TOMA GEORGE
MAIORESCU
Toma George Maiorescu –
George Anca – Paul Miclău – Radu Sergiu Ruba – Francois Villon – Șerban Foarță
– Adelina Fleva - Vișan Dregoș – Florentin Streche – Norica Isac – Jorj Maria
George Anca
To
The Nobel Committe for
Literature
The Swedish Academy
P.O. Box 2118
SE – 103 13 Stockholm
e-mail:
sekretariat@svenskaakademien.se
Topic
Nomination of the
writer Toma George Maiorescu for Nobel Prize in Literature
Nomination
This is to nominate
poet, writer, essayist and professor Toma George Maiorescu for Nobel Prize in
Literature on 2011.
The following poem may
throw light upon is wandering on path of poetry and philosophy:
The Path
I don't sell and don't buy
the ashes of Cross on which you've
been harangued
but as a witness of that
dramatic crucifying
I have the moral right to affirm
that Cross
didn't putrefy in earth
wasn't cut in talisman-chips
and was never consumed by flames
Immediately after what He
was descended and put in white shroud
the Other was raised on Cross
After the passing of This
The Cross was taken over by Other
And in each moment by Other
Till the end of time
Therefore I tell you
I don't sell and don't buy
the ashes of Cross
but as witness
of its passing from One to Other
I want to ask you
to agree with the thought
that nobody can be saved
by Golgotha Path
Indifferently of artistic expression
structure, form or genre in which it crystallized, the literary work of Toma
George Maiorescu (over 40 volumes published) grew on a common idea foundation,
with a moral and philosophical attitude, being a “Poet of moral meditation,
attentive to conflicts hidden under peaceful presentations of life, author of
some fables of great gravity of senses” (acad Dan Grigorescu). “... Toma George
Maiorescu is an implacable adversary of equality with himself (…) His writing
will be, therefore, rapid, suggesting, rich in images and ingenious formulas”
(Ion Biberi, writer). “T.G.M. was and is a postmodern avant la letre! (…) The
poetry of T.G.M. is deeply anchored in that tradition of European poetry which
started off in poetry of the quotidian,
of real, much before English-American poets considered at actual hour as
fathers of postmodernism” (prof. univ. dr. Paul Miclau).
Facets of biologic humanism focusing
whole existence not on egocentric anthropomorphism but on life in all its
manifestations are found as catalyzing factor and energy creator not only in
his philosophy, concentrated in the volume The Taming of Beast in Man or the
Ecosophy, but subtly dissipated in pages
of his entire literary creation. “His work is a prolific starting point for many other fields and at
the same time a great success of Romanian thinking and science.” (acad. Nicolae
Cajal)
„TGM is solidly anchored in his age, in his
natural space, in his Romanianess and Jewishness. The cultural Romanianess of
TGM is present through all top value landmarks, from Cantemir to Iorga, from
Eminescu to Enescu, Brancusi, Ionesco, Noica, Ralea, Lupasco... Dear student of
Blaga, he consacrates to his venerated professor a full chpter. / Faithful equally to his Jewinshess, TGM
gives an ample space to Judaism, to Jewish mystique. He makes it programatic,
in perfect concordance with his 'ecosophy': 'In the context of ideas of
fundamental relation MAN-UNIVERSE, it is natural to stop ourseleves at the
relation of man with divinity. We will insist upon some fundamental books of
mankind such as rolls of Torah, pages of Bible, Talmud or Cabala (Zohar and Sefer
Ietsira). Comments to Cabala of some specialists of noble spiritual source like
Alexandru Safran or G.G. Sholem will accompany us in incursions in the paradigm
of the first monotheism.' Look at him summarizing in style of philosophical
poem, the vision of Cabala over knowledge of God: „God is not a subject one
woud discover objectively, without being tied by him subjectively. / He is
Beingness. Reality. / He is Essence. Interiority / God can not compare but with
Himself .” (Zoltan Turner, writer, Tel
Aviv)
His last anthology (2007) - The
metaphor prince at courts of metaphysics – is significant. “The selective
volume from poetical work of one of most original creators from between the two
centuries, appeared with occasion of anniversary of 80 years of poet's life,
becomes a reference work for history of Romanian poetry in convulsions of the
second half of XX century and passing into XXI, demonstrating
the capacity
of affirmation of true poetical beliefs over political conjunctures of time.”
(Corneliu Leu, writer)
Human sufferance hypostases in
societies deformed by liberty limitations but also all-powerful love defeating
false limitations of class and race hate, of intolerance, light the pages of
his novels and novelettes. The passionate negation of totalitarian experience
over man, in Good night, Sagittarius, we will find again under the mask of
absurd (in order to pass through censorship Caudine Forks) in the “aleatory and
detective auto-novel in search of idea”
- The Killer and the Flower.
