103se\u015fti tu, \u00eenseamn\u0103 c\u0103 vom fi toat\u0103 via\u0163a \u00eempreun\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Toat\u0103 via\u0163a?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. \u0162i se pare prea mult?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu. Dar e totu\u015fi o sum\u0103, o sum\u0103 considerabil\u0103. E de fapt singura sum\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E drept.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015etiu, dar m\u0103 g\u00e2ndesc s\u0103-\u0163i r\u0103spund ceva inteligent. Nu \u015ftiu ce.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram acum chiar l\u00e2ng\u0103 ea. M\u0103 a\u015fezasem. Avea picioarele lungi, mi-era fric\u0103 s\u0103 nu fie prea sub\u0163iri, \u00eentotdeauna picioarele lungi au riscul \u0103sta. Nu pot suferi femeile cu picioare sub\u0163iri, \u00eemi fac r\u0103u.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ne cunoa\u015ftem de prea pu\u0163in timp, spuse fata iar.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Asta n-are importan\u0163\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Are!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Are?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen camer\u0103 se f\u0103cuse prea cald, ar fi trebuit deschise geamurile. Nici unul dintre noi nu se putea mi\u015fca, dar geamurile erau aproape \u015fi largi, \u00eenalte.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Pot s\u0103 deschid geamul? \u00eentreb\u0103 ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Atunci pot s\u0103-l \u00eenchid?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar e \u00eenchis.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00cent\u00e2i s\u0103-l deschid \u015fi pe urm\u0103 s\u0103-l \u00eenchid.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am stat \u00een cump\u0103n\u0103 vreo c\u00e2teva minute, pe urm\u0103 am dat din cap. Eram de-acord.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 N-o s\u0103-\u0163i par\u0103 r\u0103u dac\u0103 fac asta? mai \u00eentreb\u0103 ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu. \u015etii la ce m\u0103 g\u00e2ndesc?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fata se ridic\u0103 de pe canapea \u015fi deschise geamurile larg, toate geamurile.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ca s\u0103-l putem c\u0103uta pe Robert, am urmat eu, trebuie s\u0103 facem rost de bani. Eu nu mai am bani. Tu n-ai?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dup\u0103 ce se a\u015fezase iar l\u00e2ng\u0103 mine, se ridic\u0103 iar, se apropie deodat\u0103 de geamuri, le-mpinse unul dup\u0103 altul \u015fi le r\u0103suci foraib\u0103ruile.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar ni\u015fte sticle n-ai? am insistat eu. Dac-am vinde sticle, am putea face rost de bani.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Sticle am destule, spuse fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce? Bei mult?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu beau dec\u00e2t ap\u0103, dar vecinii mei sunt mari be\u0163ivi \u015fi \u00eemi d\u0103ruiesc mie toate sticlele. E o tradi\u0163ie \u00een casa asta. Sunt cea mai frumoas\u0103 femeie din imobil!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen patru \u0163o\u015fti mari \u015fi \u00eentr-un sac, pe care l-am pus pe umeri, n-au \u00eenc\u0103put toate sticlele, dar mai multe nu puteam s\u0103 lu\u0103m. Noroc de c\u0103ruciorul pe care l-am g\u0103sit \u00een curte.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Bun c\u0103rucior! M-am bucurat eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am pus \u00een\u0103untru dou\u0103 \u0163o\u015fti.<\/p>\n

Ea \u00eempingea c\u0103ruciorul, iar eu veneam dup\u0103 ea cu sacul, \u00een care intrau de dou\u0103 ori mai multe sticle ca \u00eentr-o \u0163o\u015fc\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Sunt curioas\u0103 c\u00e2\u0163i bani o s\u0103 lu\u0103m, spuse fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 N-avem mult de mers p\u00e2n\u0103 la centrul de achizi\u0163ii \u015fi parc\u0103 nici nu fusesem bolnav. Sim\u0163eam to\u0163i mu\u015fchii plini de ser sau de ceva \u00een genul \u0103sta, sim\u0163eam cum se-ntind, ca pra\u015ftia \u015fi asta-mi era de ajuns. Fata mergea \u00eenaintea mea \u015fi \u00eempingea c\u0103ruciorul cu grij\u0103, \u00eei era parc\u0103 fric\u0103 s\u0103 nu vin\u0103 cineva alerg\u00e2nd s\u0103-i izbeasc\u0103 sticlele \u015fi s\u0103 i le \u00eempr\u0103\u015fite. Adic\u0103 s\u0103 i le sparg\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar de ce ne trebuie a\u015fa mul\u0163i bani? se-ntoarse ea, dar nu m\u0103 privi drept \u00een fa\u021b\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Eu, dac\u0103 n-am bani, simt c\u0103 nu sunt eu \u00eensumi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce om ciudat e\u015fti tu!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu m\u0103 mai \u0163ine de vorb\u0103, c\u0103 trebuie s\u0103 fiu atent, s\u0103 nu scap sacul, m-am sup\u0103rat eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum \u00eencepusem s\u0103 obosesc, dar nu-mi venea \u00eenc\u0103 s\u0103 las sacul jos. Mi-ar fi fost foarte greu s\u0103-l iau \u00een spate. Mu\u015fchii \u00eencepuser\u0103 s\u0103 m\u0103 doar\u0103, dar \u015ftiam c\u0103 nu mai aveam mult, c\u0103 mai puteam \u00eenc\u0103 rezista. De ce atunci s\u0103 las sacul?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fata se opri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 M\u0103 doare um\u0103rul, spuse ea. Nu mai pot merge. Trebuie s\u0103 ne oprim, s\u0103 m\u0103 odihnesc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am uitat s\u0103 spun \u0219\u0103 mai avea o \u021bo\u0219c\u0103 \u0219i ea, a patra, ag\u0103\u021bat\u0103 de um\u0103r.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu ne putem opri! am r\u0103cnit eu \u0219i am mers \u00een continuare nesmintit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar nu mai pot merge, mi s-a anchilozat um\u0103rul! De ce nu vrei s\u0103 ne oprim?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Fiindc\u0103 nu se poate!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce-i aia, nu se poate?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Aia!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fata abia se putea \u0163ine acum dup\u0103 mine. Trebuia s\u0103 ne oprim. Am \u00eenceput s\u0103 las sacul jos, l\u0103s\u00e2ndu-m\u0103 pe spate \u015fi rezem\u00e2ndu-m\u0103 de gard. M-am \u00eentors, l-am luat \u00een bra\u0163e \u015fi av\u00e2nd grij\u0103 s\u0103 nu scap cealalt\u0103 \u0163o\u015fc\u0103 de pe um\u0103r m-am l\u0103sat pe vine \u015fi am pus sacul l\u00e2ng\u0103 gard. Am scos \u0163o\u015fca de dup\u0103 um\u0103r, am a\u0219ezat-o l\u00e2ng\u0103 sac \u015fi m-am \u00eentors s\u0103 v\u0103d unde-i fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0La zece metri \u00een urm\u0103, \u00eencerca s\u0103 se ajute cu st\u00e2nga s\u0103-\u015fi poat\u0103 desprinde din um\u0103r \u0163o\u015fca ei. M-am repezit la ea, am \u0163inut cu am\u00e2ndou\u0103 m\u00e2inile de curelele \u0163o\u015ftii, ea se l\u0103s\u0103 \u00een jos \u015fi am putut \u015fi eu l\u0103sa traista pe p\u0103m\u00e2nt, l\u00e2ng\u0103 c\u0103rucior. Pe urm, am \u00eempins eu c\u0103ruciorul \u015fi am luat pe um\u0103r traista p\u00e2n\u0103 unde l\u0103sasem sacul meu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai avem totu\u015fi ceva de mers, zise fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015etiu c\u0103 mai avem. Numai de n-o fi \u00eenchis.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 N-ar fi bine s\u0103 fie \u00eenchis, dar s-ar putea totu\u0219i s\u0103 fie \u00eenchis!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cine \u015ftie?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 N-ar fi mai bine s\u0103 dau eu o fug\u0103 p\u00e2n\u0103 acolo \u015fi s\u0103 v\u0103d dac\u0103-i deschis? Dac\u0103 nu, s\u0103 ne-ntoarcem\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Acum nu ne mai putem \u00eentoarce.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar dac\u0103-i \u00eenchis, trebuie s\u0103 ne \u00eentoarcem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 St\u0103m acolo p\u00e2n\u0103 se deschide.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am g\u0103sit totu\u015fi deschis, mai erau \u00eenc\u0103 \u00eenaintea noastr\u0103 vreo zece persoane, dar asta nu era mult.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ai v\u0103zut c\u0103-i deschis? am r\u00e2s eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Am v\u0103zut!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Am putea lua aproape o sut\u0103 de lei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu s-o fi spart nici o sticl\u0103 pe drum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 La mine nu s-a spart nici una.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nici la mine, credeam c\u0103 la tine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Totu\u015fi, mai mult de \u015faptezeci-optzeci de lei nu cred s\u0103 lu\u0103m.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Sunt cam multe sticle de o jum\u0103tate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai mult de dou\u0103zeci nu sunt.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Asta \u00eenseamn\u0103 c\u0103 sunt totu\u015fi multe.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar mai aveam acas\u0103 sticle de un litru!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce nu mi-ai spus asta p\u00e2n\u0103 acum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Uitasem. \u015ei nu \u015ftiam c\u0103-i a\u015fa mare diferen\u0163a de pre\u0163.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E destul de mare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u00e2nd ne veni r\u00e2ndul, eu nu mai avui nici un chef de v\u00e2ndut, dar \u00een spatele nostru era destul\u0103 lume, nu puteam s\u0103 stau \u015fi s\u0103 m\u0103 mai g\u00e2ndesc. Am \u00ee\u00cenceput s\u0103 le scot \u00eent\u00e2i din sac, una c\u00e2te una.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Frumoase sticle! spuse omul de la centrul de achizi\u0163ii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Sunt amintiri de care cu greu m\u0103 despart, spuse fata. Sticlele astea au fost pentru mine con\u015ftiin\u0163a unei superiorit\u0103\u0163i!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 V\u0103 \u00een\u0163eleg, recunoscu omul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u00e2nd po\u0163i s\u0103 te desprinzi de cele c\u00e2teva amintiri mai puternice \u015fi mai gustoase pe care \u00eenc\u0103 le p\u0103strezi, pentru a putea astfel tr\u0103i cu adev\u0103rat \u00een prezent, atunci \u00eenseamn\u0103 c\u0103 ai ajuns la maximul de conductibilitate. Conductibilitatea e proba apartenen\u0163ei tale la un prezent, am ad\u0103ugat eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Am devenit un conductor excep\u0163ional! sur\u00e2se fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De-abia de\u015fertasem sacul \u015fi una din \u0163o\u015ftile tovar\u0103\u015fei mele c\u0103 masa achizitorului se \u015fi umpluse.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Sunte\u0163i c\u0103s\u0103tori\u0163i? \u00eentreb\u0103 el.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Suntem h\u0103mesi\u0163i! am r\u0103spuns eu \u00een locul ei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Hai, s\u0103 plec\u0103m mai repede! \u00eemi sop\u0163i fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Stai s\u0103 termin\u0103m \u00eent\u00e2i de dat sticlle, am observat eu, f\u0103r\u0103 s\u0103-mi feresc vocea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Numai trei sticle erau ciobite. Le-am l\u0103sat \u015fi pe acelea, f\u0103r\u0103 s\u0103 le vindem, fiindc\u0103 tot nu mai aveam ce s\u0103 facem cu ele. Erau dou\u0103 sticle verzi, de ap\u0103 mineral\u0103 \u015fi una de vermut, tot de un kilogram, care era de fapt cr\u0103pat\u0103. Pierdeam dintr-o dat\u0103 cinci lei \u015fi zece bani.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u0103ruciorul nu-l cump\u0103ra\u0163i?am \u00eentrebat eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu-i al nostru, s\u0103ri fata, nu-l putem vinde!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am ie\u015fit c\u00e2t am putut de repede. Eu, cu m\u00e2inile \u00een buzunare, o luasem \u00eenainte \u015fi o l\u0103sasem pe ea s\u0103 t\u00e2r\u00e2ie c\u0103ruciorul. Dar \u00eencepu \u0219i ea s\u0103 gr\u0103beasc\u0103 pa\u015fii. M-ajunse.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Acum avem destui bani, spuse ea, putem \u00eencepe cercet\u0103rile.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu mai am nici un chef de cercet\u0103ri!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar nu putem face altfel, e vorba de lini\u015ftea ta sufleteasc\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei ce-am mai putea descoperi nou? De fapt, nu-i vorba de vreo descoperire, dar \u00eentr-un fel sau \u00een altul simt nevoia acelui r\u0103mas bun, de care \u0163i-am mai vorbit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u0218i unde ar trebuia s\u0103 ne ducem \u00eent\u00e2i? f\u0103cu ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Acas\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Acas\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. Am o idee. Nu e ceva grozav, dar altceva deocamdat\u0103 nu v\u0103d. A\u015fa trebuie \u00eenceput!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n

*<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum am ajuns, fata a scos banii, i-a num\u0103rat \u015fi i-a pus pe o mas\u0103 din col\u0163, de l\u00e2ng\u0103 telefon.<\/p>\n

L\u0103sase capu-n p\u0103m\u00e2nt.<\/p>\n

Aplecat\u0103 u\u015for din spate, cu p\u0103rul acoperindu-i urechile dintr-o parte, era \u00een fa\u0163a mea \u015fi \u00eendr\u0103zni, \u00een sf\u00e2r\u015fit:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Trebuie s\u0103-\u0163i spun ceva!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Spune!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Pe Robert l-am cunoscut foarte bine. C\u00e2nd am primit telegrama, aveam impresia c\u0103-i de la el. \u00cei pl\u0103cea s\u0103 se \u0163in\u0103 de lucruri \u00een genul \u0103sta. \u015etiam c\u0103 e imposibil, c\u0103 a murit, am \u015fi fost la \u00eenmorm\u00e2ntare, dar m\u0103 g\u00e2ndeam c\u0103 altcineva nu putea fi. Am cunoscut-o \u015fi pe fata care a fost ucis\u0103 odat\u0103 cu el. Am fost colege de liceu. Era o fat\u0103 foarte inteligent\u0103, cea mai inteligent\u0103 fat\u0103 din liceu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce nu mi-ai spus p\u00e2n\u0103 acum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu puteam. Toate sticlele erau de la Robert. C\u00e2t timp le \u0163ineam l\u00e2ng\u0103 mine, nu puteam m\u0103rturisi nimic. Jurasem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cui? Lui?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Lui. Era \u00eendr\u0103gostit de mine \u015fi eu eram pu\u0163in \u00eendr\u0103gostit\u0103 de el, \u00eens\u0103 credeam \u015fi eu, ca \u015fi al\u0163ii, c\u0103 e \u015fi mai \u00eendr\u0103gostit\u0103 de el fosta mea coleg\u0103 de liceu, ceea ce era fals.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013Te-ai culcat vreodat\u0103 cu Robert?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De dou\u0103 ori. Ca s\u0103-mi salvez reputa\u0163ia, m\u0103 travestisem, ca s\u0103 sem\u0103n c\u00e2t mai bine cu fosta mea coleg\u0103 de liceu, Robert a murit din cauza mea, din cauza r\u0103ut\u0103\u0163ii mele. Ce trebuie s\u0103 fac?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Robert n-a l\u0103sat niciun mesaj?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Era un om foarte bun, era cel mai bun om de pe p\u0103m\u00e2nt, dar nu-l puteam iubi. Era prea dur\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei ce mesaj a l\u0103sat? \u0162i-a l\u0103sat \u0163ie vreun mesaj? Nu \u0163i-a l\u0103sat nimic pentru mine?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Poate \u015ftii c\u0103 a fost asasinat. Nu \u015ftia c\u0103 va muri. Mi-a povestit totu\u015fi mult de tine. Spunea c\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Nu m\u0103 mai puteam st\u0103p\u00e2ni. \u00cemi venea s\u0103 m\u0103 ridic de pe scaunul acela \u015fchiop, s\u0103 smulg lampa din tavan, s-o calc \u00een picioare, toate trebuia s\u0103 le fac.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu vrei s\u0103 m\u0103n\u00e2nci ceva? \u00eentreb\u0103 fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ba da. Ce ai de m\u00e2ncare?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ni\u015fte ostropel.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 F\u0103 \u015fi m\u0103m\u0103lig\u0103. Vin ai?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu beau dec\u00e2t ap\u0103 \u015fi nu \u0163in \u00een cas\u0103 vin, \u0163uic\u0103 sau altceva.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu pot m\u00e2nca ostropel f\u0103r\u0103 vin.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M-am ridicat de pe scaun, am ajuns p\u00e2n\u0103 \u00een fa\u0163a ei \u015fi am \u00eengenunchiat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu vrei s-aprind ni\u015fte t\u0103m\u00e2ie? \u00eentreb\u0103 ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce vrei, atunci?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 S\u0103-mi poveste\u015fti mai departe.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar de ce-ai \u00eengenuncheat?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Fiindc\u0103 e\u015fti frumoas\u0103, fiindc\u0103 Robert te-a iubit \u015fi tu te-ai culcat cu el. Cum de \u0163i-a venit ideea asta?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E vorba de o amulet\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De-o amulet\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00cemi promisese o amulet\u0103. Eu sunt supersti\u0163ioas\u0103. Venise p\u00e2n\u0103 atunci aproape \u00een fiecare sear\u0103, cu o sticl\u0103-dou\u0103. Bea \u0219i pleca.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce-\u0163i spunea?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u0103 sunt frumoas\u0103 \u015fi c\u0103 \u00eentr-o zi sau \u00eentr-o noapte \u00eemi va d\u0103rui amuleta.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei-ntr-o noapte\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. \u015etii bine ce-am f\u0103cut. Am intrat \u00een camera lui, niciodat\u0103 nu o-nchidea cu cheia, am aflat asta pe urm\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei pe urm\u0103?<\/p>\n

