{"id":6305,"date":"2012-06-10T17:28:56","date_gmt":"2012-06-10T17:28:56","guid":{"rendered":"http:\/\/www.marianagurza.ro\/blog\/?p=6305"},"modified":"2012-06-10T17:28:56","modified_gmt":"2012-06-10T17:28:56","slug":"ana-blandiana-in-%e2%80%9epatria-nelinistii%e2%80%9d","status":"publish","type":"post","link":"https:\/\/www.marianagurza.ro\/blog\/2012\/06\/10\/ana-blandiana-in-%e2%80%9epatria-nelinistii%e2%80%9d\/","title":{"rendered":"ANA BLANDIANA \u00ceN \u201ePATRIA NELINI\u015eTII\u201d"},"content":{"rendered":"

\"\"<\/a>\u201eM\u0103 supun ierbii \/<\/em><\/p>\n

Care m\u0103 salveaz\u0103 \/<\/em><\/p>\n

De nelini\u015ftea care sunt eu \u00eens\u0103mi\u201d<\/em><\/p>\n

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Observam alt\u0103dat\u0103 c\u0103 acel buchet de \u201epoeme noi\u201d, oferit de Ana Blandiana \u00eentr-un elegant volum, ivit la Humanitas<\/em> (Refluxul sensurilor<\/em>, 2004), avea un oarece t\u00e2lc. Mul\u0163i comentatori, aplaud\u00e2nd sau depl\u00e2ng\u00e2nd activismul civic al poetei (\u201econfiscat\u0103 de politic\u0103\u201d dup\u0103 seismul decembrist), evident cronofag, au insinuat ipoteza abandonului. Altfel spus, Ana Blandiana, ispitit\u0103 de politichie s-ar fi desp\u0103r\u0163it de poezie. Poeta \u00ee\u015fi propunea o demonstra\u0163ie potrivnic\u0103, vestejind ideea (de circula\u0163ie, totu\u015fi).<\/strong><\/p>\n

Cum bine se \u015ftie, cea care se consider\u0103 \u201efoarte ardeleanc\u0103\u201d, v\u0103dea, la debut, frenezie vitalist\u0103, cuprindere extatic\u0103 a lumii, fervoare afectiv\u0103 \u015fi, desigur, pasionalitate \u015fi fraternitate. Erau acolo, transferate \u00een numele \u201etinere\u0163ii curate\u201d, efuziunile unei v\u00e2rste (s\u0103 ne amintim c\u0103 poeta avea doar 22 de ani), dar, dincolo de jubila\u0163ia naturist\u0103 \u015fi exploziile sincerit\u0103\u0163ii, au putut fi sesizate, pe de o parte, \u201epasul sigur\u201d (cum zicea G. Iva\u015fcu, \u00een 1964) \u015fi, din alt unghi, zonele de penumbr\u0103 (cf. Eugen Simion). Jubila\u0163ia dezl\u0103n\u0163uit\u0103 era \u00eempins\u0103 \u00eentr-un panteism blagian de cea care iubea \u201ecu patim\u0103 ploile\u201d, risipindu-\u015fi fiin\u0163a. S\u0103 recunoa\u015ftem \u00eens\u0103 c\u0103 abia C\u0103lc\u00e2iul vulnerabil<\/em> (1966) \u00eeng\u0103duia un diagnostic ferm, f\u0103c\u00e2nd vizibil\u0103 schimbarea atitudinii lirice. \u201eA muri de alb\u201d \u2013 cum suna un vers emblematic din faza entuziasmului genuin \u2013 suport\u0103 o previzibil\u0103 convertire prin \u201emarea lege-a macul\u0103rii\u201d. \u201eTotul e fluid\u201d, descoper\u0103 poeta \u00een jocurile dintre esen\u0163\u0103 \u015fi aparen\u0163\u0103, c\u0103ut\u00e2nd \u015fi afl\u00e2nd lumea. \u00cenc\u00e2t, firesc, av\u00e2ntul juvenil, exultan\u0163a (neproblematizante) suport\u0103 corectivul ne\u00eemplinirilor, provoc\u00e2nd ruptura. Dar, s\u0103 not\u0103m imediat, pe suportul continuit\u0103\u0163ii. Fiindc\u0103 Ana Blandiana ofer\u0103, la o grijulie cercetare retrospectiv\u0103, certitudinea unei evolu\u0163ii lente f\u0103c\u00e2nd din obsesia moral\u0103 o stare sufleteasc\u0103, drapat\u0103 \u00een faldurile unei candori mimate. Odat\u0103 cu A treia tain\u0103<\/em> (1969), asist\u0103m \u2013 sesiza L.Ulici \u2013 la o maturizare intelectual\u0103, la o ad\u00e2ncire \u00een metafizic; vechea exultan\u0163\u0103 se dizolv\u0103 \u00eentr-un panteism aparent-lini\u015ftitor, candoarea definitiv\u0103<\/em> e \u00eenso\u0163it\u0103, ca \u00eentr-un ciudat mariaj, de \u201eoroarea de maculare\u201d. Realul degradant devine amenin\u0163\u0103tor \u015fi poeta se va refugia \u00een \u201ecripta luminoas\u0103\u201d a cuvintelor, av\u00e2nd drept reazem sentimentul nesingur\u0103t\u0103\u0163ii<\/em>, descoperit \u2013 prin rug\u0103ciune \u2013 \u00een prima copil\u0103rie.<\/strong><\/p>\n