Even his numerous travelogues (board
diaries or journey notes) are under sign of
unification and deciphering of humanity in man indifferent of spaces
inhabited. Between Sahara and Polar Circle, the writer searches for a model of
realization of equilibrium, of harmony between the five fundamental
interdependent relations (Man – Man, Man – Social Group, Man – Nature, Man –
Universe and Man – His Self). If the unity between the whole and the part means
harmonious convergence of the five fundamental relations, it is not less true
that the deterioration of a single relation brings about the deterioration of
all fundamental relations.
In the same idea context are
integrated also the two volumes Dialogue with the century and its people, as
well as Talks in the twilight. The colloquial encounters with 100 emblematic
personalities (for the second half of 20th century), among them being also numerous Nobel laureates, are intended,
as author states in preface, “to find out through the word of some 20th century
authentic representatives the ideas reshuffle directions and thus to delimit the sphere of preoccupations of modern spirituality
in a twilight of century-millennium”.
Humanist, ecosophic breath, hope in a
more generous and united humanity consequently penetrates the pages of Toma George Maiorescu. He withers the crime
of lese-man and nature assassination, stigmatizing at the same time anything
opposed
to
harmonious life logic, incommunicability, refusal of dialogue spirit, religious
fundamental-isms, intolerance, inciting to violence to extent of repeating of
Gulags and Holocaust.
An essential dimension, a distinct
feature of the work of Toma George Maiorescu is the uniqueness of poetical
language sphere as a mean to enrich modern expressiveness. Different types of
language, the usual one, street orality to extent of eminently “democratic” slang or folklore,
would betroth to hyper-urbanized information explosion language, to last minute
products of sciences and philosophy. The daily phenomenology idioms join the
abstract lexis of metaphysics in the era of cybernetics and atom
disaggregation, in order to generate a new, original and over expressive
poetical language.
Some of his literary works translated
into Russian (among translators, Evgheni Yevtushenko), Portuguese, Swedish (Per
Olof Ekstrom), English, Greek, French, Bulgarian, Punjabi, Spanish (Pablo Neruda), Hungarian, Turkish,
Ivrit, Esperanto, etc. Among distinctions received are “Lucian Blaga” and “Mihail
Sebastian” literary awards.
“Toma George Maiorescu remained a
vanguard-ist, in the sense of just historical vanguard.” (Laurentiu Ulici,
former president of Romanian Writers ). “From verses, from images hasty
painted, from portraits sketched with finesse, from impressions and soul states
confessed with tender irony it is evolved an atmosphere, a restlessness of the
world, of thinks apparently anchored in their bottom, but troubled in the depth
by melancholic sensible vision of the poet.” (Dana Dumitriu, literay critic).
“He becomes the author of one of most
applied fables of Romanian contemporary literature”. (Prof. univ. dr. Roxana
Sorescu)
The nominator is also translator into
English of a life anthology of poetry, The metaphor prince at metaphysics'
courts by Toma George Maiorescu, keeping
at work the two author's guiding principles of poetical expression
universality :
a) there is
no word to have not its place into
poetical vocabulary, which, naturally, is founded with toil and inspiration -
the poet's duty being the permanent enlargement of poetical language;
b)
indifferent of currents, tendencies or personalities, the poetical expression
is universal, through their inner value the poetical forms transcend the
history and the space, one can say even that poetry is also trans-linguistic.
Summing up, the nomination of writer
Toma George Maiorescu for Nobel Prize in Literature is sustained by following
motivations:
a) His work has personal, profound and
original mark. His poetry and prose are written with innovative means and modes
of expression. His poetics belongs mainly to avant-garde and postmodernism even
before the later method to be defined and sancyioned by literary theory and
critique. Poet's originality is constituted by the means of expression as well
as vision, therefore, attitude toward reality.