–\u00a0 Nu era acolo. L-am a\u015fteptat. A venit foarte t\u00e2rziu. \u015ei era beat. \u00cent\u00e2i nu m-a recunoscut, a crezut c\u0103 sunt colega mea \u015fi a vrut s\u0103 m\u0103 dea afar\u0103. A aprins lumina mare. Atunci m-a recunoscut. A c\u0103zut \u00een genunchi. \u015eedea a\u015fa cum stai \u015fi tu acum. \u201eD\u0103-mi amuleta!\u201d, am spus eu. A c\u0103utat \u00eentr-un sertar \u015fi a scos o bro\u015f\u0103. Nu era frumoas\u0103. Mi-a dat-o. \u201eNu pleci?\u201d, m-a-ntrebat. \u201eNu,nu!\u201d, am spus eu \u015fi am \u00eenceput s\u0103 m\u0103 dezbrac. Era prima oar\u0103 c\u00e2nd m\u0103 dezbr\u0103cam \u00een fa\u0163a unui b\u0103rbat. Se uita la mine ca la un glob. Dar nu sunt gras\u0103. Pot s\u0103 m\u0103 dezbrac \u015fi \u00een fa\u0163a ta, s\u0103 te convingi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu-i nevoie, \u00eemi pari mai degrab\u0103 slab\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu sunt nici slab\u0103. Pot totu\u015fi s\u0103 m\u0103 dezbrac!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai sunt dou\u0103 ore p\u00e2n\u0103-nsereaz\u0103. Te vei dezbr\u0103ca atunci.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai e a\u015fa de pu\u0163in? Nici n-am m\u00e2ncat. Dac\u0103 n-avem vin, nu vrei s\u0103 iei totu\u015fi ni\u015fte ostropel?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De fapt mai sunt vreo patru ore p\u00e2n\u0103 \u00eensereaz\u0103. De-abia e ora patru. Arat\u0103-mi amuleta!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – N-are rost, nu-i nimic de capul ei, cred c\u0103 nici nu-i amulet\u0103, \u00een orice caz nu e nici pentru mine, nici pentru tine. O fi fost pentru Robert. De asta a murit, c\u0103 mi-a d\u0103ruit amuleta. E o bro\u015f\u0103 obi\u015fnuit\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Tu ai auzit de Suzana?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu. N-am auzit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 S\u0103 cite\u015fti cartea mea, vei afla poate unele lucruri care te intereseaz\u0103.<\/p>\n

E vorba acolo \u015fi de Suzana.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Suzana, spui?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 P\u0103i, Suzana o chema \u015fi pe colega mea de liceu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 O fi o coinciden\u0163\u0103. Suzana, de care vorbesc eu, a murit c\u00e2teva luni \u00eenaintea lui Robert. E, desigur, alt\u0103 Suzana!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Timpul e ceva relativ.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015etiu. Dar \u00een cazul \u0103sta nu e relativ.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Spune-mi? Sunt frumoas\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu pot s\u0103-mi dau seama. Dezbrac\u0103-te-nt\u00e2i!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar nu s-a-ntunecat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai sunt aproape patru ore, p\u00e2n\u0103 atunci nu te po\u0163i dezbr\u0103ca. Nu se obi\u015fnuie\u015fte s\u0103 te dezbraci \u00een fa\u0163a unui b\u0103rbat \u00eenainte de-a-nsera.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. A\u015fa e. De ce oare?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu pot s\u0103-mi explic. Totu\u015fi, a\u015fa e frumos.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Tu nu e\u015fti frumos.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. Dar sunt b\u0103rbat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Asta n-are importan\u0163\u0103, totu\u015fi semeni at\u00e2t de mult cu Robert\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00ce\u0163i pare r\u0103u c\u0103 a murit?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Acum, c\u0103 te-am \u00eent\u00e2lnit pe tine, trebuie s\u0103 recunosc ceva.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 C\u0103 nu-\u0163i mai pare r\u0103u…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 M\u0103-ntreb totu\u015fi, de ce nu l-am iubit mai mult?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Spuneai c\u0103 din cauza durit\u0103\u0163ii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cu mine era foarte bun \u015fi \u00een general era foarte bun.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Hai s\u0103 cump\u0103r\u0103m un chil de vin!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015etii, trebuie s\u0103-\u0163i spun ceva. Robert a l\u0103sat pentru tine ceva. Mi-a spus asta a doua oar\u0103 c\u00e2nd m-am culcat cu el. A \u00eengropat \u00een curte o sticl\u0103, sub ulm. Acolo a l\u0103sat o scrisoare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 O vom lua m\u00e2ine, o vom citi atunci.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 O \u00eengropase \u00eenc\u0103 de acum c\u00e2teva luni, c\u00e2nd aflase c\u0103 ai de g\u00e2nd s\u0103 scrii ceva despre el.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Scriam mereu unul despre altul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu. Spunea c\u0103 vrei s\u0103 scrii un roman despre el \u015fi despre tine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar g\u00e2ndul \u0103sta mi-a venit abia acum dou\u0103 s\u0103pt\u0103m\u00e2ni. Cum puteam s\u0103-i spun acum c\u00e2teva luni?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u0162i-am spus c\u0103 timpul e relativ.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. Dar \u00een cazul \u0103sta nu e relativ, e acela\u015fi lucru ca \u015fi \u00een cazul identit\u0103\u0163ii Suzanei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mai sunt trei ore p\u00e2n\u0103 \u00eensereaz\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. Mai sunt numai trei ore. Cum a trecut o or\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De s-ar \u00eensera mai repede\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 S\u0103 cump\u0103r\u0103m \u00eent\u00e2i ceva\u2026<\/p>\n

\u00a0*<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u00e2nd m-am trezit din somn, \u00een jurul meu nu mai era nimeni. Mi-am dat seama de asta aproape imediat, am avut o tres\u0103rire, am s\u0103rit \u0219i am\u00a0 c\u0103utat s\u0103 m\u0103-ndep\u0103rtez c\u00e2t mai repede de locul acela, unde-a\u0219 fi putut fi g\u0103sit, unde puteam fi atacat. Nu se luminase \u00eenc\u0103 de ziu\u0103 \u015fi dormisem foarte prost. M-am ascuns \u00een col\u0163ul opus, dar, dup\u0103 dou\u0103 minute, \u00een care timp am f\u0103cut tot felul de presupuneri, mi-am dat seama c\u0103 nu mai avea nici un rost s\u0103 m\u0103 feresc.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Lucrurile din jurul meu n-aveau contururile cunoscute \u015fi probabil doar asta m\u0103 f\u0103cuse s\u0103-mi fie at\u00e2t de fric\u0103. Se lumina acum. Chiar l\u00e2ng\u0103 mine era un aparat de radio, nu sem\u0103na cu al meu \u015fi nu am avut curajul s\u0103-l \u00eencerc. Nu \u015ftiam cum se deschide.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hainele-mi erau pe un scaun, claie peste gr\u0103mad\u0103 \u015fi pantalonii bine\u00een\u0163eles nu mai aveau dung\u0103, iar c\u0103ma\u015fa mea era cocolo\u015f. Am deschis geamul \u015fi am \u00eenceput s\u0103 m\u0103 \u00eembrac. R\u0103coarea u\u015foar\u0103 a dimine\u0163ii ajunse p\u00e2n\u0103 la mine, m\u0103-nf\u0103\u015fur\u0103 \u00eentr-un fular parfumat, m\u0103 ajut\u0103 s\u0103 m\u0103-mbrac, fiindc\u0103 tot nu m\u0103 trezisem de-a binelea. Pe urm\u0103 am deschis totu\u0219i aparatul de radio. Becurile de la scal\u0103 se aprinser\u0103 \u0219i \u00eencepu un g\u00e2j\u00e2it.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Atunci fata intr\u0103 \u00een camer\u0103 \u015fi-mi spuse:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ce mult ai dormit! Eu n-am mai putut s\u0103 r\u0103m\u00e2n. S\u0103 ispr\u0103vim odat\u0103 cu treburile, nervii mei nu mai rezist\u0103. Vrei s\u0103 m\u0103n\u00e2nci ceva?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 M\u0103 duc s\u0103 te-a\u015ftept sub ulm. F\u0103 \u00eent\u00e2i pu\u0163in\u0103 gimnastic\u0103. Bea m\u0103car o cafea. \u0162i-am f\u0103cut-o \u015fi e dincolo. Te-a\u015ftept sub ulm, gr\u0103be\u015fte-te, \u00ee\u0163i spun \u00eenc\u0103 o dat\u0103, nervii mei nu mai rezist\u0103!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Bine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dup\u0103 ce ie\u015fi, dup\u0103 ce am r\u0103mas iar singur, am \u00eenchis aparatul de radio. M\u0103 uitam \u00een oglind\u0103 \u015fi-mi potriveam cravata, c\u0103utam s-ascund cre\u0163urile c\u0103m\u0103\u015fii care-mi d\u0103deau un aer at\u00e2t de neglijent. Am intrat repede dincolo, mi-am luat cafeaua, care se \u015fi r\u0103cise, prin vine parc\u0103 s\u00e2ngele porni s\u0103 treac\u0103 mai repede \u015fi eu aveam din ce \u00een ce mai mult senza\u0163ia c\u0103-mi intru iar \u00een piele.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u00e2nd am deschis u\u015fa, picioarele \u00eencepur\u0103 s\u0103-mi mearg\u0103 singure, am cobor\u00e2t cele cinci trepte, am luat-o pe aleea care d\u0103dea \u00een poart\u0103, poarta era deschis\u0103 \u015fi am luat-o pe trotuar, spre cel\u0103lalt cap\u0103t al str\u0103zii, care nu era departe \u015fi care fusese locul unde p\u00e2n\u0103 acum aproape o lun\u0103 \u015fi jum\u0103tate st\u0103tuse Robert.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u015f fi vrut \u00een mintea mea mii de g\u00e2nduri s\u0103 se zbat\u0103, s\u0103-\u015fi caute drum, toate deodat\u0103 s\u0103-ncerce s\u0103 se desprind\u0103, dar fiecare \u00een folosul lui \u00eensu\u015fi, \u00een a\u015fa fel \u00eenc\u00e2t \u00een momentul \u00een care a\u015f fi ajuns \u00een fa\u0163a por\u0163ii lui Robert s\u0103 fiu c\u00e2t mai turburat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Robert! \u00eencepui eu s\u0103 strig. Robert!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Alergam \u015fi dup\u0103 ce am dat la o parte poarta, c\u00e2nd am intrat \u00een gr\u0103din\u0103, au \u00eenceput deja g\u00e2ndurile s\u0103-\u015fi ias\u0103 dintr-un fel de matc\u0103, s\u0103 mi se-nfierb\u00e2nte capul, s\u0103 vreau \u00eentr-adev\u0103r s\u0103 ajung c\u00e2t mai repede sub ulm.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fata era a\u015fezat\u0103-n iarb\u0103. Fusta alb\u0103 \u00eei acoperea genunchii puternici \u015fi p\u0103rul cobor\u00e2t p\u00e2n\u0103 jos \u00eei d\u0103dea un aer de vas de lut. Era foarte stupid s\u0103 porne\u015fti de la p\u0103rul lung \u0219i s-ajungi la vasul de lut, dar, \u00eenc\u0103 pe c\u00e2nd eram elev, profesorul de psihologie m\u0103 trimesese la psihiatru.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dumneata e\u015fti un fel de Rangoon, \u00eemi spusese profesorul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar ce este Rangoon?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Capitala Birmaniei. Dar du-te mai bine la psihiatru, s\u0103 vin\u0103 p\u0103rin\u0163ii la \u015fcoal\u0103, am s\u0103 le spun s\u0103 te duc\u0103 la psihiatru.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fusesem \u015fi la psihiatru, dar n-are rost acum s\u0103 insist asupra unor am\u0103nunte, care nu prea au rost, mai ales atunci c\u00e2nd e vorba de cu totul alte chestii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u0102sta e locul, spuse fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00cen dreapta sau \u00een st\u00e2nga?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar pomul e rotund.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se g\u00e2ndi un timp apoi urm\u0103:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dreapta \u015fi st\u00e2nga sunt egale din punctul de vedere al unui pom cu tulpina rotund\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar to\u0163i pomii au tulpina rotund\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Asta nu \u015ftiu precis, recunoscu fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se ridic\u0103, \u00ee\u015fi netezi fusta \u015fi \u00eentreb\u0103 iar:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar n-ai adus o sap\u0103, un h\u00e2rle\u0163 sau a\u015fa ceva?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu. De unde s-aduc?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 P\u0103i, de la mine!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 A! De la tine\u2026 Nu-i nimic, vom scurma cu unghiile!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu a plouat de mult, observ\u0103 fata.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar prietenul meu n-a l\u0103sat cu limb\u0103 de moarte s\u0103 scurm\u0103m cu unghiile ca s\u0103 putem g\u0103si mesajul?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Ba da! De unde \u015ftii?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Mi-am \u00eenchipuit, asta era \u00een felul lui de a concepe lucrurile. Era ferm convins c\u0103 nu po\u0163i descoperi nimic f\u0103r\u0103 a te purifica \u00eent\u00e2i prin durere. Spunea odat\u0103 c\u0103 purificarea este un fel de tribut pe care-l pl\u0103te\u015fi ca s\u0103 te po\u0163i desprinde. Altfel nu ai posibilitatea obiectiv\u0103rii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar purificarea e o nega\u0163ie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 E\u015fti fantastic\u0103! Sigur! Numai c\u0103 \u015ftii bine c\u0103 nu po\u0163i r\u0103m\u00e2ne la nega\u0163ie, c\u0103 purificarea nu e un scop \u00een sine, c\u0103 nu e dec\u00e2t un mijloc. Deci c\u0103 neantul este un mijloc. Purificarea e neantul. Neantul \u00ee\u0163i neag\u0103 personalitatea, dar nu pentru a te risipi, pentru a deveni stafie, ci pentru a-\u0163i reda personalitatea. Neantul este mai degrab\u0103 un atelier.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu \u015ftiu dac\u0103 fac bine ce fac\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Totu\u015fi\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 M-au impresionat at\u00e2t de mult vorbele tale, \u00eenc\u00e2t a\u015f fi \u00een stare s\u0103 comit un fel de impietate. \u015ei nu numai o impietate. Prin ceea ce spun acum ,a\u015f putea s\u0103 te distrug! Dar mi-e mil\u0103 de tine \u015fi mila mea e mai puternic\u0103 dec\u00e2t ra\u0163iunea. Dac-ai \u00eencepe \u00eentr-adev\u0103r s\u0103 cau\u0163i mesajul, dac-ai \u00eencepe s\u0103 scormone\u015fti cu unghiile, degetele tale s-ar \u00eens\u00e2ngera, ai pierde, poate, prea mult s\u00e2nge, poate n-ai avea nici destul\u0103 for\u0163\u0103\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dac\u0103 a\u015f putea g\u0103si mesajul f\u0103r\u0103 s\u0103-mi s\u00e2nger buricele, f\u0103r\u0103 pericolul de a m\u0103 infecta, mi-a\u015f p\u0103stra for\u0163ele pe care le irosesc acum, pentru a c\u0103uta \u00eenc\u0103 mai departe; mesajul \u0103sta nu-i dec\u00e2t un punct de plecare!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 S\u0103 \u015ftii c\u0103 mesajul nu e \u00eengropat\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cum?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Robert mi-a transmis mie mesajul, dar m-a rugat s\u0103 te las \u00eent\u00e2i s\u0103 cau\u0163i singur.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Eu voi c\u0103uta mai departe dec\u00e2t Robert!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Robert n-a fost dec\u00e2t profet, nimic altceva.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Se poate.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015ei numai \u00een privin\u0163a ta. Tu trebuie s\u0103 fii ceva mult mai larg, s\u0103 \u00eembr\u0103\u0163i\u015fezi tot albastrul cerului, tot cenu\u015fiul m\u0103rii, pentru a-l \u00eenf\u0103\u0163i\u015fa oamenilor, tuturor oamenilor. Tu nu trebuie s\u0103 te cau\u0163i pe tine \u00eensu\u0163i, s\u0103 te mai \u00eentrebi dac\u0103 ai vreun rost sau nu sau vreo valoare oarecare\u2026Tu nu mai trebuie s\u0103 cau\u0163i s\u0103-\u0163i construie\u015fti propria ta axiom\u0103! Cu asta s-a ocupat Robert\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u0102sta-i mesajul?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Da. \u015ei mi-a mai spus c\u0103 romanul sau eseul sau romanul-eseu, pe care ai s\u0103-l scrii despre el \u015fi despre tine nu va fi dec\u00e2t ceva cu totul ne\u00eensemnat pe l\u00e2ng\u0103 ceea ce va urma, dar c\u0103 f\u0103r\u0103 s\u0103-l scrii nu vei putea s\u0103 te clarifici, s\u0103-\u0163i recuno\u015fti \u00eenc\u0103rc\u0103tura de prisos pe care trebuie s-o la\u015fi, pentru a zbura liber apoi, \u00een sferele care \u0163i-s destinate. A mai spus c\u0103 cei ce nu te vor recunoa\u015fte chiar din aceast\u0103 prim\u0103 carte a ta, se vor c\u0103i mai t\u00e2rziu, dar c\u0103 va fi prea t\u00e2rziu, pentru c\u0103 tu trebuie s\u0103 fii recunoscut \u015fi l\u0103udat chiar de-acum, c\u0103 tu e\u015fti una din acele naturi rezonatoare care tr\u0103ie\u015fte \u015fi prosper\u0103 \u00een marele succes, c\u0103 e\u015fti o natur\u0103 solar\u0103 \u015fi extrem de puternic legat\u0103 de exterior.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Deci Robert a f\u0103cut purificarea pentru mine, Robert a murit pentru mine\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 F\u0103r\u0103 moartea lui, tu n-ai fi putut \u015fti nimic din ceea ce-\u0163i era organic necesar s\u0103 \u015ftii\u2026 pentru a putea deveni ceea ce \u0163i-e sortit s\u0103 devii, asta mi-a spus. Dealtfel, \u00eentr-un fel sau altul, asta \u0163i-o spun eu, acum, el chiar \u015fi-a preg\u0103tit moartea, dar pentru c\u0103 nu avea putere s\u0103 se sinucid\u0103, a ales-o pe b\u0103tr\u00e2na aceea, pe care eu am ajutat-o s\u0103 evadeze, c\u0103reia eu i-am spus ce i-am spus, c\u0103reia eu i-am dat revolverul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar colega ta de liceu?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De asta nu mi-am dat seama c\u0103 o se \u00eent\u00e2mple. Aici eu am gre\u015fit, restul a fost preg\u0103ti cu migal\u0103 de mine \u015fi Robert, dup\u0103 ce ne-am culcat prima oar\u0103 \u00eempreun\u0103, a doua zi diminea\u0163a.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar cu mine te-ai culcat asear\u0103? C\u0103 nu mai \u0163in minte. Mi se \u00eenghesuie \u00een cap at\u00e2tea lucruri care n-au importan\u0163\u0103 \u015fi\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu \u015ftiu. Nici eu nu mai \u0163in minte. Mi-e capul la altceva acum.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar Robert, dac\u0103 se purificase, dac\u0103\u2026 descoperise astfel posibilitatea de a dep\u0103\u015fi neantul, de a crea marile opere\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Robert e\u2026 uite, m\u0103 faci s\u0103 spun ceva care era mai bine s-o \u015ftii, totu\u0219i\u2026 Robert a fost un alter-ego al t\u0103u, Robert e un simbol. Nu \u0163i-ai dat seama p\u00e2n\u0103 acum? Mi-e tare penibil s\u0103 spun lucrurilor at\u00e2t de crud, pe numele lor adev\u0103rat. \u015ei, vezi, asta \u00eenseamn\u0103 c\u0103 stafia lui Robert poate reveni \u00een orice moment. Depinde de tine\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00cen primul r\u00e2nd de mine, dar\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u0162i-am dat mesajul lui Robert. Ce mai vrei? Asta mi-ai cerut!<\/p>\n