C\u0103ut\u0103rile poetei, spuneam, provoc\u00e2nd o confruntare dramatic\u0103, dezvolt\u0103 o mitologie a purit\u0103\u0163ii, invent\u00e2nd un trecut fabulos. \u015ei, pe de alt\u0103 parte, \u201etributul pentru a tr\u0103i\u201d \u00eei ascute luciditatea, invit\u00e2nd-o la ascez\u0103, for\u0163\u00e2nd \u201eretorica sfielii\u201d (cum scria Alex \u015etef\u0103nescu). S\u0103 fie vorba de bovarism? Acea comuniune voluptuoas\u0103, de un erotism suav, paradisiac, anun\u0163at\u0103 \u00een \u201etonuri clare\u201d, resping\u00e2nd formulele criptice pare a ceda teren unei deta\u015f\u0103ri care p\u0103streaz\u0103, \u00een pofida glacialit\u0103\u0163ii, o sentimentalitate spiritualizat\u0103. \u00cenc\u00e2t poeta poate fi considerat\u0103, cu egal\u0103 \u00eendrept\u0103\u0163ire, fie o senzorial\u0103 (aprecierea e a lui Gh. Grigurcu), fie, dimpotriv\u0103, o fire ra\u0163ional\u0103 (M. Ni\u0163escu). R\u00e2vnind \u00eens\u0103 spa\u0163iul candorii, \u015ftiind c\u0103 e condamnat\u0103 la solitudine, pedal\u00e2nd pe voca\u0163ia etic\u0103. Problematiz\u00e2nd, \u00een consecin\u0163\u0103. Dezv\u0103luindu-\u015fi, cu pudoare, suferin\u0163a, vizitat\u0103 de ispita regresiunii, cu presim\u0163irea unor amintiri dintr-o alt\u0103 via\u0163\u0103. \u201eDin ce \u00een ce mai muritoare\u201d, poeta, \u00een zodie postblagian\u0103, vede \u201eve\u015fniciile cum cur\u0103\u201d \u015fi acuz\u0103 obsesia somnului. Atmosfera meditativ\u0103 a acestei lirici face din firescul nota\u0163iei prilej de filosofare, oferindu-i o amprent\u0103 stilistic\u0103 lesne recognoscibil\u0103. Conjug\u00e2nd inefabilul cu intelectualizarea tr\u0103irilor, ap\u0103s\u00e2nd, f\u0103r\u0103 excese sup\u0103r\u0103toare, pe nota moral\u0103.<\/strong><\/p>\n