“The main poetic-ideative source of
Toma George Maiorescu's games seems to be his associative imagination. He
invents surprising phantasmal inventories, unusual enigmas. A conquering
whistle is with him. His phantasy is
always in ebullition, images and metaphors flow, get outside. (…) He moves with
an amazing mobility from a stylistic canon to another. He is now hermetic,
surrealist, baroque and mannerist, then futurist, dadaist or letterist. But,
mostly, TGM-ist.” (Zoltan Terner, writer).
b) His alert and tonic writing,
playful and at same time elaborated, spreads like from an abundance horn,
words, images and new ideas, concepts, metaphors. But, most of all, his
literature is a perpetual confrontation with mental automatism, with traps of
common place, with feeble obtuseness, with comfortable cliches of thought, with
limitations of dogmas, canons and prejudices of intolerance. Toma George Maiorescu
carries an open struggle with everything what is rusty, exhausted of vigor, and
pleads for permanent innovation, for
dis-bounding of thought and senses from the handcuffs of habitues and cyst
isolation, for implementing in ever larger circles a dynamic thinking renewing
cordial, generous mentalities, conscious of everybody's grave responsibility
for global state of mankind. The vibrant Toma George Maiorescu's message is
humanist-ecosophic, putting in center of all projects the life, its conditions
on the planet, it is humanism tailored on everybody's measure, adapted through
vision and action to mentally assimilated processes from modern physics and
biology, from information explosion, from gnoseology revolution which transforms today the world
perceiving.
c) He enriched and enlarged Romanian
poetic vocabulary assimilating with unique mastery in poetic language idioms
belonging to street slang, to “democratic” speaking in suburb, to folklore, to
words of “intellectual elite” having as
source the physics of elementary particles, bioengineering, internet, etc. The
looking after word in order to enrich the fund of poetic language harmonizes
with Toma George Maiorescu's conception on expression forms. According to him,
the poet is entitled to use in his poetical creation those formal experiences
molded on his on poetic personality, intensifying it.
d) The dictionary of poetic
expressions, unprinted as such, but sacredly preserved by poetical memory,
gathers together the expressive experience from Homer, Iehuda Halevi, Saadi, to
Heine, Apollinaire, Blaga, Maiakovsky, or Whitman. The experiment becomes
plenipotentiary. Any innovation or resuscitation of traditional forms is
welcome with a condition: to increase poetic expressiveness.
e) He substantiated, depicted and taught, at
university level, Ecosophy, the humanism of the 3rd millennium, discipline of
the five fundamental relations. Otherwise, the ecosophic ideas, their message
of solidarity inter-conditioned with Holos/Whole penetrate convincingly opera
omnia (poetry, prose, essays-tic, philosophy) of this poet-philosopher.
By nominating Toma George Maiorescu
for Nobel Prize in Literature, we have in mind Nobel's “idealistic” precept, as
well as the “unknown master” to be so discovered by larger world than of only
one country. Full data follow.
Bucharest,
August 2010
Dr. George Anca, member of Romanian Writers' Union,
professor of
comparative literature (Delhi University,
Bucharest
University), former director of the National
Library of
Education, Bucharest (1988 – 2008)
Mail
address: Str Izvorul Crisului, 12, D4/34,
Bucharest –
040895
Phone: 021
450 88 68
E-mail:
george_anca@yahoo.com
Paul Miclău
The poetic debut of
Toma George Maiorescu (1947) took place in a ill-fated cultural and
specially literary epoch: the period of official imposing of the “socialist realism”, of the “proletkult”.
In context, the poet appeared through a new cut, not imbued by the counterfeit lyricism of the epoch, he
being a follower of Whitman or Maiakovsky.
Only later on, after the
ill-fated period was consumed, it was
observed that his verse had a proper generic resort into vocation of an
ironical-pamphleteer sarcastic poetry which had as interface a profound moral
reflexivity. From aesthetic point of view, he looked like a new-vanguardist.
But he was an “experimentalist” of a new-modernism, when Romanian literary
modernism was interrupted in its natural evolution by the imposed
“proletcultism”.
It can be said that Toma George
Maiorescu had dynamited, initially, the proletcultism from his own ground and
with his own weapons. His main
characteristic was the reflexive examination of the Consciousness.
Gradually, the poetry of Toma George
Maiorescu will open more and more toward the surprising of a “visceral”
suffering of human history, culminating with
the idea of an “eternal
crucifying” of the eternal man (“Timp rastignit”/ Harangued time, 1969).
What will offer the ontological force to this poetry
denouncing the evils of mankind
suffering time will be its intrinsic,
halved implanting, in the implicit horizon of metaphysics. Never a coming out
of the real – but always a transgression of the immediate real into a larger
“cosmotic” real, implied and adopted by the poet.
The sarcastic register detains, in
this poetry, large gammas – from sharp acidity to its fine diminishing into
grave reflexion, or, other times, at “disguising” into playful or absurd mask.
The inner “torture” of Toma George Maiorescu is – as the title of one of his
poems: a semantic insomnia.
The “aleatory” of aspects taken in
poetic sight is apparent – because it is commended to the poet by the “poetic
object” cut up from zone of the real. This “poetical object” claims the
ad-equating to it of lyrical and reflexive ego.