*<\/p>\n

SCENOMETRIE\u00a0 TENTATIV\u0102\u00a0 – INTERMEZZO PU\u0218IAN<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dac\u0103 scenometria \u00eembr\u00e2nce\u0219te compara\u021biile \u2013 am v\u0103zut c\u0103 \u0219i ghilimemele, \u00eenlocuite cu \u00een\u0219i\u0219i autorii-anamnez\u0103, s\u0103 transcriem documentarist, pre-text, s\u0103lt\u0103re\u021be, de nu obscurizante, \u00eensemn\u0103ri, pu\u021bin \u00eenainte de ruperea piciorului prilejuind aceast\u0103 scenometrie revelat\u0103. Din critical fiction sc\u00e2r\u021b\u00e2it\u0103, lu\u0103m de la Inmaar Popaart, autor dar \u0219i posibil personaj pu\u0219ian, cam acestea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 … \u0103sta care a scris cartea avertizeaz\u0103 c\u0103 trebuie citite capitolele de la coad\u0103 la cap… totul e design… cel mai frecvent nume german Schmitt… Narratorium… lumea e un labirint de u\u0219i deschise care doar par a fi \u00eenchise. Ceva parc\u0103 seam\u0103n\u0103 \u0219i cu Kafka… ne propunem s\u0103 memor\u0103m dintr-o carteun citat ales la \u00eent\u00e2mplare al c\u0103rui sens ne scap\u0103: ipse quidem spectaculum factus est etc… am explicat ceva \u00een aceea\u0219i manier\u0103 pedant fastidioas\u0103… s\u0103 zicem c\u0103 \u00eencerc\u0103m s\u0103 realiz\u0103m un documentar… stil stridiu… iconism narativ… toponimia odioas\u0103… colegii de literatur\u0103 globomondial\u0103… avea un subiect business class… t\u00e2n\u0103rul poet fu speriat de ceva ce g\u00e2ndise. Dep\u0103\u0219ise involuntar limitele trasate la instructaj… p\u00e2n\u0103 la Mancha facem un reportaj peste norm\u0103… filosoful pop care eliberase filosofia din sclavia \u0219i jugul unor Platon, Pascal, Kant, Hegel, Heigegger \u0219i alte cadavre uitate prin debarale… iubirea dureaz\u0103 c\u00e2t produce stres… arta ca mijloc al sexului… aici se studiaz\u0103 doar cadavre g\u0103site \u00een spa\u021bii libere… veveri\u021bele \u00ee\u0219i ascut din\u021bii de schelete… cadavrul poate fi mo\u0219tenit pau\u0219al sau par\u021bial, bun\u0103oar\u0103 numai rinichii sau testicolele… uciderea tehnicianului care voia s\u0103-i ucid\u0103… creiere de sinuciga\u0219i… traumatisme pe fronturile terorismului… unora le place s\u0103 se cace pe eroii lor na\u021bionali… societate posteroic\u0103… dac\u0103 u\u0219a se va deschide, voi fi primul care va ie\u0219i…<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pas rupt, scenometrie (nu metrostaging) Pu\u0219i start pe note mici… la \u0219ase ani m-am \u00eemb\u0103tat prima dat\u0103… mai bun\u0103 tr\u0103darea dec\u00e2t credin\u021ba… eu \u00eei scriam cu umor, de fric\u0103 s\u0103 n-o plictisesc… din aceea\u0219i exhip\u0103 de ceaiuri… m\u0103 sim\u021beam \u00een inferioritate, nefiind b\u0103ut… \u0219\u0103galnice \u0219i galante flirturi… totu\u0219i avusesem umor c\u00e2t putusem, nu puteam avea la infinit… limbajul interna\u021bional al valurilor… \u0219i fetele, mai ales fetele… la c\u00e2te-o bere sau la c\u00e2te-un ceai… modul general al femeilor de a tr\u0103da… dup\u0103 at\u00e2ta aventur\u0103 \u0219i at\u00e2ta tr\u0103dare… atmosfer\u0103 de sinucidere \u00een totalitate… invita\u021bii au \u00eenceput s\u0103 curg\u0103… un mod milos de a primi lumea… d\u0103 examen la medicin\u0103 \u0219i trebuie s\u0103 fumeze… Hipodrom, Burs\u0103, Mani\u021boiu, Alcoolicul, Albinel, Tedi, \u0219i afar\u0103 de ei al\u021bii, cei din ga\u0219ca lui Costel \u0219i a lui \u0218erifu, din celelalte g\u0103\u0219ti, Coco, Foric\u0103, Sandu, Nicu \u0219i R\u0103zvan. Mai veneau dou\u0103 fete S\u0103nvi\u0219-cu-\u0218unc\u0103 \u0219i Vipl\u0103. Apoi a venit Monica. Cu un b\u0103iat pe care nu-l cuno\u0219team. Danseaz\u0103, \u00eemi spune c\u0103 seam\u0103n cu Mario…\u00a0 Sandu o s\u0103rut\u0103 pe Monica… la 35 de ani, burlacul se reprive\u0219te la 23 de ani, iubind-o vulgar pe Gabi \u0219i ideal pe Monica, a la Euridice, Lotte, Rusoaica… scrisorile netrimise idealei Monica… Romanul Sfintei Mogo\u0219oaia… 10 ani dinainte… v\u00e2slire halucinant\u0103… ceaiuri dansante… dpenden\u021b\u0103 de sex… filologie… reformare teatru… bere… magnetofon deschis… canon literar fotografic… puzzle din mul\u021bime de h\u00e2rtii, un pat… umorul personajului… umorul autorului… cosmic… domenial… sexual… politic ascuns… \u00eent\u00e2lniri interpretabile… absorbirea mediului represiv-robotic-inestetic-supravie\u021buitoresc sub pojghi\u021ba petrecerii… nou\u0103 credin\u021b\u0103-instantanee-disperare… fantastic fantomatic eufonic… romanul iubirii paradisiabile Mogo\u0219oaia, p\u00e2n\u0103 la proba profan\u0103, f\u0103r\u0103 mai Dulcineea, Urvashi, Monica… idealul se\u00a0 f\u0103r\u00e2m\u0103 \u00een artificii perpetue h\u0103rt\u0103nit din bere \u00een bere… hedonism martiric… romanul \u00ee\u0219i precipit\u0103 amoralitatea, cu fete noi \u0219i verbiajul neoepisodic, spre epic, deumorat, cum ar cre\u0219te poate ac\u021biunea pecetluit\u0103 de moartea lui Marin Preda \u0219i a Mogo\u0219oaiei… Dar ce s\u0103 se-ncheie delirul nietzschean al lui Pu\u0219i, c\u0103-n urm\u0103 se reconstituie ca de la sine feele, Circe, Gina, Forina, legiuni, reduc\u021bie de mitologi \u0219i mitoloage, la absurd fie, vorba t\u0103cut\u0103 comunist, poststuden\u021besc, postpuber, liric, pe audi\u021bie cu dans tolerant, sex-armonic, o bolgie boema, alta ceaiul, departe Mogo\u0219oaia… Dar telemetria scenometriei ce zice? Unde vei g\u0103si tramvai-taxi Bucure\u0219ti-Mogo\u0219oaia iad-rai de nu \u00een sf\u00e2ntul roman, tantra Bucure\u0219ti-Mogo\u0219oaia, romanul Sfintei ap\u0103r\u00e2nd c\u00e2nd nu mai exista nici stabilimentul de crea\u021bie etc., nici interes pentru altcineva dec\u00e2t trebuia neoproletcultistic… \u0218i-o fi unul din romanele ca lumea ale fi\u0219elor de limb\u0103, personaj \u0219i sex rom\u00e2ne\u0219ti… Eu \u00eel cred unic dup\u0103 ce-mi p\u0103ruse \u021bu\u021b\u0103rist pe l\u00e2ng\u0103 hotelirii literari de acolo, aproape sus, nici tremurici ceasist la toate noile flori \u00een calea flututrelui mai hazdenecazist dac\u0103 nu ratat, neispr\u0103vit, be\u021biv, curvar etc., ci o con\u0219tiin\u021b\u0103 pragmatic textualist\u0103, un stilist da capo \u00een cap cu Caragiale, un incon\u0219tient delirator de ac\u021biuni ubicuu-simultane-\u00eenainte-\u00eenapoi-iar la loc, poate erotice, poate de r\u00e2s, poate pa\u0219te, poate de spirituale malgre soi-meme… Robert Calul, alter-egoul inginerului \u0219ansonetist, inser\u021bie articular\u0103 din Eminescu-Dionis, pe volubilit\u0103\u021bi salingeriene, cosmisme din Sebastian, parc\u0103\u00a0 \u00eenc\u0103 nu Caragiale, nu Cehov, nu Hamlet. \u0218i dac\u0103 ar fi fost singura scrisre a lui Pu\u0219i, \u00eenc\u0103 l-ar fi postat careva printre scriitorii cheie din vreo lume. A\u0219a cum numai cu Roag\u0103-te pentru mine<\/em>, tot \u00een colec\u021bia Luceaf\u0103rul, Vasile V\u0103duva mi-a r\u0103mas nemuritor, ca \u0219i fiicei sale Alda, cu Dostoievski cu tot, care \u0219i prin Robert se insinueaz\u0103 actualist, cu partea magic\u0103 spre Eliade. N-or fi Mantaua <\/em>lui Gogol sau Mo\u0219 Nechifor Co\u021bcariul <\/em>al lui Creang\u0103 s\u0103 puiasc\u0103 toat\u0103 scriitorimea de dup\u0103, dar toat\u0103 opera lui Pu\u0219i, cu dedesubtul calabal\u00e2curilor c\u0103 teorii, c\u0103 icoane dup\u0103 natura urban\u0103-cosmic\u0103 \u0219i altele, se resimte de mistica amatoreasc\u0103 a lui Robert, c\u00e2t s\u0103 ajute misterul feminin a se avea \u0219i dezlega \u2013 \u00een Burlacul<\/em>, psihotropia din Romanul Sfintei Mogo\u0219oaia<\/em>, transcenderea comic-cosmic\u0103 a \u00cengerului contabil <\/em>–\u00a0 c\u0103ci umorul asigur\u0103 cronicizarea acestui versant \u2013 \u0219i proza prozelor \u0219i personajele dramaturgiei dumisale Pu\u0219i Robert Calul. Fumuse\u021bea romanului, propriu canon dominant, \u00ee\u0219i este suficient\u0103 a cote de idiosincrazia de la \u00eenceput p\u00e2n\u0103 la sf\u00e2r\u0219it a cuiva… Tase mort se ridic\u0103 de pe mas\u0103, aprinse o \u021bigar\u0103… s\u0103 aib\u0103 cinci pr\u0103jini de p\u0103m\u00e2nt \u00een cer… aceast\u0103 frac\u021bie fermecat\u0103 cu flori de falf\u0103… Pantazi, Padrescu, Petric\u0103, Peroneu, Pache Pahar, Pantelimon,, Sultana, Adalbert… o solu\u021bie ar fi spiritismul… nu fotografiez pe oricine… portretistic\u0103 dialogat\u0103… f\u0103ceam plimb\u0103ri cu ma\u0219ina \u0219i povesteam \u00eent\u00e2mpl\u0103ri… c\u00e2t\u0103 sexualitate, at\u00e2ta dram\u0103, zise Camil Petrescu \u2013 m\u0103, \u0219tii c\u0103 n-am zis chiar a\u0219a… arsesem cadavrul vizitatorului… \u0219i a venit \u0219i Victor Ion Popa… singur\u0103 mi-a spus c\u0103 a f\u0103cut copilul cu un om superior mie… Friedrich din povestire este Mario \u00een roman… \u00eenotul p\u00e2n\u0103 la statuia mea din mijlocul m\u0103rii… \u00een ne\u0219tire…<\/p>\n