Evident, \u015fi un mai proasp\u0103t volum al poetei (Patria mea A4<\/em>, 2010) p\u0103streaz\u0103, cu mici deplas\u0103ri de accent, aceste constat\u0103ri. \u00cen fond, Ana Blandiana \u00eenv\u0103luie, cu aceia\u015fi privire mirat\u0103, printr-un lirism elaborat, elevat, \u00eenc\u0103rcat de gravitatea medita\u0163iei, lumea. Doar c\u0103 acel spirit ingenuu, marcat \u2013 la \u00eenceputuri \u2013 de expansivitate \u015fi jubilativism acuz\u0103 acum, prin infuzia de dramatism, degradarea, dezaxarea, robotizarea. Sinele despodobit, r\u0103scolit de temeri \u015fi spaime, \u00eentemni\u0163at \u00eentr-o \u201e\u00eenc\u0103pere de carne obscur\u0103\u201d se viseaz\u0103 \u00een \u201ecripta luminoas\u0103 de cuvinte\u201d. C\u00e2ndva, poeta, mereu m\u0103rturisitoare, dorea \u201es\u0103 sufere pentru to\u0163i\u201d, uit\u00e2nd tr\u0103itul, via\u0163a proprie pentru a dob\u00e2ndi o identitate exponen\u0163ial\u0103<\/em> (cf. Mircea Martin), aduc\u00e2nd \u00een prim-plan un eu general. \u015ei f\u0103c\u00e2nd din implacabila lege a macul\u0103rii o obsesie fondatoare<\/em> \u00een numele intransigen\u0163ei morale. Dar acest absolutism moral, cu \u201etonuri clare\u201d, iubind \u201eculori \u00een stare pur\u0103\u201d, cutreierat de marile \u00eentreb\u0103ri ale fiin\u0163ei r\u00e2vnea simplitatea, acea superior\u0103 \u00een\u0163elegere care s\u0103 \u00eeng\u0103duie \u201ecur\u0103\u0163irea de spaime\u201d. Adic\u0103 o poezie confesiv\u0103, reflexiv\u0103, cu accente elegiace, dezv\u0103luind un fond dramatic, pendul\u00e2nd \u00eentre gravitate \u015fi senin\u0103tate, lep\u0103d\u00e2nd \u00eens\u0103 exalt\u0103rile de alt\u0103dat\u0103. \u015ei trec\u00e2nd, f\u0103r\u0103 superbie, metafizica prin filtrul ra\u0163iunii. Sunt, mai ap\u0103sat, texte interogative acum, \u00eencerc\u00e2nd a risipi starea confuz\u0103, panica, angoasa, onirismul invadator prin cunoa\u015ftere. S\u0103 observ\u0103m c\u0103 poeta contrapune instan\u0163a metafizic\u0103 (\u201eperfec\u0163iunea f\u0103r\u0103 mil\u0103\u201d) celei lirice: binele \u015fi r\u0103ul coexist\u0103, un \u201eDumnezeu al vinov\u0103\u0163iei\u201d a hot\u0103r\u00e2t totul singur<\/em>. Aceast\u0103 mixtur\u0103 spirit \/ materie, cum sesiza Gh. Grigurcu, face din literatur\u0103 o zon\u0103-tampon<\/em>: \u201eSpaima ce se-amestec\u0103 cu taina \/ A c\u0103rei dezlegare mi-e destinul\u201d (v. V\u00e2n\u0103toare \u00een timp<\/em>). Macularea, trecerea (\u201eEi trec pe role\u201d), destr\u0103marea, con\u015ftiin\u0163a limit\u0103rii etc. \u00eentre\u0163in tensiunea \u00eentre spiritul<\/em> care se vrea \u00eenving\u0103tor \u015fi trupul<\/em> ruinat, \u00eenv\u0103\u0163\u00e2nd murirea. Iar \u201eopai\u0163ul vie\u0163ii\u201d cere s\u00e2nge, constat\u0103 poeta.<\/strong><\/p>\n