A poetry in which the lyricism is
converted to the lucidity of existential meditation, out of which there are not
lacking poetical elements of new-expressionism in which the anxiety belongs to
option act operated by “lyrical conscience”. A poetry crossed by a great
semantic thrill – having as a singularization profile, a “poetics of
semantic-ism”.
Post-modern(ist) poet through reflexive and existential arch which
proposes the
axiological cult – Toma George Maiorescu is, in the same time, a very
precocious precursory of the postmodernism, through aspects of sarcastic,
ironic “de-structuring” of the real incriminated as vicious. The postmodernism
makes room in his poetry especially through ad-equation of stylistic means to the act of “deconstructionist” aesthetics.
Toma George Maiorescu is a precursor
of postmodernism also through
proposition of a inter-reign aesthetics which makes often labile the border
between poetry and prose. And, also, through introduction in semantic space
assimilated as poetic space, of emotional living - along with profundities of
love or essential sentiment of nature -, of an astounding horizon of
contemporary science and philosophy.
Continuous innovation becomes
plenipotentiary in the poetic art of Toma George Maiorescu. With a single
condition: to increase artistic expression.
Toma George Maiorescu inaugurates a new
series of poetry into a definitive author edition. He takes over direction of
modernity, historic vanguard, as it is said.
I underline that his poetry is a discourse, what can not be affirmed of
any poetical production. Much poetry scleroses in texts which mum. At Toma George Maiorescu the poem is
dominated by tension, it processes, becomes incandescent, explosive, makes
itself, differently saying, discourse. This discourse is, hence, a modern one.
Firstly through renunciation to analogy, to mimesis, and in discursive plan to
metaphor, in favor of processional metonymy, many times hypothetical or
optative.
Toma George Maioresu is not a simple
surrealist; we could place him on the
edge of surrealism as historians use to say currently. He doesn't cultivate
Breton's supra-reality became classic, as explosive synthesis between reality
and dream, motivated by unconscious inmost depths. The poet cultivates the
paradox of the conscious unconscious (and subconscious). The volume, not
casually, is divided into five
obsessions, cleared semantically in 'Argument' and subtitles, but treated in
heavy, ambiguous and serial symbols which are founded on a scholarly staging of
poetical living.
In the coin reverse, Toma George
Maiorescu practices a poetry of ideas, better said of idea makings. But,
attention, classic logic doesn't satisfy him any more, for he lives in
knowledge of cause the epistemic of our century, marked by Einstein relativism,
by complementarity of physics hypotheses, by presser of some new logic
assembling or founded on vague, on 'flou'.
Traveler, author of reports and
interviews, Toma George Maiorescu is also the media poet tempted, therefore, by
poetry of the real, quotidian, announcing eighties generation. In difference
from these, he knows, as a warned journalist, that it doesn't exist a discourse
about the real, but about another
discourse. Poet engaged during his gurgling youth, Toma George Maiorescu
detached, while the eighties people reengage themselves through brute saying of
daily real.
The poetical discourse of Toma George
Maiorescu is modern also through its metalinguistic dimension. But it is not
question, at him, about a cheap textualism, but about stirring up of binder between world and language. With many
years ago I wrote about 'the horse as language' to Toma George Maiorescu, with
necessary semiotic reflexions. But not metalanguage as such is installed in his
poems. I would say rather that it is question about something more profound, a
kind of meta-pragmatic, or, better circumscribed, a meta-discourse.
Many times, the poet leave to reader
the task to remade syntactic ties, to intuit the armature of argumentation. The
text is voluntarily lacuna, but, at a very profound level, metaphysical, in
hyper-modern context. The completion, remaking of arguments, of logic machinery
make that reading be profoundly participative, but not at banal, euphoric
level, but in heart-rending discomfort; the text defies, provokes, calls us to
shaking of the absurd and tragic real. It is realized thus a too vibrant
catharsis which marks the passing from classic, Aristotelian vision to that
psychoanalytic. Otherwise said, from the effect of purification of passions,
including spectators to a dramatic representation, to the effect of liberation
of affects driven into the unconscious. The reader is not any more brother, but
partner in consummation of today world
drama.
I can not abstain to make analogies
between Toma George Maiorescu and the poet I cultivate since more than thirty
years: Guillaume Apollinaire. And it is not question only about the
calligrammes of French poet. Analogies with Apollinaire can be made on line of
the deep modernity. Let not forget that the French poet has created himself the
vocable of surrealism. Toma George Maiorescu resembles with modernism of
Apollinare and his creation fills in postfactum a void in our poetry, which
passed suddenly from tardy symbolism of Bacovia to vanguard surrealism. Being
also a pre-surrealist, Toma George Maiorescu is, therefore, a postmodernist who
cultivates formulas from before acute modernism.