DE\u00a0 LA\u00a0 AUGUSTIN\u00a0 LA\u00a0 DR\u0102GHICESCU<\/strong><\/p>\n

Un argument al traduc\u0103torului<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Prezent\u0103m, \u00een traducere-restituire rom\u00e2neasc\u0103, prima din cele mai vaste dou\u0103 opere edificate, fasonate de Dumitru Dr\u0103ghicescu \u00een francez\u0103: Noua Cetate a lui Dumnezeu<\/em>, Paris, Marcelle Lessage, 1929, prezentul volum, \u0219i, \u00een dou\u0103 volume, urm\u00e2nd: Adev\u0103r \u0219i Revela\u021bie<\/em>, Paris, Felix Alcan, 1934, alc\u0103tuind o trilogie monumental\u0103 \u00eempreun\u0103 cu\u00a0 Dumnezeu \u0219i destinul omenirii<\/em>, scris\u0103 \u0219i publicat\u0103 \u00een rom\u00e2ne\u0219te. O edi\u021bie in spe \u00een zece volume a operei lui Dumitru Dr\u0103ghicescu propus\u0103 de profesorul Virgil Constantinescu-Galiceni\u00a0 ar include: I Ontologia uman\u0103<\/em>; II Din psihologia poporului rom\u00e2n<\/em>; III Problema Con\u0219tiin\u021bei. Realitatea spiritual\u0103<\/em>; IV Idealul creator<\/em>; V Marea Unie a rom\u00e2nilor cu rom\u00e2nii<\/em>; VI Partide politice \u0219i clase sociale<\/em>; VII Noua Cetate a lui Dumnezeu<\/em>; VIII Adev\u0103r \u0219i revela\u021bie<\/em>, partea I; IX Adev\u0103r \u0219i revela\u021bie<\/em>, partea II; X Dumnezeu \u0219i destinul omenirii.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ca Maurice Blondel ax\u00e2ndu-\u0219i opera pe doctoratul Action<\/em>, Dumitru Dr\u0103ghicescu \u00ee\u0219i aprofundeaz\u0103 determinismul sociologic doctoral, de la indestructibila structur\u0103\u00a0 Din psihologia poporului rom\u00e2n <\/em>la trilogia profetic\u0103 a sf\u00e2r\u0219itului de via\u021b\u0103. Actualiz\u00e2nd revelator nu numai De civitate Dei <\/em>a sf\u00e2ntului Augustin \u2013 cf\u00a0 Organon <\/em>de Aristotel, Novum Organum<\/em> de Bacon, Tertium Organum<\/em> de Uspensky -, dar purt\u00e2nd \u0219i ecouri poate subcon\u0219tiente din Via\u021ba lumii <\/em>sau Memento mori.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Noua Cetate a lui Dumnezeu<\/em> reveleaz\u0103 o construc\u021bie poliedric\u0103 \u2013 istorie, evolu\u021bie, profe\u021bie \u2013 de\u00a0 exhaustivitate epistemic\u0103\u00a0 afinitiv\u0103 cu empatii \u0219i alergii la\u00a0 personaje arhetipale, arti\u0219ti, g\u00e2nditori, o epopee socio-filosofic\u0103,\u00a0 un cronograf socio-religios \u00een jargon sorbonard, o hermeneutic\u0103 sociologic\u0103 a dumnezeirii \u00een umanitate. \u00cen \u021bes\u0103ura textual\u0103 rezoneaz\u0103 sentin\u021be\u00a0 de r\u0103d\u0103cin\u0103 biblic\u0103 sincronizate cu frunzi\u0219ul referin\u021belor, pe o tulpin\u0103 proprie. \u00cenl\u0103n\u021buirea de idei, sub\u00e2n\u021beles teoretizat\u0103, frazarea \u0219i cuvintele se desprind din continua demonstra\u021bie-fluviu a unei teze ce pare a se dispensa de discurs.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00centr-o terminologie deschis\u0103, continuu recizelat\u0103, cumulativ\u0103, spiral\u00e2nd repeti\u021bia \u0219i insisten\u021ba clarificativ\u0103, diferitele registre ideatic-stilistice se pot solda cu recept\u0103ri integrate, dac\u0103 nu preferen\u021biale, resping\u00e2nd sau admir\u00e2nd, retu\u0219\u00e2nd, induc\u00e2nd \u0219i cititorului o reactivitate pro sau contra. Neuit\u00e2nd patina de epoc\u0103 interbelic\u0103, Paris-Geneva, \u00een care chiar ne af\u0103m \u00eentru imens\u0103 gra\u021bie dr\u0103ghicescian\u0103, cu un limbaj conceptulal devenit \u00eentre timp literatur\u0103, precum revoluta dulaitate p\u0103g\u00e2nism-cre\u0219tinism. Cu avantajul unei percu\u021bii paraconceptuale, pe formul\u0103ri modelatoare, de g\u00e2ndire direct\u0103, de empatie diacronic\u0103 dispecerat\u0103 de tez\u0103, de ideal.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Adecvarea traduc\u021bional\u0103 a avut de a face, pe de o parte cu o oper\u0103 veche de opt-nou\u0103 decenii, pe de alta, cu una nou\u0103 pentru noi, dup\u0103 o ignorare absolut\u0103, zguduitor de actual\u0103 \u0219i cu solu\u021bii-disolu\u021bii de viitor. \u0218i este vorba de a o pune \u00een circula\u021bie dup\u0103 \u201eschimb\u0103rile la fa\u021b\u0103\u201d (formula sa) anticipate de contemporanul lui Eminescu, Br\u00e2ncu\u0219i, Arghezi. Faustianismul lui Dr\u0103ghicescu pare dublat tacit de model\u0103ri din Via\u021ba lumii<\/em> sau Memento mori.<\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0Dumitru Dr\u0103ghicescu este un scriitor \u00een schi\u021be \u0219i arabescuri religios-\u0219tiin\u021bifice pe propria doctrin\u0103 a con\u0219tiin\u021bei-imortalitate. Poate oare fi, retro, receptat de-a valma ca tens, arid, utopic, socialist, tautologic, idealist, sinuciga\u0219, aristocrat, cosmopolit, moralist etc.? Am apelat \u0219i la eufonii-rom\u00e2no-franceze, ca de epoc\u0103, spre a da totu\u0219i impresia unei pledoarii tragice din viitor \u0219i iar din viitor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Vor putea fi atra\u0219i pasiona\u021bii de idei \u0219i istorie, fanta\u0219tii, pelerinii \u00een timp, poate \u0219i regizorii de teatru \u0219i film. Filosofii \u0219i sociologii vor m\u0103sura pierderea irecuperabil\u0103, cu ce consecin\u021b\u0103, a mesajului s\u0103u vizionar. Dac\u0103 i se admite pledoarismul, lectura poate fi de catehism, singura religiozitate auctorial\u0103 fiind aici Societatea Na\u021biunilor. Dac\u0103 recep\u021bia intr\u0103 \u00een dificultate \u2013 tematic, stilistic, ideologic \u2013 folosul va fi \u0219i mai substan\u021bial dec\u00e2t admira\u021bia pasiv\u0103 a unei crea\u021bii de evident\u0103 grandoare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Trei excerpte din Noua Cetate a lui Dumnezeu<\/em>:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eStudiul nostru, pe care-l d\u0103m sub vocabula pe care o utiliza sf\u00e2ntul Augustin, \u0219i sub invocarea sa, va fi ca o transpunere modern\u0103 a Cet\u0103\u021bii lui Dumnezeu, \u00een ansamblul ei, acesta va fi acela\u0219i paralelism \u00eentre cetatea empiric\u0103, terestr\u0103, \u0219i idealul s\u0103u, conceput \u00een cetatea lui Dumnezeu schi\u021bat\u0103 la Geneva \u0219i dup\u0103 care realitatea trebuie s\u0103 se modeleze. A rezista superbilor \u0219i a da gra\u021bie umililor nu este de asemenea, teoretic, scopul Institu\u021biei de la Geneva, unde votul unei \u021b\u0103ri mici conteaz\u0103 tot at\u00e2t c\u00e2t al imperiului britanic? Din nenorocire, se face \u00eenc\u0103 distinc\u021bie \u00eentre na\u021biunile cu interese limitate\u00a0 \u0219i cele patru sau cinci na\u021biuni cu interese nelimitate: vestigii brutale ale cet\u0103\u021bii terestre care fac erup\u021bie \u00een aceast\u0103 nou\u0103 cetate a justi\u021biei, a egalit\u0103\u021bii \u0219i a p\u0103cii. Cetatea lui Dumnezeu care este, acum, pentru noi, Societatea Na\u021biunilor, \u00ee\u0219i va continua, precum cealalt\u0103, pelerinajul s\u0103u de-a lungul timpului \u0219i impiet\u0103\u021bii scepticilor, care se pretind reali\u0219ti, \u0219i aceasta va fi prin tr\u0103irea, \u0219i a ei, aici, a credin\u021bei.<\/em>\u201d (Noua cetate a lui Dumnezeu,<\/em> ed. fr., <\/em>p.12-13 )<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eS\u0103 vedem acum dac\u0103 logica dreptului de bun sim\u021b este \u00eentr-at\u00e2t opus\u0103 unei vie\u021bi individuale infinite.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cert, con\u0219tiin\u021ba concepe foarte bine aceast\u0103 idee a infinitului. O concepe at\u00e2t de bine \u00eenc\u00e2t nu se poate concepe \u00een act ea \u00eens\u0103\u0219i f\u0103r\u0103 ea. Dac\u0103 con\u0219tiin\u021ba concepe infinitul \u0219i se concepe ea \u00eens\u0103\u0219i infinit\u0103 – \u0219i altfel cum ar concepe-o? – este logic c\u0103 ea este finit\u0103, c\u0103 ea trebuie s\u0103 dispar\u0103 ca stare de fapt \u00een trecut \u0219i \u00een prezent, dar disp\u0103r\u00e2nd \u00een drept, \u00een pur\u0103 logic\u0103?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Logic, o con\u0219tiin\u021b\u0103 finit\u0103, efemer\u0103 b\u0103\u0219ic\u0103 de s\u0103pun care concepe infinitul, nu se poate sus\u021bine. Dac\u0103 ea concepe infinitul, ea \u00eens\u0103\u0219i este infinit\u0103 \u00een principiu, \u00een drept dac\u0103 nu \u00een fapt.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0103 facem apel la \u00eentreaga onestitate, dac\u0103 se poate spune a\u0219a, la loialitatea logicii.\u201d (Ibid. <\/em>p.596).<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201eSocietatea Na\u021biunilor \u0219i Neo-Cre\u0219tinismul se spijin\u0103 \u0219i se condi\u021bioneaz\u0103 reciproc. Una, realiz\u00e2ndu-se, provoac\u0103 apari\u021bia celuilalt \u0219i Neo-Cre\u0219tinismul trebuie, pentru a ameliora moravurile, s\u0103 anuleze egoismele individuale \u0219i na\u021bionale ca ambi\u021bia \u0219i orgoliul, \u0219i s\u0103 dezvolte abnega\u021bia pentru a face posibil\u0103 \u0219i a consolida institu\u021bia de la Geneva. Via\u021ba \u00eens\u0103\u0219i a na\u021biunilor depinde de aceste dou\u0103 mari evenimente: altfel, le a\u0219teapt\u0103 suicidul prin r\u0103zboaiele de ras\u0103, de clas\u0103 \u0219i de preponderen\u021b\u0103. Dar anularea egoismului \u0219i ambi\u021biei nu se poate ob\u021bine atenu\u00e2ndu-le \u0219i reduc\u00e2ndu-le, ci, dimpotriv\u0103, \u00eemping\u00e2ndu-le p\u00e2n\u0103 la cap\u0103t, procur\u00e2ndu-le satisfac\u021bia condi\u021bionat\u0103 dar integral\u0103. Omul nu renun\u021b\u0103 voluntar la un bun real dec\u00e2t \u00een schimbul unui bun mai mare care s\u0103 vin\u0103. Aceast\u0103 dispozi\u021bie, care \u00eei este natural\u0103, trebuie folosit\u0103 \u0219i aceasta face cre\u0219tinismul. Numai o via\u021b\u0103 infinit\u0103 care implic\u0103 sanc\u021biunile transcendente, pentru a completa \u0219i des\u0103v\u00e2r\u0219i justi\u021bia empiric\u0103 a acestei lumi, poate modifica \u0219i disciplina egoismele \u0219i ambi\u021biile.\u201d (Ibid.<\/em>, p. 617)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/strong>Despre v<\/em>olumul urm\u0103tor, Adev\u0103r \u0219i revela\u021bie<\/em>, recenzat \u0219i de Henri Corbin, a scris un articol \u0219i John H. Hershey \u201eGod, Man, and Dimitrie Draghicesco\u201d\u00a0 In: Humanist (Buffalo, New York) (Published by The American Ethical Union)<\/em><\/strong> v.13 January 1,1953, pp.267-270.)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/em><\/p>\n

\u00a0George Anca<\/p>\n

DE\u00a0 LA\u00a0 DRAGHICESCO LA PU\u0218I<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Deriziune de-ar induce scenometria f\u0103r\u0103 scen\u0103, abia terase pentru pl\u0103ci avatarice, \u0219i tot am trece la coresponden\u021be de prin cursurile lui Pu\u0219i, vezi \u0219i doctoratul meu Baudelaire.<\/p>\n

\u00a0<\/strong><\/p>\n

Correspondances<\/strong><\/p>\n

La Nature est un temple o\u00f9 de vivants piliers
\nLaissent parfois sortir de confuses paroles;
\nL’homme y passe \u00e0 travers des for\u00eats de symboles
\nQui l’observent avec des regards familiers.<\/p>\n

Comme de longs \u00e9chos qui de loin se confondent
\nDans une t\u00e9n\u00e9breuse et profonde unit\u00e9,
\nVaste comme la nuit et comme la clart\u00e9,
\nLes parfums, les couleurs et les sons se r\u00e9pondent.<\/p>\n

II est des parfums frais comme des chairs d’enfants,
\nDoux comme les hautbois, verts comme les prairies,
\n\u2014 Et d’autres, corrompus, riches et triomphants,<\/p>\n

Ayant l’expansion des choses infinies,
\nComme l’ambre, le musc, le benjoin et l’encens,
\nQui chantent les transports de l’esprit et des sens.<\/p>\n

\u2014 Charles Baudelaire\u00a0 <\/em><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pu\u0219i Dinulescu:<\/em><\/p>\n

Aveam \u00een ziua aceea despre \u201eUnghiurile corespon\u00addente”. Adic\u0103 despre axul \u00een care se filmeaz\u0103. Eram \u00een\u00adv\u0103\u0163a\u0163i s\u0103 nu s\u0103rim niciodat\u0103 peste ax, fiindc\u0103 dac\u0103 s\u0103rim peste ax, \u00een montaj, personajul din st\u00e2nga sare-n dreapta, iar personajul din dreapta sare-n st\u00e2nga.<\/p>\n

Un autor francez, al c\u0103rui articol l-am citit eu \u00een Caietele de documentare cinematografic\u0103<\/em>, spune c\u0103 treaba asta cu unghiurile corespondente e ceva elementar, ca \u00een armat\u0103 la disciplina \u201eInstruc\u0163ia de front”, lec\u0163ia des\u00adpre \u201eDrep\u0163i \u015fi pe loc repaus”.<\/p>\n

Tocmai c\u00e2nd profesorul era mai antrenat \u00een expu\u00adnerea sa, intr\u0103 \u00een clasa noastr\u0103 un b\u0103iat de la produc\u0163ie, cu un aer umi1.<\/p>\n

– Ce dore\u015fti? \u00eel \u00eentreab\u0103 profesorul.<\/p>\n

– P\u0103i… m-a trimes de la Decanat s\u0103 v\u0103 spun c\u0103 v\u0103 roag\u0103 s\u0103 termina\u0163i ora cu 10 minute mai devreme, fiindc\u0103 aici va avea loc \u00eent\u00e2lnirea cu Vittorio de Sica.<\/p>\n

At\u00e2t i-a trebuit lui G.V. S-.a ridicat pe v\u00e2rfuri, avea ni\u015fte pantofi negri, bine lustrui\u0163i, \u015fi cu o demnitate vi\u00adbrant\u0103 a strigat:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Du-te, te rog, \u015fi spune-i lui De Sica c\u0103 aici pred\u0103 G.V.!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (din Repetentul)<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Din februarie p\u00e2n\u0103 de Sf\u00e2nta Maria Mare, am tradus zi \u0219i noapte din masive capodopere franceze ale lui D. Draghicesco, spre repatriere. Brusc trecui, picior rupt, la opera\u00a0 robertian\u0103. Doar nu m-o fi pus, cu pre\u021b de desp\u0103r\u021bire european\u0103 cel pu\u021bin,\u00a0 g\u00e2nditorul nostru \u00een colocvii cu Georges Talleyrand sau Helene Vacaresco, dup\u0103 ce-l debarase Maiorescu, ca pe Mure\u0219an \u0219i, zice-se,\u00a0 pe Eminescu. Pu\u0219i e la curent cu retragerea\u00a0 \u00een Dr\u0103ghicescu, are \u00een cas\u0103 Din psihologia poporului rom\u00e2n. <\/em>Se va face \u0219i anul de c\u00e2nd \u00eel evoc\u0103m. Am l\u0103sat scenometria, obiectul teatral liberator de energie numit de teatrem, ca lexem, sexem, st\u0103 brav \u00een curriculumul omului de studiu \u0219i de spectacol (teatru, film). C\u00e2nt\u0103 omul la violoncel sau violoncelul la om? (nu e dodie, e din copilul Dr\u0103ghicescu). \u00centre ei, Einstein? P\u0103i da, Dr\u0103gicescu a fost la College de France c\u00e2nd, ca \u00eentr-o mess\u0103, \u0219i-a rostit acela relativitatea. C\u0103ci Pu\u0219i \u00eel instaleaz\u0103 Dumnezeu \u00een \u00cengerul contabil. <\/em>Tot e un link.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u0103 mai vedem. Nu pot fi doi oameni mai diferi\u021bi. Se \u00eentorc \u00eens\u0103, \u00eenainte-\u00eenapoi, zdruncind spa\u021biu-timp, care pe filosofia istoriei, care pe, ziceam, pl\u0103ci avatarice, de la treizeci \u0219i back la 20 \u0219i, ca pe Nistru (Burlacul<\/em>)\u00a0 iar ultimii zece ani estudiantini (revizita\u021bi euforic, la ce comunism, declarat nul \u2013 s\u0103 fie Pu\u0219i, sub aparen\u021ba ignor\u0103rii, demolator de geniu al bol\u0219evismului prin ceaiurile utopiei lui erotice? Romanul Sfintei Mogo\u0219oaia<\/em>, toate). Apoi, Einstein, la comun, la distan\u021b\u0103, din interbelic \u00een t\u00e2rziu postbelic. \u0218i dac\u0103 Dr\u0103ghicesco este v\u0103zut profet prin mari universit\u0103\u021bi, minus rom\u00e2ne\u0219ti, Pu\u0219i de ce s\u0103 nu se\u00a0 fi g\u00e2ndit totdeauna la leg\u0103tura \u00eentre cosmos \u0219i cosmetic\u0103, la acest mod de a aborda cosmic totul? (Galaxia…<\/em>)<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Marile spirite se \u00eent\u00e2lnesc, iat\u0103, \u00een piciorul meu.<\/p>\n