S\u0103 observ\u0103m apoi c\u0103 scrisul<\/em> este pentru Ana Blandiana un dar tragic \u015fi o ispit\u0103 implacabil\u0103. Dincolo de uimirea contempl\u0103rii, mereu nestins\u0103, el treze\u015fte o \u201ebucuroas\u0103 disperare\u201d. Fiindc\u0103, trebuie s\u0103 amintim, poeta locuie\u015fte \u00eentr-o inconfortabil\u0103 tensiune. Posibila scindare a fiin\u0163ei ar trebui s\u0103 \u00eempace starea de nelini\u015fte, de alarm\u0103 \u015fi insecuritate cu limpezimea calm\u0103 a r\u00e2ndurilor a\u015fternute. Ana Blandiana reu\u015fe\u015fte performan\u0163a de a proteja acest miez dramatic \u00eentr-o scriitur\u0103 limpede, conserv\u00e2nd haloul misterios. Recunosc\u00e2nd con\u015ftiin\u0163a limitei \u015fi afi\u015f\u00e2nd, totu\u015fi, \u201eviziera z\u00e2mbetului\u201d. Dedubl\u00e2ndu-se dar m\u0103rturisind, \u00een repetate ocazii, c\u0103 rostul scrisului este cel de a veghea, f\u0103r\u0103 eclipse de luciditate. Mai mult, \u201etot ce ating se preface-n cuvinte\u201d ne asigur\u0103 poeta, de vreme ce \u201eexist\u0103 un zeu care se crede cuv\u00e2nt\u201d (v. Iluzie<\/em>). Ar mai fi de ad\u0103ugat c\u0103, str\u0103in\u0103 de prejudecata specializ\u0103rii, Ana Blandiana consider\u0103 toate genurile \u201ereductibile la poezie\u201d. N-ar trebui, a\u015fadar, s\u0103 mire c\u0103 s-a \u00eencercat \u015fi \u00een proz\u0103 cu acela\u015fi elan mitologizant \u015fi palpit cosmic, avans\u00e2nd re\u0163eta miracolului, dovedind priz\u0103 la real; sau, cum spunea nimerit Valeriu Cristea, e vorba, mai degrab\u0103, de un \u201efantastic \u00eendr\u0103gostit de real\u201d. Fiindc\u0103 pentru Ana Blandiana tocmai fantasticul prezint\u0103 \u201eo \u00eenf\u0103\u0163i\u015fare mai plin\u0103 de semnifica\u0163ii a realului\u201d. A\u015fa \u00eenc\u00e2t, filtr\u00e2nd lumea, refract\u00e2nd-o<\/em>, autoarea ne livreaz\u0103 \u00eembietoare \u201eproiecte de trecut\u201d, invent\u00e2ndu-le; f\u0103c\u00e2ndu-l de nerecunoscut. Experien\u0163ele revelatorii suport\u0103 intruziunea fantasticului iar miraculosul face parte, insidios, din real: \u201eA-\u0163i imagina \u2013 ne previne gra\u0163ios poeta \u2013 \u00eenseamn\u0103 a-\u0163i aminti\u201d. Cum via\u0163a este vis<\/em> iriz\u0103rile fantasticului ne invit\u0103 \u00een spa\u0163iul increatului. Totu\u015fi, s\u0103 nu uit\u0103m dramatismul latent al mesajului. Sub aparen\u0163a calmului elegiac r\u0103zbat ecoul precarit\u0103\u0163ii, fo\u015fnetele unei lumi supus\u0103 derizoriului, \u00een destr\u0103mare, reverber\u00e2nd cosmic. \u015ei, nu \u00een ultimul r\u00e2nd, polarizarea teluric \/ spiritual, alert\u00e2nd fiin\u0163a. Fiindc\u0103 motivul somnului, dorin\u0163a de repaos ar induce \u201eplutirea\u201d, lentoarea, \u00eemp\u0103carea. \u00cen vreme ce aspira\u0163ia spre puritate pare amenin\u0163at\u0103, boicotat\u0103 de aluviunile pe care \u201eapa curg\u0103toare a zilei\u201d le t\u00e2r\u0103\u015fte, provoc\u00e2nd agita\u0163ie \u015fi haotism. Cum ne sp\u0103l\u0103m \u201e\u00eentr-un r\u00e2u de secunde\u201d, trecerea devine amenin\u0163\u0103toare, str\u0103in\u0103 de gheara anxiet\u0103\u0163ii. Adierile thanaticului ne t\u00e2rcolesc, invoc\u00e2nd un \u201emiros de trup abandonat de suflet\u201d (v. Trup amar<\/em>). Iar volumul pomenit pare a con\u015ftientiza, implicit a accentua asupra acestui implacabil prag, ca dat organic, \u00eenv\u0103luit \u00een lamenta\u0163ii discrete, catifelate, purt\u00e2nd \u201e\u00eenveli\u015ful \/ unei boli \u00eengere\u015fti\u201d (e drept, mortal\u0103). Trecerea de la primul morm\u00e2nt (al lichidului amniotic) \u00eenspre momentul extinc\u0163iei, anun\u0163at de ruina fiin\u0163ei invoc\u0103 acela\u015fi scenariu al contopirii cu elementele, divolv\u00e2ndu-ne \u00een natur\u0103, f\u0103r\u0103 delirul jubilant al \u00eenceputurilor. \u015ei tot sub semnul acvaticului, o veche predilec\u0163ie a poetei. Ea s-ar dori \u201eo st\u00e2nc\u0103 \u00een mare\u201d, m\u00e2ng\u00e2iat\u0103 de valuri. Altfel spus, rezist\u00e2nd t\u0103cut, \u00een van (recunoa\u015fte) la zbaterea m\u0103rii, v\u0103zut\u0103 ca o \u201efiar\u0103 a apocalipsei\u201d. Ordon\u00e2ndu-se pe aceast\u0103 ax\u0103 problematizant\u0103, poemele noi<\/em> agraveaz\u0103 simptomele dar nu propun o alt\u0103 formul\u0103 liric\u0103. Dup\u0103 cum poeta, r\u0103sf\u0103\u0163at\u0103 de critic\u0103 \u015fi suspectat\u0103 de abandon, revenea \u00een for\u0163\u0103 risipind misterul. Politica n-a \u00eendep\u0103rtat-o de poezie (cum suspinau, tem\u0103toare, unele voci) \u015fi, cu at\u00e2t mai pu\u0163in, n-a retezat o prodigioas\u0103 carier\u0103 liric\u0103; dup\u0103 cum oboseala, astenia civic\u0103 a societ\u0103\u0163ii rom\u00e2ne\u015fti n-au stimulat un lirism \u201ede baricad\u0103\u201d. Auzind \u201esurd\u201d realitatea, \u00eempov\u0103rat\u0103 de cercurile v\u00e2rstelor, Ana Blandiana ne propune acum o colec\u0163ie de tatuaje lirice<\/em>. Au r\u0103mas undeva \u00een urm\u0103 frenezia contaminant\u0103 \u015fi elanurile june\u0163ii, acea frumoas\u0103 solidaritate care o soma s\u0103 scrie \u00eentr-o desc\u0103rcare de mare sinceritate: \u201eEpole\u0163ii genera\u0163iei mele \/ Cine ar \u00eendr\u0103zni s\u0103 \u00eei jigneasc\u0103?\u201d Sub flamura revizuirilor, \u015ftim, s-au lansat \u015fi jigniri \u015fi observa\u0163ii acid-judicioase cu privire la fenomenul liric al anilor \u201960. Am uitat (de\u015fi n-ar fi trebuit) \u015fi sintagma \u201epoporului vegetal\u201d (de mare ecou) \u015fi aventurile pisoiului Arpagic; cu protectori \u00eenal\u0163i \u00een epoca ceau\u015fist\u0103, poeta s-a lansat \u00eentr-o lamentativ\u0103 \u201eopozi\u0163ie esopic\u0103\u201d (cf. Marian Popa). Acum, dup\u0103 mai bine de dou\u0103 decenii de la dispari\u0163ia regimului dictatorial, strivi\u0163i de lehamite \u015fi dezinteres, navig\u00e2nd spre un viitor ce\u0163os ne mi\u015fc\u0103m iner\u0163ial; r\u0103bufnirile mediatice au un ecou palid. \u00cenc\u00e2t poeta, \u00een\u0163eleg\u00e2nd c\u0103 timpul \u201ee frumos ca un poem\u201d \u00ee\u015fi contempl\u0103 risipa castr\u00e2ndu-\u015fi efuziunile. Sub \u201etandra putere a mor\u0163ii\u201d, totul se degradeaz\u0103 (vezi Sonet degradat<\/em>). Universul \u00eensu\u015fi e \u00een extinc\u0163ie, populat cu \u00eengeri b\u0103tr\u00e2ni, \u201eur\u00e2t mirositori \/ cu iz st\u0103tut\u201d. \u00cent\u00e2lnim un cal scheletic, un ciot de lum\u00e2nare, aliaje confuze, putrefac\u0163ia e \u00een extensie. Timpul, zice admirabil poeta, \u201escrie pe trupul meu versuri\u201d (vezi Op<\/em>). Dar, s\u0103 re\u0163inem, folosind cuvintele \u201e\u00een care moartea s-a copt\u201d. \u00cenc\u00e2t ipoteza modelului vegetal<\/em>, lansat\u0103 c\u00e2ndva de Valeriu Cristea, cap\u0103t\u0103 o definitiv\u0103 confirmare.<\/strong><\/p>\n