*<\/p>\n

DUMITRU DR\u0102GHICESCU: Disolu\u021bia literar\u0103 \u0219i artistic\u0103 <\/em>(fragment)<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u00e2nd, cu Richelieu \u0219i Louis XIV, Fran\u021ba a fost definitiv unificat\u0103 \u0219i pacificat\u0103, c\u00e2nd toate tendin\u021bele centrifuge \u2013 at\u00e2t din partea nobililor c\u00e2t \u0219i din cea a provinciilor \u2013 au fost st\u0103p\u00e2nite, sufletul na\u021bional francez s-a unificat, s-a echilibrat \u0219i s-a cristalizat \u00een produc\u021biile cele mai prodigioase pe care le-a cunoscut lumea modern\u0103. Gloriile secolului al \u0219aptesprezecelea francez sunt cele mai mari nume din istoria spiritului modern, cu singura excep\u021bie a celorlalte trei Rena\u0219teri: italian\u0103, cu Dante \u0219i Petrarca, englez\u0103 cu Shakespeare \u0219i Milton, german\u0103 cu Goethe \u0219i Kant.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Echilibrul politic, rezultat al unific\u0103rii \u0219i al centraliz\u0103rii sociale \u0219i politice ale acestui timp, a provocat o activitate intelectual\u0103 f\u0103r\u0103 pereche care s-a cristalizat \u00een operele vremii. Clasicismul lor at\u00e2t de limpede este efectul inevitabil al acestei cristaliz\u0103ri.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Spiritul clasic modern este opera domniei lui Louis XIV. Ea \u00eel reflect\u0103 \u0219i fecunditatea sa domin\u0103 incontestabil produc\u021bia secolelor ulterioare. Corneille, Moli\u00e8re, La Fontaine, Pascal, Racine, Boileau, Bossuet \u0219i F\u00e9nelon nu au deloc pereche. Ei sunt creatorii ideologiei clasice, pe fondul c\u0103reia a tr\u0103it toat\u0103 literatura epocilor \u0219i genera\u021biilor ulterioare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Noi suntem, cu ei, \u00een plin\u0103 perioad\u0103 clasic\u0103 creatoare \u0219i dogmatic\u0103, \u00een care spiritul de analiz\u0103 critic\u0103 nu antameaz\u0103 elanul creator al formelor literare. Este adev\u0103rat c\u0103 \u00een Essais <\/em>de Montaigne \u0219i \u00een opera lui Boileau, spiritul critic sparge \u0219i \u00een acela\u0219i timp afirm\u0103 aceast\u0103 tendin\u021b\u0103 a lui Henry IV c\u0103tre o republic\u0103 cre\u0219tin\u0103 universal\u0103, \u0219i c\u0103 se manifest\u0103 \u0219i se realizeaz\u0103 preponderen\u021ba lui Louis XIV \u00een Europa. Echilibrul statului na\u021bional tindea s\u0103 se rup\u0103 prin dialectica r\u0103zboaielor, \u00een favoarea unui Stat interna\u021bional, pentru a realiza o form\u0103 social\u0103 mai larg\u0103 dec\u00e2t Statul \u0219i, din aceea\u0219i lovitur\u0103, criticismul, dialectica apar \u00een literatur\u0103, care ia o orientare critic\u0103, abstract\u0103 \u0219i filosofic\u0103, cu F\u00e9nelon, Bossuet, Boileau, Fontenelle etc. \u00cen secolul urm\u0103tor, se stabile\u0219te echilibrul \u00eentre tendin\u021ba universalist\u0103 \u0219i Statul na\u021bional; \u0219i naturalmente, ideologia literar\u0103 se resimte. Operele de caracter abstract \u0219i critic, filosofic mai ales, ale unui Voltaire, ale unui Montequieu, ale unui Bigerot \u0219i ale unui Rousseau sunt exact ideologia pe care o cerea aceast\u0103 faz\u0103 de echilibru instabil \u00eentre na\u021biune \u0219i universalism. Elanul ceator al secolului al \u0219aptesprezecelea este diminuat \u0219i \u00eencetinit, literatura acestui secol este critic\u0103, reflexiv\u0103, spiritual\u0103, steril\u0103. Ea are gustul fructelor uscate, spiritul \u00eenlocuind seva.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tendin\u021ba universalist\u0103 a avut v\u00e2rful cu Revolu\u021bia \u0219i Napoleon, dar acest universalism exaspera \u00een acela\u0219i timp sentimentul Statului na\u021bional, care va sf\u00e2r\u0219i prin a triumfa la Restaura\u021bie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Caracterul acestei noi epoci va fi romantismul. Tr\u0103s\u0103turile sale proprii sunt un echilibru relativ, lipsa de m\u0103sur\u0103 \u0219i av\u00e2ntul imagina\u021biei \u00een fine eliberat\u0103 de disciplina ra\u021bionalist\u0103; ad\u0103uga\u021bi un retur nostalgic spre un ev mediu feudal. Opera lui Chateaubriand, a lui Lamartine, dar mai ales aceea a lui Victor Hugo, traduce bine spiritul acestui timp.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Echilibrul fiind stabilit apoi \u00een profitul monarhiei na\u021bionale cu Restaura\u021bia \u0219i monarhia din Iulie, un nou elan creator ia na\u0219tere \u0219i d\u0103 crea\u021bii armonioase \u0219i bogate de Balzac, Musset, George Sand, Stendhal, mai t\u00e2rziu de Flaubert \u0219i de Parnasieni, \u00een care romantismul se eclipseaz\u0103 progresiv \u00een fa\u021ba unei treziri a clasicismului.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe m\u0103sur\u0103 ce evolu\u021bia economic\u0103 accentueaz\u0103 interna\u021bionalismul socialist cu imperialismul lui Napoleon III, avem literatura lui M\u00e9rim\u00e9e, cu, mai t\u00e2rziu, Zola de o parte, Anatol France, Barr\u00e8s \u0219i recent Val\u00e9ry, pe de alta, romancieri psihologici, ca Bourget, Abel Hermant etc. \u00cen naturalismul lui Zola, arta este pe punctul de a se dizolva, dup\u0103 cum \u00een c\u00e2mpul opus, cu simboli\u0219tii, este aproape s\u0103 se evaporeze \u00een incomprehensibil. Abuzul de analiz\u0103 psihologic\u0103, exersat\u0103 at\u00e2t asupra persoanei eroilor, at\u00e2t de unii c\u00e2t \u0219i de ceilal\u021bi, asupra instrumentului expresiv, care sunt cuvintele \u0219i stilul, a pulverizat arta literar\u0103 \u0219i a paralizat elanul creator \u00een concep\u021bia \u0219i expresia subiectelor. \u00cen fapt, simbolismul lui Mallarm\u00e9, care se atenueaz\u0103 mult la Paul Val\u00e9ry, ce este, dac\u0103 nu disocia\u021bia complet\u0103 a formei \u0219i a fondului \u0219i concentrarea \u00eentregii aten\u021bii asupra formei, mai exact asupra mijloacelor de expresie care sunt cuvintele? (1). Toat\u0103 arta literar\u0103 se reduce la a alege cuvintele cele mai expresive \u0219i muzicale, cele mai noi, \u0219i a le pune \u00een valoare prin combina\u021bii insolite, de sintax\u0103, uneori de simpl\u0103 tipografie, \u0219i a le da o semnifica\u021bie artificial\u0103 voit\u0103: esoteric\u0103. Se ajunge astfel a se neglija total fondul \u0219i de a nu face dec\u00e2t un pretext pentru arhitectura verbal\u0103 sonor\u0103 \u0219i ritmic\u0103 pe care vrea s-o construiasc\u0103, \u0219i care va fi liter\u0103 moart\u0103 pentru publicul profan. Aceea\u0219i disocia\u021bie complet\u0103 a formei \u0219i a fondului ne va da \u00een pictur\u0103, cum o s\u0103 vedem, cubismul. \u00cen realitate, simbolismul a fost precursorul, echivalentul literar anticipat, al cubismului plastic de ast\u0103zi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Elanul creator declin\u0103, iar literatura ia din nou alura critic\u0103 \u0219i filosofic\u0103 de un intelectualism steril, ca aceea din secolul al optsprezecelea. Povestirile \u00eenc\u00e2nt\u0103toare pe care le scrie Anatole France fac impresia acestor scene spirituale de cinema, \u00een desene schematice \u0219i abstracte, unde lipsesc culoarea \u0219i seva viguroas\u0103 de care opera unui Balzac debordeaz\u0103. Literatura modern\u0103 se intelectualizeaz\u0103 \u00een exces cu romancierii \u0219i poe\u021bii recen\u021bi, crea\u021bia se dizolv\u0103 \u00een spiritul analizei psihologice la Proust, care ni se pare c\u0103 \u00eempinge la extrem\u0103 maniera lui Bourget. Pe de alt\u0103 parte, cu Paul Morand, arta literar\u0103, abuz\u00e2nd de sintez\u0103, risc\u0103 s\u0103 se reduc\u0103 la simple indica\u021bii telegrafice. Dac\u0103 ace\u0219ti doi scriitori sunt printre cei mai reprezentativi ai acestei \u021b\u0103ri, este sigur c\u0103 evolu\u021bia literaturii a ajuns cu ei la un sort de disolu\u021bie a acestei arte \u0219i la epuizarea for\u021bei sale creatoare. \u0218i, \u00een fapt, arta lui Proust ne pare cea mai caracteristic\u0103. \u00cen romanele sale, analiza deja excesiv\u0103 la Bourget, este condus\u0103 p\u00e2n\u0103 la absurd. Orice s-ar crede, acest autor vede personajele sale nu la telescop, ci la microscop. V\u0103zut la microscop, obiectul dispare sub infinitatea detaliilor \u0219i o bun\u0103 parte a scrierilor lungi \u0219i compacte ale lui Proust nu \u00eembr\u0103\u021bi\u0219eaz\u0103 dec\u00e2t c\u00e2teva ore ale vie\u021bii eroilor s\u0103i. A\u0219a cum se ajunge la \u0219tiin\u021ba care dizolv\u0103 obiectele prin analiza integral\u0103, analiza psihologic\u0103 distruge personajele romanelor \u0219i arta le\u0219in\u0103 \u00een acela\u0219i timp cu eroii s\u0103i.<\/p>\n<\/div>\n

\n

*<\/p>\n

PU\u0218I\u00a0 DINULESCU<\/p>\n

ROMAN DE FAMILIE<\/strong><\/p>\n

Georgescu s-a dus la local cu nevasta \u015fi cumnata. E \u00een concediu. El prime\u015fte pe lun\u0103 circa dou\u0103 mii trei sute de lei, fix prime\u015fte dou\u0103 mii dou\u0103 sute nou\u0103zeci \u015fi doi de lei.<\/p>\n

Lu\u00e2nd \u015fi banii pe concediu, Georgescu a ridicat de la casierie dou\u0103 mii \u015fase sute patruzeci \u015fi cinci de lei, fiindc\u0103 s-a \u00eent\u00e2lnit pe coridor cu doamna Lucaci, de la sindicat, care i-a cerut cotiza\u0163ia pe trei chenzine, adic\u0103 treizeci \u015fi \u015fase de lei. Georgescu i-a dat deci din cei dou\u0103 mii \u015fase sute nou\u0103zeci, treizeci \u015fi \u015fase de lei, r\u0103m\u00e2n\u00e2nd cu dou\u0103 mii \u015fase sute cincizeci \u015fi patru de lei.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Din care \u015fi-a cur\u0103\u0163at un costum gri, o c\u0103ma\u015f\u0103 alb\u0103 reiat\u0103 \u015fi-o cravat\u0103 bordo. Nevasta e \u00eens\u0103rcinat\u0103 \u015fi Georgescu are mult\u0103 b\u0103taie de cap. \u015ei-a f\u0103cut formele pentru mobil\u0103 \u00een rate \u015fi str\u00e2nge bani pentru apartament.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum, \u00een diminea\u0163a aceasta de 17 mai, Georgescu a luat-o pe nevast\u0103-sa, care se simte mai bine \u015fi pe cumnat\u0103, \u015fi-n aceast\u0103 diminea\u0163\u0103 s-au oprit la bufetul \u201eUnirea\u201d \u015fi-au cerut o sticl\u0103 de trei sferturi de dou\u0103zeci \u015fi opt, vin excelent, pe care Georgescu l-a recomandat \u015fi lui Manoilescu, fostul lui coleg de serviciu, acum la pensie, de luna trecut\u0103, care s-a a\u015fezat la masa de l\u00e2ng\u0103. Mici pufo\u015fi cu crust\u0103 tare, nu po\u0163i s\u0103-i tai cu furculi\u0163a, ai nevoie neap\u0103rat de cu\u0163it, \u00eei face foarte buni grataragioaica, una, Frusina, vecin\u0103 de cartier a lui Georgescu, pe care el o cunoa\u015fte de cincisprezece ani, de la un v\u0103r, care era gata-gata s-o ia atunci, dar pe urm\u0103 v\u0103rul a fost la penitenciar c\u0103 a avut proces de la o chestie, un fel de moar\u0103, pe care o exploata f\u0103r\u0103 autoriza\u0163ie \u015fi de la o fabric\u0103 de lumin\u0103ri, la care colabora cu unul, Gic\u0103 Stoian, cu care se \u00eemprietenise,\u00a0 dar el nu \u015ftia adev\u0103rul legal \u015fi de la Stoian i se-nt\u00e2mpla acum, de\u015fi at\u00e2t Stoian c\u00e2t \u015fi el, deci am\u00e2ndoi au fost condamna\u0163i \u015fi v\u0103rul lui Georgescu atunci nu s-a mai cununat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Situa\u0163ia e deci complex\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Situa\u0163ia e-n general complex\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u015fa e-n via\u0163\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar via\u0163a trebuie tr\u0103it\u0103, \u00een toat\u0103 complexitatea ei, a\u015fa cum cer to\u0163i teoreticienii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Deci Georgescu s-a dus cu nevasta \u015fi cumnata la acel bufet din cartier.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era dimine\u0163\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era frumos.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soarele str\u0103lucea magnific. Era magnific ca o magnolie. Ce mai!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era \u00een mai.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Concediul lui Georgescu deci s-a desf\u0103\u015furat \u00een mai, parte \u00een mai, parte \u00een iunie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A prins cire\u015fele \u00een acest concediu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei c\u0103p\u015funile.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar \u00een diminea\u0163a frumoas\u0103, c\u00e2nd m\u00e2nca mici \u015fi bea bere \u00een bufetul acela din cartier cu nevasta \u015fi cumnata, s-a sim\u0163it bine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Chiar foarte bine.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Georgescu era un om ca de 45 de ani. \u015ei era un om fundamental.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apoi din iunie s-a dus iar la serviciu \u015fi apoi nevasta i-a n\u0103scut copilul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar cumnata, \u00een v\u00e2rst\u0103 de 38 de ani, e tot nem\u0103ritat\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Biata fat\u0103!<\/p>\n