\u015ei volumul Refluxul sensurilor<\/em> \u00eenchidea un ton funebru, a\u015ftept\u00e2nd noaptea-soroc. Asediat\u0103 de \u00eentreb\u0103ri, tot mai str\u0103in\u0103 \u00een oglinda \u201emoale\u201d, poeta socotea c\u0103 \u015fi-a \u00eencheiat destinul; stingher\u0103, \u00eenconjurat\u0103 de fantomele din \u201eoglinzi b\u0103tr\u00e2ne\u201d, ea \u00ee\u015fi recite\u015fte existen\u0163a \u00eentr-un secol care nu-i apar\u0163ine. Peisajul familiar s-a dizolvat \u201e\u00een marea lumin\u0103\u201d, un cal de aer o poart\u0103, \u00een travesti, spre o alt\u0103 v\u00e2rst\u0103, \u0163\u0103r\u00e2na \u2013 suport\u00e2nd o ciudat\u0103 transparentizare \u2013 o \u201eprive\u015fte voluptuos\u201d. Poemul \u00eensu\u015fi \u201eva fi altul\u201d, la o alt\u0103 lectur\u0103. Iar cohorta cititorilor a\u015fteapt\u0103. Iat\u0103 refluxul sensurilor<\/em>, \u00eencol\u0163ind \u00eentr-un moment fast, departe de a marca un impas creator; decant\u00e2nd \u00eens\u0103 acumul\u0103rile unei existen\u0163e, recunosc\u00e2nd, surdinizat-fermec\u0103tor, criza<\/em>.<\/strong><\/p>\n