Dar peste 2 ani a g\u0103sit \u015fi ea un b\u0103iat de vreo 46 de ani, cu care, dup\u0103 ce a tr\u0103it o vreme, s-a c\u0103s\u0103torit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum tipul avea 48 de ani \u015fi ea 42. \u015ei n-au mai apucat s\u0103 fac\u0103 \u015fi un copil. Dar se g\u00e2ndiser\u0103 la un moment dat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar c\u0103tre sf\u00e2r\u015fitul vie\u0163ii, c\u00e2nd el avea 62 de ani \u015fi ea 56, au adoptat un copil.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Astfel au reu\u015fit s\u0103 intre-n batr\u00e2ne\u0163e cu oarecare bucurie. Abia ie\u015fiser\u0103 am\u00e2ndoi la pensie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei au apucat chiar s\u0103-l vad\u0103 pe b\u0103iat \u0219i la 20 de ani, fiindc\u0103 au tr\u0103it am\u00e2ndoi destul de mult, dealtfel ca \u015fi Georgescu \u015fi nevasta, care \u015fi ei au tr\u0103it mult.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar fata lui Georgescu, de-abia c\u00e2nd a ajuns destul de mult matur\u0103, s-a m\u0103ritat cu fiul adoptiv al cumnatei lui Georgescu, un fapt ie\u015fit oarecum din comun, dar numai \u00een aparen\u0163\u0103 ie\u015fit din comun, fiindc\u0103 \u00een ciuda diferen\u0163ei de v\u00e2rst\u0103, s-au \u00een\u0163eles foarte bine \u015fi cu toate c\u0103 b\u0103iatul cumnatei lui Georgescu era foarte t\u00e2n\u0103r, scandalos de t\u00e2n\u0103r \u015fi cur\u00e2nd dup\u0103 aia au murit la intervale mici \u015fi Georgescu \u015fi nevast\u0103-sa \u015fi cumnata lui Georgescu \u015fi so\u0163ul acestei cumnate.<\/p>\n

Dar cei doi care-au r\u0103mas n-au reu\u015fit s\u0103 fac\u0103 \u015fi ei copii \u015fi astfel familia s-a stins.<\/p>\n

DUMITRU DR\u0102GHICESCU<\/p>\n

\u00a0\u00a0 <\/em>Magie \u0219i poezie.<\/em> – <\/em>Dorin\u021ba uman\u0103 de atotputernicie se poate satisface egalmente prin arta, legenda \u0219i fic\u021biunile poetice. Spiritul omului \u00ee\u0219i ia revan\u0219a contra e\u0219ecurilor <\/em>\u0219i dezmin\u021birilor\u00a0 pe care i le-a <\/em>\u00a0m\u0103ciucit lumea exterioar\u0103 cre\u00e2nd prin arta \u0219i fic\u021biunile poetice \u0219i literare o lume supl\u0103 \u0219i docil\u0103 al\u0103turi de lumea obiectiv\u0103 recalcitrant\u0103. Dar pe m\u0103sur\u0103 ce magia a evoluat spre observa\u021bia \u0219tiin\u021bific\u0103 \u0219i omul a \u00eenceput s\u0103 degaje din obesrva\u021biile \u0219i experien\u021bele sale regulile logice \u0219i legile naturii, \u00een m\u0103sura \u00een care aceste reguli au disciplinat con\u0219tiin\u021bele, magia se v\u0103zu \u00eenlocuit\u0103 de \u0219tiin\u021b\u0103. Ea s-a rezervat atunci exclusiv domeniului vecin al fic\u021biunii, adic\u0103 cel al poeziei, legendei \u0219i artei.\u00a0 Al\u0103turi de lumea exterioar\u0103,, ea a creat lumea fic\u021biunii \u021bi a artei. Atotputernicia care \u00eei era interzis\u0103, acolo, omul \u0219i-o d\u0103ruie \u00een \u00eentregime aici. \u00cen fic\u021biunea poeziei \u0219i a artei, omul s-a comportat \u0219i se comport\u00ee mereu ca un Dumnezeu; for\u021ba sa creatoare este aici ilimitat\u0103, suveran\u0103. Aici spiritul este creator \u0219i \u00eentruc\u00e2t este creator este precum Dumnezeu. Poezia, arta \u00een general, literatura cultivat\u0103, romanul timpurilor moderne sunt probe c\u0103 omul chiar cultivat, al\u0103turi de real, care este menit a fi opera unui Dumnezeu atotputernic, o oper\u0103 a naturii, a creat un real diferit, inedit, un real care difer\u0103 de cel al realit\u0103\u021bii propriu-zise care este ceea ce omul ar fi vrut, \u0219i-ar fi dorit s\u0103 fi foat. \u00cen domeniul fic\u021biunii, omul este \u00eentr-adev\u0103r atotputernic precum un Dumnezeu \u0219i el continu\u0103 s\u0103 manifeste alura unui Dumnezeu confirm\u00e2nd astfel existen\u021ba \u00een el a unei predispozi\u021bii de a realiza divinul. Religiile \u0219i revela\u021biile lor sunt la acest subiect mai veridice dec\u00e2t unele teze \u0219tiin\u021bifice \u0219i ipoteze metafizice. Miturile \u0219i legendele, forma primordial\u0103 a istoriei, povestesc istoria idealizat\u0103, flatat\u0103, deci nu a\u0219a cum a fost ea ci mai de grab\u0103 a\u0219a cum i-ar fi pl\u0103cut s\u0103 fi fost. \u00cen poezia liric\u0103, epic\u0103 \u0219i dramatic\u0103, incidentele vie\u021bii reale sunt reluate, elaborate \u0219i poetizate. Cu progresul culturii, poezia, romanul, teatrul, ca \u0219i toate artele devin mijloace prin care se manifest\u0103 for\u021ba creatoare a spiritului. \u00cen art\u0103, omul creeaz\u0103 precum Dumnezeu, ref\u0103c\u00e2nd dup\u0103 placul s\u0103u realitatea dat\u0103. Astfel se revel\u0103 ceea ce este \u00een el divin, d\u00e2r\u0103 sau virtualitate a lui Dumnezeu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La fel de bine, poezia, arta \u0219i literatura \u00een general au conservat intact patrimoniul metodelor \u0219i mijloacelor prelogice <\/em>ale mentalit\u0103\u021bii primitive, \u0219i cu siguran\u021b\u0103 aici se afl\u0103 farmecul \u0219i seduc\u021bia pe care o exerseaz\u0103 opera de fic\u021biune ast\u0103zi \u0219i o va exersa totdeauna asupra spiritelor, chiar \u0219i a celor mai pozitiviste \u0219i ra\u021bionaliste. Poezia va fi \u00eentotdeauna supapa de siguran\u021b\u0103 a spiritului comprimat de logica riguroas\u0103 sau de rezisten\u021bele pe care lumea obiectiv\u0103 le opune aspira\u021biilor noastre.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Opera lui Dumnezeu sau a naturii, lumea exterioar\u0103 este deci cur\u00e2nd dublat\u0103 de o lume supranatural\u0103, artistic\u0103 care este replica sa. C\u0103ci dac\u0103 arta \u0219i fic\u021biunea poeziei creeaz\u0103 o lume fictiv\u0103 al\u0103turi de realitate, ele nu fac dec\u00e2t s\u0103 elaboreze datele lumii reale, imprim\u00e2ndu-le turnura care place sufletului, care este cerut\u0103 de aspira\u021biile profunde ale armoniei, frumuse\u021bii, fericirii \u0219i atotputerniciei.<\/p>\n

*<\/p>\n

PU\u0218I\u00a0 DINULESCU<\/p>\n

POVESTE CU MONIC<\/strong>A<\/strong><\/p>\n

(Fragment)<\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen 1963 b\u0103rba\u0163ii purtau pantofi ascu\u0163i\u0163i \u015fi c\u0103m\u0103\u015fi de nailon.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pentru femeie moda de var\u0103 recomanda \u00een croial\u0103 o tendin\u0163\u0103 discret\u0103 de evazare jos \u015fi o linie curg\u0103toare la partea de sus, marc\u00e2nd u\u015for talia. Decolteul \u015fi umerii trebuiau s\u0103 fie c\u00e2t mai degaja\u0163i.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe l\u00e2ng\u0103 \u0163es\u0103turile de c\u00e2nep\u0103 \u015fi in se mai purtau buretul, olanda, stamba \u015fi bine\u00een\u0163eles m\u0103tasea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram cu Monica pe strada Polon\u0103 din Bucure\u015fti.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Casele pe aceast\u0103 strad\u0103 au cur\u0163i tradi\u0163ionale, cu zorele ag\u0103\u0163ate peste burlane, sunt \u00een general f\u0103r\u0103 etaj, dau direct \u00een strad\u0103, iar cur\u0163ile stau \u00een coasta lor. Sunt porturi atunci casele sau rampe sau factorii ale cur\u0163ilor.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Se sim\u0163ea un miros de regina-nop\u0163ii \u015fi un iz special de gunoi. \u00cen capul meu amestecul tr\u0103snea de extaz, se zv\u00e2rcolea \u00eentr-o sc\u00e2rb\u0103 u\u015foar\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Sunau greierii.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monica era singurul greiere care \u0219tia italiene\u0219te:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Le nostre labbra inaridite…<\/em><\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Buzele noastre uscate, traduceam eu \u00een g\u00e2nd.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monica tot c\u00e2nta, f\u0103cea piruete mari, o a\u015fteptam \u015fi Monica tot c\u00e2nta.<\/p>\n

\u00cen fa\u0163a unei case, ne-am oprit. Pe treapta de piatr\u0103, care intra-n asfalt, Monica s-a ridicat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Le nostre labbra inaridiet<\/em>… a \u015foptit ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am f\u0103cut un pas, m-am ridicat pe v\u00e2rfuri, v\u00e2ntul s-aspart de-o cas\u0103, Monica a l\u0103sat b\u0103rbia-n piept, greierii sunau, buzele mele i-atinser\u0103 fruntea, rece ca o icoan\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 L\u00e2ng\u0103 noi era un atelier mecanic, pu\u0163in mai \u00eencolo o firm\u0103 particular\u0103 invita la remaiat ciorapi.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O pas\u0103re r\u0103cnea \u00een ramuri, greierii turbau.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monica era zvelt\u0103 \u015fi lung\u0103, era un pai, c\u0103ma\u015fa mea alb\u0103, de nailon, flutura. M\u00e2necile pocnite de v\u00e2nt, \u00een serii dese, \u00eei atacau rochia.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Din cur\u0163i miresme de regina-nop\u0163ii se ridicau tari, lene\u015fe, ame\u0163itoare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am l\u0103sat-o pe Monica, m-am \u00eentors brusc \u015fi m-am dus aplecat, n-am mai schimbat nici o vorb\u0103, capul meu era \u00eenfipt, parc\u0103 m\u0103 lovise o sap\u0103, Monica poate a\u015ftepta un cuv\u00e2nt de r\u0103mas bun, eram \u00eentr-un col\u0163 de-ntuneric, m-am oprit.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u015f fi vrut s\u0103 v\u0103d bine casa, dar nu… asta nu… mi-am zis… nu trebuie, s-ar putea s\u0103 fiu descoperit, ce-a\u015f mai avea de zis?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen 1967 Mangalia. O braserie pe malul m\u0103rii, alb\u0103 ca un vapor. Fumam \u015fi a\u015fteptam chelnerul \u015fi deodt\u0103 am s\u0103rit de la mas\u0103, am urcat sc\u0103rile, am v\u0103zut-o rezemat\u0103 de balustrad\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monica privea plaja, sta cu capul aplecat, eu aveam senza\u0163ia c\u0103 totul e o curs\u0103, mi se zb\u00e2rlise p\u0103rul. Auzeam uruitul m\u0103rii \u015fi muzica de la tonomat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cenaintam, cu bra\u0163ele-ncordate, cu g\u00e2tul \u00een\u0163epenit, nu puteam s\u0103-mi st\u0103p\u00e2nesc z\u00e2mbetul, n\u0103t\u00e2ng, de circumstan\u0163\u0103 \u015fi-n jurul nostru era o mul\u0163ime de lume, era circa ora nou\u0103, marea izbucnea pe plaja de sub noi ca un imens butoi de \u015fampanie \u015fi luna era un fanion \u00eenghe\u0163at, eu \u00eenaintam, prin bra\u0163e-mi treceau acele amor\u0163elii, nu mai aveam s\u00e2nge, venisem de fapt la Mangalia s\u0103 m\u0103n\u00e2nc, \u015fedeam \u00eentr-un sat, la 2 Mai, \u015fi venisem aici \u00een plimbare.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I-am spus asta.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am vorbit despre frumuse\u0163ea m\u0103rii \u015fi \u00eent\u00e2mplarea de-a ne \u00eent\u00e2lni…<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015etiam c-ai s\u0103 vii, a spus Monica.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eu nu \u015ftiam, am r\u00e2s eu.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ba \u015ftiai.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Muzica de la tonomat se-ntret\u0103ia cu vorbele noastre. Lumea cobora-n braserie, trecea prin dreptul emblemei cu tridentul lui Neptun \u015fi se pierdea \u00eentre mesele-nghesuite, pline de oameni veseli \u015fi noi eram veseli \u015fi Monica, trec\u00e2ndu-\u015fi m\u00e2na prin p\u0103r, \u00eemi \u015fopti:<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poate ne vedem m\u00e2ine. Vrei?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Palma mea str\u00e2ngea metalul barei, \u00eei sim\u0163eam r\u0103ceala furioas\u0103, r\u0103ceala turbat\u0103 a lunii \u015fi ea, luna, \u00eencepu s\u0103 se scurg\u0103, cu ghea\u0163a topit\u0103 de tot sufletul meu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Ascult\u0103, mai zise Monica, ast\u0103-sear\u0103 sunt cu un grup mai mare, cu c\u00e2teva doctori\u0163e \u015fi o prieten\u0103, nu te pot invita la masa noastr\u0103. M\u00e2ine diminea\u0163\u0103 mergem spre sud, la nudism, iar nu te pot invita, a r\u00e2s ea. Dar s-ar putea s\u0103 plec m\u00e2ine la pr\u00e2nz, totul deprinde de ni\u015fte bani. Noteaz\u0103 totu\u015fi adresa. Vino m\u00e2ine dup\u0103 mas\u0103 la \u015fase, poate n-am s\u0103 plec.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Ce bine-mi pare c\u0103 te-am \u00eent\u00e2lnit, am spus eu, not\u00e2nd pe buletinul de identitate adresa ei din Mangalia, de l\u00e2ng\u0103 Po\u015ft\u0103.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Eram sigur c\u0103 e\u015fti \u00een Mangalia, am continuat.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei eu eram sigur\u0103 c-ai s\u0103 vii, spuse Monica.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 De fapt ne-nt\u00e2lnisem \u00eent\u00e2mpl\u0103tor cu dou\u0103 luni \u00eenurm\u0103, Monica era cu o prieten\u0103 la Cofet\u0103ria Universit\u0103\u0163ii din Bucure\u015fti \u015fi eu venisem cu ni\u015fte prieteni, am stat de vorb\u0103 \u00een treac\u0103t, mi-a zis c-o s\u0103 vin\u0103 la mare, la Mangalia.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum, intr\u00e2nd \u00een \u201eNeptun\u201d, aveam o vag\u0103 speran\u0163\u0103, nu credeam \u00eens\u0103 \u015fi iat\u0103 totul se-mplinea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Te-am v\u0103zut, a spus Monica, \u015fi am alergat \u00een direc\u0163ia unde-ai disp\u0103rut.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Bine, am spus eu, am s\u0103 te caut m\u00e2ine la \u015fase.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Am cobor\u00e2t sc\u0103rile, friptura \u00eemi venise, era o friptur\u0103de porc, cu urma gr\u0103tarului pe ea, cu destul suc, am b\u0103ut \u015fi-o bere.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe Monica am cunoscut-o \u00een 1963, la trei zile dup\u0103 liberarea mea din armat\u0103, la ceaiul organizat cu prilejul \u00eentoarcerii, \u00een seara de 18 august.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen calitate de gazd\u0103, eram foarte ocupat cu repartizarea b\u0103uturii \u015fi c\u00e2nd mi se atrase aten\u0163ia c\u0103 Monica se uit\u0103 la mine cu insisten\u0163\u0103 \u015fi interes, m-am dus la ea \u015fi am invitat-o la dans.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C\u00e2nta Un tango italiano<\/em>. Monica era \u00eentr-o rochie albastr\u0103, o fat\u0103 sub\u0163ire \u015fi \u00eenalt\u0103, cu p\u0103rul castaniu, potrivit de scurt \u015fi ochii maro-deschis, mai mult galbeni.<\/p>\n

\u00a0 C\u00e2nd am invitat-o, sta rezemat\u0103 de u\u015fa care desp\u0103r\u0163ea cele dou\u0103 camere \u00een care se dansa.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 M-am \u00eenclinat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Pe-afar\u0103, v\u00e2ntul se leg\u0103na ca o maimu\u0163\u0103, se da \u00een copaci \u015fi Milva, c\u00e2nt\u0103rea\u0163a la ordinea zilei, vorbea de un dulce tango, un tango italiano \u015fi Monica-n bra\u0163ele mele f\u00e2lf\u00e2ia ca un drapel, cu rochia albastru-nchis ca cerneala.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – Semeni cu cineva… a spus ea deodat\u0103 privindu-m\u0103n ochi.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei nu vrei s\u0103 spui cu cine… am z\u00e2mbit eu.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ce z\u00e2mbet minunat aveam, obrazul meu se desf\u0103cea,a\u015fa rubicond cum era, \u015fi se transforma \u00eentr-un splendid hexaedru, iar Monica r\u0103spunse c-un z\u00e2mbet discret al buzelor, parc\u0103 se ferea de-o libelul\u0103 \u015fi ochii-i erau ca frunza de toamn\u0103, cu nuan\u0163e de galben, roz, verde, portocaliu \u015fi maro.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ba da, am s\u0103-\u0163i spun, se l\u0103s\u0103 ea moale.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Monica avea aerul c\u0103 dest\u0103inuie un secret, un secret\u00a0 dep\u0103\u015find puterea obi\u015fnuit\u0103 de-n\u0163elegere. Avea pentru asta nevoie de lini\u015fte. Glasul ei, timbrat ca o viol\u0103, f\u0103cea mari pauze, vorbele se suspendau \u015fi g\u00e2ndurile balansau \u00een toat\u0103 suspensia ca ni\u015fte infuzori.<\/p>\n

–\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Quel dolce tango!<\/em> striga Milva.<\/p>\n

DUMITRU DR\u0102GHICESCU:<\/p>\n

Legea celor trei st\u0103ri. <\/em>\u00a0<\/em>–\u00a0 Cert, legea celor trei st\u0103ri a lui Comte este legea activit\u0103\u021bii spiritului; ea devoaleaz\u0103 \u0219i exprim\u0103 foarte clar trei func\u021biuni sau atitudini ale spiritului \u0219i succesiunea lor obi\u0219nuit\u0103. Dar aplicarea pe care o face Comte este confuz\u0103 \u0219i arbitrar\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 F\u0103r\u0103 \u00eendoial\u0103, faza pozitivist\u0103, metoda pozitiv\u0103 este util\u0103 \u00een \u0219tiin\u021bele naturale. Dar deasupra\u00a0 domniei naturii propriu-zise, material\u0103 \u0219i vital\u0103, exist\u0103 domnia social\u0103 \u0219i moral\u0103, cea a istoriei, domnia lucrurilor \u00een mi\u0219care. Aici terenul este fugitiv sub picioarele savantului. Cum s\u0103 g\u0103se\u0219ti secven\u021be stabile \u00een regnul instabilit\u0103\u021bii; cum s\u0103 induci ceea ce va fi dup\u0103 ceea ce este \u0219i fu, atunci c\u00e2nd ceea ce este \u0219i fu, precizamente pentru c\u0103 este \u0219i fu, pierde fiecare zi dreptul de a fi \u00eenc\u0103? Aceasta este domnia incertului, a probabilului, a contestabilului, a contradictoriului; este deci domnia metafizicii, cu toate defectele pe care le descrie Comte. Cuv\u00e2ntul zice bine lucrul pe care-l desemneaz\u0103, pentru c\u0103 regnul social, moral, nu este fizic, material, fiziologic; el este, \u00eentr-un sens, dar nu se reduce la acesta; ele se suprapune fizicului \u0219i vitalului, fiziologicului, \u0219i este \u00een consecin\u021b\u0103 suprafizic sau metafizic. Numai c\u0103, defectele ce se repro\u0219az\u0103 metafizicii sunt inerente realit\u0103\u021bii \u00eense\u0219i c\u0103reia ea \u00eei este \u0219tiin\u021b\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dac\u0103 metafizica este \u0219tiin\u021ba realit\u0103\u021bilor morale \u0219i spirituale, a societ\u0103\u021bii \u0219i a evolu\u021biei sale a\u0219a cum se poate observa \u00eentr-un interval de timp mai mult sau mai pu\u021bin lung, atunci c\u00e2nd este vorba de destinul omului, \u00eentr-un viitor foarte \u00eendep\u0103rtat, metafizica se eclipseaz\u0103 de la sine \u0219i las\u0103 locul liber experien\u021bei, credin\u021bei, care nu este dec\u00e2t speran\u021ba transformat\u0103 \u00een \u00eencredere sau credin\u021b\u0103 colectiv\u0103, prin majorarea gradual\u0103 a speran\u021bei, aceasta nef\u0103c\u00e2nd de altfel dec\u00e2t s\u0103 exprime dorin\u021bele cele mai profunde \u0219i ineluctabile ale sufletului uman.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gre\u0219eala lui Auguste Comte a fost de a g\u00e2ndi c\u0103 sunt aici trei faze evolutive ale spiritului care se urmeaz\u0103 \u0219i se \u00eenlocuiesc. Ele apar, \u00een fapt, pentru explicarea \u0219tiin\u021bific\u0103 a naturii, \u00een ordinea indicat\u0103 de el: teologie, metafizic\u0103, \u0219tiin\u021be pozitive. \u00cen domeniul lumii organice \u0219i inorganice metafizica substituindu-se progresiv teologiei \u0219i \u0219tiin\u021bei pozitive a metafizicii, aceasa va fi etapa final\u0103 a acestei evolu\u021bii, izgonind \u0219i \u0219terg\u00e2nd pe totdeauna metafizica \u0219i teologia. Dar, c\u00e2t despre \u0219tiin\u021ba lumii morale \u0219i sociale, pozitivismul este cea mai rea eroare, \u0219i cea mai formidabil\u0103 dezmin\u021bire este Comte \u00eensu\u0219i care a oferit-o prin religia sa, care a fost reu\u0219ita sociologiei sale. Legea celor trei st\u0103ri, exact\u0103 \u0219i fundamental\u0103 \u00eentru c\u00e2t fixeaz\u0103 cele trei faze ale spiritului uman, este tot ce exist\u0103 mai fals atunci c\u00e2nd se pretinde c\u0103, peste tot, cele trei st\u0103ri se \u00eenlocuiesc \u00een ordinea indicat\u0103.\u00a0 Ele nu se \u00eenlocuiesc, se acumuleaz\u0103 \u0219i coexist\u0103; \u0219i, departe de a se contrazice, ele se confirm\u0103, \u00een fond, chiar \u0219i atunci c\u00e2nd par a se contrazice \u0219i exclude. Nu numai c\u0103 ele nu se exclud, dar se dezvolt\u0103 solidar, fiecare \u00eentr-unul din cele trei regnuri ale realit\u0103\u021bii, conspir\u0103 \u0219i converg spre acela\u0219i scop. – Cercet\u0103rile noastre, \u00een ansamblul lor, vor face a se vedea cum \u0219i de ce ele se completeaz\u0103. \u0218tiin\u021ba naturii va fi pozitiv\u0103, sigur\u0103 \u0219i exact\u0103; \u0219tiin\u021ba naturii spirituale a omului va fi contradictorie, pu\u021bin sigur\u0103 \u0219i pu\u021bin exact\u0103, ca toat\u0103 metafizica \u0219i ca toat\u0103 filosofia; \u0219i, \u00een fine, \u0219tiin\u021ba destinului va fi credin\u021b\u0103 \u0219i religie, adic\u0103 teologie.<\/p>\n

*<\/p>\n

PU\u0218I\u00a0 DINULESCU<\/p>\n

\u00a0CUM S-A TERMINAT TOTUL<\/strong> <\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mereu aveam impresia c\u0103 se termin\u0103 totul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar mereu g\u0103seam resurse \u015fi puteam s\u0103 continui.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 O iubire e ca o via\u0163\u0103. Nu \u015ftii niciodat\u0103 c\u00e2nd se sf\u00e2r\u015fe\u015fte. Dar se sf\u00e2r\u015fe\u015fte la un moment dat exact ca o via\u0163\u0103.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei iat\u0103 cum s-a sf\u00e2r\u015fit iubirea mea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 V. H. tocmai termina facultatea. Avea g\u00e2ndurile ei, bine\u00een\u0163eles. Dar \u00een primul r\u00e2nd ea \u015ftia c\u0103 trebuie s\u0103 dea \u00eenapoi c\u0103r\u0163ile pe care le-mprumutase de la bibliotec\u0103. Altfel nu-i eliberau nu \u015ftiu ce.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Una din c\u0103r\u0163i era la mine. Mi-a cerut-o impulsiv. Nu i-o puteam da imediat. Era la altcineva, de care aveam mare nevoie \u015fi trebuia s\u0103 mai treac\u0103 pu\u0163in timp. Ea era la curent cu totul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mi-a dat telefon \u015fi mi-a cerut imperios cartea. I-am explicat extrem de logic:<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Draga mea, a\u015fteapt\u0103 dou\u0103-trei zile, nu pot s\u0103 i-o cer chiar acum, tu \u015ftii ce treab\u0103 important\u0103 avem.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u015etiu, dar trebuie s\u0103-mi dai imediat cartea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Dar n-am cum.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Trebuie.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 \u00cen\u0163elege, draga mea, nu am cum, a\u015fteapt\u0103 dou\u0103-trei zile.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Nu a\u015ftept nici un minut. Te rog s\u0103 mi-o dai imediat!<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Toat\u0103 discu\u0163ia se desf\u0103\u015fura la telefon.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Atunci i-am \u00eenchis telefonul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Ea m-a sunat imediat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 De ce-ai \u00eenchis telefonul?<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I-am \u00eenchis din nou telefonul.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar a sunat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2013 Cum ai putut s\u0103-mi \u00eenchizi mie telefo\u2026<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar i-am \u00eenchis.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 N-a mai sunat.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Peste dou\u0103-trei zile m-am dus eu la bibliotec\u0103 \u015fi am dat cartea \u00eenapoi pentru ea.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0<\/strong><\/p>\n

    \n
  1. \n

    DRAGHICESCO: Disolu\u021bia dogmatismului \u0219tiin\u021bei <\/em>(fragment)<\/p>\n<\/li>\n<\/ol>\n

     <\/p>\n

    Fapt este c\u0103 concep\u021bia relativist\u0103, dup\u0103 ce a reu\u0219it s\u0103 dizolve materia, realitatea fizic\u0103 \u0219i spa\u021biul euclidian \u0219i timpul, face un prodigios retur asupra ei \u00eense\u0219i \u0219i declar\u0103: \u201ePrincipiul relativit\u0103\u021bii este, la drept vorbind, cel al non-relativit\u0103\u021bii realului; el cere ca realul s\u0103 r\u0103m\u00e2n\u0103, \u00een ce prive\u0219te modific\u0103rile anvizajate din punct de vedere al sistemului de m\u0103sur\u0103, \u00eentr-o form\u0103 imuabil\u0103, care s\u0103 fie invariant\u0103 \u00een privin\u021ba transform\u0103rii lui Lorentz (1).\u201d Cei care au putut gre\u0219i \u0219i confunda \u00a0relativismul lui Einstein cu cel al lui Protagoras, care au reluat filosofii germani Gilthey, Simmel, se g\u0103sesc dezmin\u021bi\u021bi de relativi\u0219tii pentru care teoria este o reac\u021bie contra doctrinei care vrea ca omul, adic\u0103 punctul s\u0103u de vedere, sistemul s\u0103u de referin\u021be s\u0103 fie presupus a fi m\u0103sura tuturor lucrurilor.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 La drept vorbind, relativismul, \u00een pofida numelui s\u0103u, este o foarte bogat\u0103 reac\u021bie contra disolu\u021biei \u0219tiin\u021bei, recunoscut\u0103 \u00een aceast\u0103 manier\u0103 a concep\u021biei pe care o \u00eemp\u0103rt\u0103\u0219e\u0219te \u0219i marele Poincar\u00e9, anume c\u0103 teoria \u0219tiin\u021bific\u0103 nu trebuie s\u0103 caute dec\u00e2t economia g\u00e2ndirii \u0219i nu adev\u0103rul. Eddington, citat de Meyerson, \u201enu abandoneaz\u0103 aceast\u0103 speran\u021b\u0103 c\u0103 teoria ne conduce de la e\u0219aloane insensibile p\u00e2n\u0103 la veritatea universal\u0103\u201d \u0219i c\u0103 \u201efizicianul are o credin\u021b\u0103 bine \u00eenfipt\u0103 \u00een realitatea lumii exterioare\u201d. De aceea pentru el \u201euniversul cu patru dimensiuni nu este un simplu miraj: este universul real al fizicianului la care s-a ajuns prin metoda bine cunoscut\u0103 pe care fizica a urmat-o \u00eentotdeauna \u00een cercet\u0103rile sale asupra realit\u0103\u021bii\u201d. Aceast\u0103 metod\u0103 este chiar aceea pe care o \u00eentrebuin\u021beaz\u0103 sim\u021bul comun pentru a constitui obiectul tridimensional. Dup\u0103 Meyerson, Langevin, Borel, Becquerel \u0219i Marais care partajeaz\u0103 aceast\u0103 manier\u0103 de a vedea, \u0219i H. Weyl g\u00e2nde\u0219te c\u0103 veritabila problem\u0103 a fizicii este de a \u201epenetra \u00een esen\u021ba spa\u021biului, a timpului \u0219i a materiei\u201d \u0219i c\u0103, dup\u0103 el, \u201erelativistul trebuie s\u0103 fie penetrat de certitudinea c\u0103 ra\u021biunea noastr\u0103 nu este numai un r\u0103u trec\u0103tor, uman, foarte uman, \u00een lupta pentru via\u021b\u0103, ci c\u0103 ea se dezvolt\u0103… p\u00e2n\u0103 la punctul \u00een care poate s\u0103 \u00eembr\u0103\u021bi\u0219eze obiectiv adev\u0103rul.<\/p>\n

    Unele din acordurile puternice ale acestei armonii a sferelor la care visau Pitagora \u0219i Kepler au parvenit la urechile noastre\u201d. Relativi\u0219tii au ajuns la concep\u021bia lor efort\u00e2ndu-se s\u0103 elimine sistematic orice referin\u021b\u0103 la persoana observatorului, orice sistem particular de coordonate \u0219i de referin\u021be care ar servi la reperarea evenimentelor. \u201ePrin aceste eforturi, ei au ajuns la spa\u021biu-timp<\/em> care este cel mai bun instrument pentru a ar\u0103ta ceea ce este real, intrinsec sau invariant \u00een fenomene \u0219i chiar prin aceasta s\u0103 abordeze mai de aproape realit\u0103\u021bile naturii.\u201d<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00cen aceasta, relativi\u0219tii sus\u021bin c\u0103 ei aplic\u0103 procedeul prin care sim\u021bul comun construie\u0219te realitatea \u0219i c\u0103 numai ei \u00eel dezvolt\u0103 \u00eemping\u00e2ndu-l p\u00e2n\u0103 la cap\u0103t. Ei admit astfel o realitate analog\u0103 celei a sim\u021bului comun, dar pe un plan superior fa\u021b\u0103 de acel realism ordinar. Rafin\u00e2nd instrumentul care este num\u0103rul \u0219i m\u0103surarea, care este cel al sim\u021bului comun, \u0219i prin care sensul comun acord\u0103 ceea ce este variabil \u0219i contradictoriu, relativismul ajunge la acela\u0219i rezultat pe un plan superior, la o realitate spa\u021biu-timp<\/em>; acesta difer\u0103 de spa\u021biul lui Euclid, care presuoune no\u021biunea timpului ca independent\u0103 \u0219i absolut\u0103; dar cel pu\u021bin este de-un fason insensibil c\u0103 se trece din spa\u021biul lui Euclid la ideea de spa\u021biu-timp.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Legile naturii exist\u0103 deci independent de oameni \u0219i de inteligen\u021ba care le concepe. Astfel teoria relativit\u0103\u021bii modific\u0103 imaginea noastr\u0103 asupra realului \u0219i ne procur\u0103 o imagine superioar\u0103 \u00een spa\u021biu-timp \u00een locul spa\u021biului tridimensional \u00een timp. Aceast\u0103 nou\u0103 form\u0103 de cunoa\u0219tere \u00een care timpul dispare nu se apropie ea oare de ceea ce scolasticii concepeau prin cunoa\u0219terea angelic\u0103 sau divin\u0103, adic\u0103 cunoa\u0219terea absolut\u0103 a adev\u0103rului, adic\u0103 a dogmatismului pur?<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Este adev\u0103rat c\u0103 relativi\u0219tii se concep ei \u00een\u0219i\u0219i \u00een raport cu comunul muritorilor ca \u00eengeri, dac\u0103 nu ca dumnezei; dar ei ne livreaz\u0103 secretul ascensiunii la starea angelic\u0103: este s\u0103 ne punem pe studiul matematicilor superioare, al celui al calculului infinitezimal mai ales, \u0219i apoi \u00eel putem \u00een\u021belege pe Einstein \u0219i din aceea\u0219i lovitur\u0103 s\u0103 dob\u00e2ndim \u0219tiin\u021ba angelic\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Relativismul devine astfel o afirma\u021bie metodic\u0103 \u00een fa\u021ba nega\u021biei sistematice a realit\u0103\u021bii. Astfel, el restabile\u0219te existen\u021ba atomilor, reconstituind realitatea spa\u021biului, dar \u00eentr-un plan superior \u00een care acesta se confund\u0103 cu timpul conceput ca o a patra dimensiune modificat\u0103 \u015fi amelior\u00e2nd legea gravita\u021biei lui Newton. \u201eRealul teoriei relativiste este, spune Meyerson, foarte cert, un veritabil lucru \u00een sine, mai absolut \u0219i mai ontologic \u00eenc\u0103 dec\u00e2t lucrurile sim\u021bului comun \u0219i ale fizicii pre-einsteinene.\u201d<\/p>\n