C\u0103l\u0103uzit\u0103, spuneam, de imperativul moral, pendul\u00e2nd \u00eentre pio\u015fenie \u015fi c\u0103utare (\u201eMi s-a spus s\u0103 te caut\u201d \/ Nu s\u0103 te g\u0103sesc; v. Nec plus ultra<\/em>), poeta tr\u0103ie\u015fte \u00een patria nelini\u015ftii<\/em>. Angajamentul de \u201em\u0103rturisitor\u201d v\u0103de\u015fte continuitate, accentu\u00e2ndu-\u015fi tr\u0103irile crepusculare, de vibra\u0163ie dramatic\u0103, sesiza Constantin Cuble\u015fan; iar transcrierea acestor st\u0103ri (o \u201etrecere pe curat\u201d) \u00ee\u015fi afl\u0103 izb\u0103virea printr-un exerci\u0163iu exorcizator, care va veni. \u00cencerc\u00e2nd a afla \u201eo raz\u0103 de sens\u201d (\u00eentr-o lume \u201edin care \u00een\u0163eleg at\u00e2t de pu\u0163in\u201d, cum ne previne), Ana Blandiana cultiv\u0103 acum replierea.<\/em><\/strong><\/p>\n

S\u0103 observ\u0103m c\u0103 cea mai recent\u0103 antologie (Pleoape de ap\u0103<\/em>, Editura Paralela 45<\/em>, 2010) se deschide inspirat cu poema Darul<\/em>, numind \u015fansa de a-\u015fi asuma destinul tragic al lumii prin \u201elumea cuvintelor\u201d. O suferin\u0163\u0103 ritualizat\u0103, jubilativ-obosit\u0103, o vinov\u0103\u0163ie a fiin\u0163ei \u00eentre\u0163in\u00e2nd obsesive dezbateri morale, \u00een fine, o nostalgie a timpului originar, androginic (locuind \u00een \u201euterul spaimei\u201d) \u015fi, \u00een replic\u0103, prezenteismul \u201emurdar\u201d, agonic, dezolant, transformat \u00een cuvinte-merinde care, ciudat, asigur\u0103 tocmai destr\u0103marea<\/em>: \u201eDin fericire am descoperit \/ C\u0103 totul \/ Poate fi transformat \u00een cuvinte \/ \u015ei am continuat s\u0103 \u00eenaintez \/ Pres\u0103r\u00e2nd \/ Vorbele \u00een care m\u0103 destram\u201d (v. Poveste<\/em>). Pe bun\u0103 dreptate, Mircea A. Diaconu nota c\u0103 sinele \u00ee\u015fi instituie acum prezen\u0163a exclusiv prin scris<\/em>, ca o ultim\u0103 ipostaz\u0103, identificatorie. Iar poeta, \u00een\u0163eleg\u00e2nd scrisul ca patrie (se) va m\u0103rturisi \u00eentr-o splendid\u0103 Biografie<\/em>: \u201eNu mai am dreptul s\u0103 m\u0103 opresc \/ Orice poem nespus, orice cuv\u00e2nt neg\u0103sit \/ Pune \u00een pericol universul \/ Suspendat de buzele mele\u201d. Doar a\u015fa, rostindu-se, c\u0103ut\u00e2nd f\u0103r\u0103 istov sensul t\u0103inuit, condamnat\u0103 la nelini\u015fte, ea poate depune m\u0103rturie, revolt\u00e2ndu-se neputincios \u00eempotriva trecerii, cea care produce \u201eaceast\u0103 pulbere de nefiin\u0163\u0103\u201d, c\u0103utat\u0103 tandru \u00eentr-un timp cheltuit, ireversibil.<\/strong><\/p>\n

Adrian Dinu Rachieru
\n<\/strong><\/p>\n

Sursa:Adrian Dinu Rachieru<\/a><\/strong><\/p>\n

<\/h1>\n

<\/h1>\n","protected":false},"excerpt":{"rendered":"

\u201eM\u0103 supun ierbii \/ Care m\u0103 salveaz\u0103 \/ De nelini\u015ftea care sunt eu \u00eens\u0103mi\u201d       Observam alt\u0103dat\u0103 c\u0103 [&hellip<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3,6],"tags":[],"class_list":["post-6305","post","type-post","status-publish","format-standard","hentry","category-articole","category-linkuri-externe"],"_links":{"self":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/6305","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=6305"}],"version-history":[{"count":0,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/posts\/6305\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/media?parent=6305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/categories?post=6305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.marianagurza.ro\/blog\/wp-json\/wp\/v2\/tags?post=6305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}