    *<\/p>\n

    PU\u0218I\u00a0 DINULESCU<\/p>\n

    ROMAN DE FAMILIE<\/strong><\/p>\n

    Georgescu s-a dus la local cu nevasta \u015fi cumnata. E \u00een concediu. El prime\u015fte pe lun\u0103 circa dou\u0103 mii trei sute de lei, fix prime\u015fte dou\u0103 mii dou\u0103 sute nou\u0103zeci \u015fi doi de lei.<\/p>\n

    Lu\u00e2nd \u015fi banii pe concediu, Georgescu a ridicat de la casierie dou\u0103 mii \u015fase sute patruzeci \u015fi cinci de lei, fiindc\u0103 s-a \u00eent\u00e2lnit pe coridor cu doamna Lucaci, de la sindicat, care i-a cerut cotiza\u0163ia pe trei chenzine, adic\u0103 treizeci \u015fi \u015fase de lei. Georgescu i-a dat deci din cei dou\u0103 mii \u015fase sute nou\u0103zeci, treizeci \u015fi \u015fase de lei, r\u0103m\u00e2n\u00e2nd cu dou\u0103 mii \u015fase sute cincizeci \u015fi patru de lei.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Din care \u015fi-a cur\u0103\u0163at un costum gri, o c\u0103ma\u015f\u0103 alb\u0103 reiat\u0103 \u015fi-o cravat\u0103 bordo. Nevasta e \u00eens\u0103rcinat\u0103 \u015fi Georgescu are mult\u0103 b\u0103taie de cap. \u015ei-a f\u0103cut formele pentru mobil\u0103 \u00een rate \u015fi str\u00e2nge bani pentru apartament.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum, \u00een diminea\u0163a aceasta de 17 mai, Georgescu a luat-o pe nevast\u0103-sa, care se simte mai bine \u015fi pe cumnat\u0103, \u015fi-n aceast\u0103 diminea\u0163\u0103 s-au oprit la bufetul \u201eUnirea\u201d \u015fi-au cerut o sticl\u0103 de trei sferturi de dou\u0103zeci \u015fi opt, vin excelent, pe care Georgescu l-a recomandat \u015fi lui Manoilescu, fostul lui coleg de serviciu, acum la pensie, de luna trecut\u0103, care s-a a\u015fezat la masa de l\u00e2ng\u0103. Mici pufo\u015fi cu crust\u0103 tare, nu po\u0163i s\u0103-i tai cu furculi\u0163a, ai nevoie neap\u0103rat de cu\u0163it, \u00eei face foarte buni grataragioaica, una, Frusina, vecin\u0103 de cartier a lui Georgescu, pe care el o cunoa\u015fte de cincisprezece ani, de la un v\u0103r, care era gata-gata s-o ia atunci, dar pe urm\u0103 v\u0103rul a fost la penitenciar c\u0103 a avut proces de la o chestie, un fel de moar\u0103, pe care o exploata f\u0103r\u0103 autoriza\u0163ie \u015fi de la o fabric\u0103 de lumin\u0103ri, la care colabora cu unul, Gic\u0103 Stoian, cu care se \u00eemprietenise,\u00a0 dar el nu \u015ftia adev\u0103rul legal \u015fi de la Stoian i se-nt\u00e2mpla acum, de\u015fi at\u00e2t Stoian c\u00e2t \u015fi el, deci am\u00e2ndoi au fost condamna\u0163i \u015fi v\u0103rul lui Georgescu atunci nu s-a mai cununat.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Situa\u0163ia e deci complex\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Situa\u0163ia e-n general complex\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u015fa e-n via\u0163\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar via\u0163a trebuie tr\u0103it\u0103, \u00een toat\u0103 complexitatea ei, a\u015fa cum cer to\u0163i teoreticienii.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Deci Georgescu s-a dus cu nevasta \u015fi cumnata la acel bufet din cartier.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era dimine\u0163\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era frumos.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Soarele str\u0103lucea magnific. Era magnific ca o magnolie. Ce mai!<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Era \u00een mai.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Concediul lui Georgescu deci s-a desf\u0103\u015furat \u00een mai, parte \u00een mai, parte \u00een iunie.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A prins cire\u015fele \u00een acest concediu.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei c\u0103p\u015funile.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar \u00een diminea\u0163a frumoas\u0103, c\u00e2nd m\u00e2nca mici \u015fi bea bere \u00een bufetul acela din cartier cu nevasta \u015fi cumnata, s-a sim\u0163it bine.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Chiar foarte bine.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Georgescu era un om ca de 45 de ani. \u015ei era un om fundamental.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Apoi din iunie s-a dus iar la serviciu \u015fi apoi nevasta i-a n\u0103scut copilul.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Dar cumnata, \u00een v\u00e2rst\u0103 de 38 de ani, e tot nem\u0103ritat\u0103.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Biata fat\u0103!<\/p>\n

    Dar peste 2 ani a g\u0103sit \u015fi ea un b\u0103iat de vreo 46 de ani, cu care, dup\u0103 ce a tr\u0103it o vreme, s-a c\u0103s\u0103torit.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Acum tipul avea 48 de ani \u015fi ea 42. \u015ei n-au mai apucat s\u0103 fac\u0103 \u015fi un copil. Dar se g\u00e2ndiser\u0103 la un moment dat.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar c\u0103tre sf\u00e2r\u015fitul vie\u0163ii, c\u00e2nd el avea 62 de ani \u015fi ea 56, au adoptat un copil.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Astfel au reu\u015fit s\u0103 intre-n batr\u00e2ne\u0163e cu oarecare bucurie. Abia ie\u015fiser\u0103 am\u00e2ndoi la pensie.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u015ei au apucat chiar s\u0103-l vad\u0103 pe b\u0103iat \u0219i la 20 de ani, fiindc\u0103 au tr\u0103it am\u00e2ndoi destul de mult, dealtfel ca \u015fi Georgescu \u015fi nevasta, care \u015fi ei au tr\u0103it mult.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar fata lui Georgescu, de-abia c\u00e2nd a ajuns destul de mult matur\u0103, s-a m\u0103ritat cu fiul adoptiv al cumnatei lui Georgescu, un fapt ie\u015fit oarecum din comun, dar numai \u00een aparen\u0163\u0103 ie\u015fit din comun, fiindc\u0103 \u00een ciuda diferen\u0163ei de v\u00e2rst\u0103, s-au \u00een\u0163eles foarte bine \u015fi cu toate c\u0103 b\u0103iatul cumnatei lui Georgescu era foarte t\u00e2n\u0103r, scandalos de t\u00e2n\u0103r \u015fi cur\u00e2nd dup\u0103 aia au murit la intervale mici \u015fi Georgescu \u015fi nevast\u0103-sa \u015fi cumnata lui Georgescu \u015fi so\u0163ul acestei cumnate.<\/p>\n

    Dar cei doi care-au r\u0103mas n-au reu\u015fit s\u0103 fac\u0103 \u015fi ei copii \u015fi astfel familia s-a stins.<\/p>\n

    *<\/p>\n

    Dumitru Dr\u0103ghicescu:<\/em><\/p>\n

    \u00a0<\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Revela\u021bie \u0219i anamnez\u0103. – <\/em>Putem invoca, \u00een favoarea ipotezei noastre, pe Platon \u0219i a sa teorie a ideilor. Se cunoa\u0219te importan\u021ba capital\u0103 pe care filosoful grec l-a atribuit reminiscen\u021bei <\/em>\u00een descoperirea adev\u0103rului. El opune opinia \u0219tiin\u021bei, pentru el principiul prin care omul se eleveaz\u0103 de la una la alta este precizamente\u00a0 reminiscen\u021ba, aceast\u0103 anamnez\u0103 care se produce spontan pentru a vizualiza vestigiile verit\u0103\u021bii, ale frumuse\u021bii, ale unit\u0103\u021bii, ale egalit\u0103\u021bii<\/em>, \u00eent\u00e2lnite \u00een obiectele opiniei. Ne pare c\u0103 aceste atribute ne sunt cunoscute<\/em> \u0219i c\u0103 noi nu facem dec\u00e2t s\u0103 le recunoa\u0219tem. Sunt dou\u0103 mii cinci sute de ani de c\u00e2nd se caut\u0103 semnifica\u021bia acestei anamneze, c\u0103ci Platon \u00eensu\u0219i n-a dat o solu\u021bie acceptabil\u0103 enigmei. De altfel, acest principiu, el nu l-a inventat de la \u00eenceput; el a dat un nume metodei pe care o folosea Socrate, dezvoltat\u0103 \u0219i generalizat\u0103 de el. Ce semnifica, \u00een fapt, aceast\u0103 maieutic\u0103<\/em>, sau arta\u00a0 de a mo\u0219i spiritele? Dac\u0103 nu c\u0103 verit\u0103\u021bile exist\u0103 \u00een spiritul nostru \u00eensu\u0219i \u0219i c\u0103 este vorba doar de a le scoate.<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cum exist\u0103 ele acolo? Ce poate s\u0103 semnifice aceasta?<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Totul se explic\u0103 \u0219i se clarific\u0103 \u00een fine dac\u0103 se admite c\u0103, \u00een natura uman\u0103, subzist\u0103 ca un germen divin, un dumnezeu \u00een putere. Dumnezeu este, \u00eentr-adev\u0103r, presupus a poseda omniscien\u021b\u0103. Dac\u0103 el este \u00een germene \u00een savant, atunci teoriile matematice, descoperirile, inven\u021biile, ipotezele sunt ca reminiscen\u021be ale acestei \u0219tiin\u021be absolute \u2013 rezultate ale g\u00e2ndirii care este ca dezvoltarea \u0219tiin\u021bei divine con\u021binute \u00een puterea din oameni Prin chiar aceste inven\u021bii, prin aceste revela\u021bii, Dumnezeu, ca atot\u0219tiitor cre\u0219te \u0219i se dezvolt\u0103 \u00een umanitate. Marii savan\u021bi fac astfel oper\u0103 divin\u0103. \u00cen ei, prin ei, divinul se actualizeaz\u0103 \u0219i se revel\u0103 lumii. Dumnezeu este deci \u00een incon\u0219tientul savan\u021bilor ca o memorie eclipsat\u0103, ca o amnezie care \u00eencepe s\u0103 se vindece. Cresc\u00e2nd \u00een om, divinul omniscient\u00a0 se deschide \u00een reminiscen\u021be care se actualizeaz\u0103 d\u00e2nd \u0219tiin\u021ba.<\/p>\n

    *<\/p>\n

    FEDERICO\u00a0 GARCIA\u00a0 LORCA<\/p>\n

    ROMANSA LUNII, LUNII<\/strong><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Conchitei Garcia Lorca<\/em><\/p>\n

    \u00centr-un malacov de chiparoase, <\/strong><\/p>\n

    a venit la fier\u0103rie luna.<\/strong><\/p>\n

    Un b\u0103iat o prive\u015fte<\/strong><\/p>\n

    \u015fi r\u0103m\u00e2ne pierdut, privind-o\u2026<\/strong><\/p>\n

    \u00cen\u00a0 aerul cutremurat,<\/strong><\/p>\n

    mi\u015fc\u00e2ndu-\u015fi bra\u0163ele,<\/strong><\/p>\n

    luna, lubric\u0103 \u015fi pur\u0103,<\/strong><\/p>\n

    \u00ee\u015fi arat\u0103 s\u00e2nii tari, de cositor.<\/strong><\/p>\n

    – Lun\u0103, lun\u0103, lun\u0103! Fugi!<\/strong><\/p>\n

    C\u0103 acuma vin gitanii, <\/strong><\/p>\n

    \u015fi-\u0163i iau inima \u015fi-o fac<\/strong><\/p>\n

    br\u0103\u0163\u0103ri albe \u015fi cercei!<\/strong><\/p>\n

    – Ia, las\u0103-m\u0103, s\u0103 dansez!<\/strong><\/p>\n

    Pot s\u0103 vin\u0103 to\u0163i gitanii,<\/strong><\/p>\n

    te-or g\u0103si cu ochii-nchi\u015fi,<\/strong><\/p>\n

    \u00eentins pe nicoval\u0103.<\/strong><\/p>\n

    – Lun\u0103! Lun\u0103! Lun\u0103! Fugi!<\/strong><\/p>\n

    Le aud caii!<\/strong><\/p>\n

    – Mai bine nu c\u0103lca <\/strong><\/p>\n

    peste albul meu scrobit!<\/strong><\/p>\n

    B\u0103t\u00e2nd toba c\u00e2mpiei,<\/strong><\/p>\n

    c\u0103l\u0103re\u0163ul se-apropia.<\/strong><\/p>\n

    B\u0103iatul, \u00een fier\u0103rie, <\/strong><\/p>\n

    cu ochii-nchi\u015fi r\u0103m\u0103sese.<\/strong><\/p>\n

    \u015ei prin cr\u00e2ngul de m\u0103slini<\/strong><\/p>\n

    veneau, bronz \u015fi vis,<\/strong><\/p>\n

    gitanii. Aveau g\u00e2tul drept<\/strong><\/p>\n

    \u015fi ochii-ntredeschi\u015fi\u2026<\/strong><\/p>\n

    Cum mai c\u00e2nt\u0103 cucuveaua!<\/strong><\/p>\n

    Cum mai c\u00e2nt\u0103-ntr-un copac!<\/strong><\/p>\n

    Peste bolt\u0103 trece luna,<\/strong><\/p>\n

    c-un b\u0103iat de m\u00e2n\u0103.<\/strong><\/p>\n

    Pl\u00e2ng gitanii-n fier\u0103rie,<\/strong><\/p>\n

    url\u0103 to\u0163i gitanii.<\/strong><\/p>\n

    V\u00e2ntu-nv\u0103luie fier\u0103ria,<\/strong><\/p>\n

    o tot \u00eenv\u0103luie.<\/strong><\/p>\n

    Traducere de Pu\u0219i Dinulescu<\/p>\n

    PU\u0218I\u00a0 DINULESCU:<\/p>\n

    \u015ei \u00eencepu. Mai t\u00e2rziu, printre h\u00e2rtiile lui, am reg\u0103sit-o. Era scrisoarea adresat\u0103 Suzanei, scrisoarea lui Robert:<\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 S\u00e2ngele meu te caut\u0103. Bu\u015fteanul s-a \u00eempiedicat \u00een om. Printre zambile, substan\u0163a f\u0103r\u0103 gust a mor\u0163ii plute\u015fte, din cer se desprinde somnul limpede. M\u0103 doare capul. S\u00e2ngele meu te caut\u0103. E\u015fti at\u00e2t de frumoas\u0103\u2026 <\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tu ar trebui s\u0103 c\u00e2n\u0163i mereu la pian, degetele tale albe \u015fi lungi, degetele tale ca apa \u015fi tulpinile, ca aerul\u2026<\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Te iubesc. E\u015fti colorat\u0103 \u00een toate formele spectrului de lumin\u0103. Unghiile tale ro\u015fii, p\u0103rul t\u0103u portocaliu, fularul t\u0103u verde, pantofii t\u0103i galbeni\u2026 <\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unghiile tale ca trandafirii cei mai aprin\u015fi, p\u0103rul ca fl\u0103c\u0103rile, fularul ca iarba \u015fi pantofii ca polenul margaretelor. <\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Suzana, tu e\u015fti pas\u0103rea rar\u0103, e\u015fti singurul fir de iarb\u0103 \u00een care cred\u2026 am certitudinea\u2026<\/em><\/p>\n

    \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Scrisoarea aceasta a fost compus\u0103 ca imn de laud\u0103, ca rug\u0103ciune, ca spasm. <\/em><\/p>\n

    \u00a0<\/em><\/p>\n

    Al nostru, al am\u00e2ndurora, <\/em><\/p>\n

    Robert<\/em>.<\/p>\n<\/div>\n

    \n","protected":false},"excerpt":{"rendered":"

    PU\u0218I\u00a0 DINULESCU Scenometria operei \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 de\u00a0Dr. George Anca   \u00a0 \u00a0 Cuprins Argument La cinci ani de \u00eent\u00e2lniri Poezie-tabu la [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-19111","post","type-post","status-publish","format-standard","hentry","category-articole"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/19111","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/comments?post=19111"}],"version-history":[{"count":5,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/19111\/revisions"}],"predecessor-version":[{"id":19114,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/19111\/revisions\/19114"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=19111"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=19111"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=19111"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Alex Tocilescu:<\/a><\/p>\n