On reflexion line, Toma George
Maiorescu is today promoter of ecosophy that he teaches at university level,
founding theoretically the ecologist discourse
which he defended, initially, at political level. Re-comforting, isn't so? He fills in a void in our idea debate and
culture as he filled in significantly decisive spaces in the field of Romanian
letters.
P.S.
After an edition, almost integral,
definitive of his poetical work, T.G.M. offers to us one more, surprising,
volume. With a spiritual energy which
comes with an unexpected force and sap, T.G.M. confirms with brio the constant
of his poetical creation, which wasn't yet put well in light: T.G.M. was and is
a postmodern avant la letre! He wrote the poetry of quotidian when our eighties
postmodernists were still kids playing in dust. The poetry of T.G.M. is deeply
anchored in that tradition of European poetry which started off in poetry of the quotidian, of real, much
before English-American poets considered at actual hour as fathers of
postmodernism.
A feature of this important book of
actual literature ('Post-definitive') is its joining to the last hour modernity
through a new sap of textualism, the poet using new poetical valences, concepts
of metalanguage as phoneme, semantic etc.
At the same time the book is anchored in an ironic verve which doesn't
manifest only as referential thought but also as irony of language, joining in
happy mode the hard lexis with a very re-comforting, at actual hour, expression
of popular and familiar nature.
In Post-definitive exists also a more
profound semantic, an implicit metaphysics in poetical thought. (So present
also in the syntheses of chapter 'Synapses'.) Characteristic for this book,
face to others, is not only the ecosophic substrate of poetical thought (the
ecosophy being the philosophical discipline created and masterly illustrated in
Romania by T.G.M.), but, this time, the Post-definitive include in artistic
creation, evidencing a new direction, the spiritual dimension, poetical
ecumenism.
The
essential humanism of Toma George Maiorescu is revealed also in his
prose, which, although doesn't edify, as to other authors, an epic “style”, it
finds the axiologic binding just through
diversity of its formulas. More exactly, this means that his author holds the
talent to modify his “aesthetic formula” of the writing as act of molding on living episode, provocative
through its special, particular nature, of the
reality.
Thus, the novel “Noapte buna
sagetatorule”/ Good night Sagittarius, with a novel structure, is crossed –
beyond the central theme, of love - on
the obsession of “cabala” mystery of number. In this manner, it is obtained an
interference between psychological characters, and mysterious,
esoteric-metaphysical commandments.
It is a novel in which the border
between exterior reality and interior “dream” or hallucination is permanently
labile. The novel is, in fact, the “series” at first person, narrated by the
masculine character, of a chain of surprising meetings, in his life, of “ideal
woman”.Meetings” of which social context doesn't permit realization of the
“perfect couple” , but separation – immediate and with unhealed nostalgia. It
is a philosophy of “sanguine Time”, which can not stand stone-still into “ideal
states”, and which “advances” through disparity. The travel through an almost
hallucinating exterior geography becomes epiphany of an unforeseeable inner
travel.
It exists, in this novel, an almost
tragic fascination, a flashing
probability which can not embody itself as reality. It is a prose which
interlaces the destiny-anti-destiny “mystery” with a dense coloratura of concrete
detail, because “the dream” subordinates to acuity of the real. From luxuriant
descriptions of geographic mediums to the passages of applied erudition
regarding architecture, decorative art, etc., it is perpetuated a dialogue
between “Ego” and “Sight”, which confirms to us “artistically” the integral-ist
profession of faith of existential plans, which Toma George Maiorescu
articulated with strong theoretical arguments in his ecosophic work, unique in
Romania.
In this novel it is defined a
powerful phenomenology of transfer between perception of natural elements and
inner space. The descriptions pass into own epicallity through compositional
gradation of this act of phenomenological transfer.
“Ucigasul si floarea” / The killer and
the flower, “aleatory and thriller novel in pursuit of idea”, apparently a
playful fantasy, is integrated by the author into a “Time of expiation”. That
is of a historical, totalitarian penitence, disfiguring up to grotesque and
absurd. Actually, the absurd will figure like a passport which will permit to
anti-totalitarian ideas to pass through Caudine Forks of censorship.
It is question about skidding into
illogical of the historical time we lived. Postmodernist type of
“de-structuring” becomes acid in the back of ultra-caricature playfulness. The
main character is a sort of Charlot, declasse into caricature's caricature.
To the same “Time of expiation” belongs also “Priveghiul”/ The wake, novella
of a pure tragic, related to quotas of an ancient tragedy. Innocent characters
– mother and son – are doomed by a double instance: of the men and of destiny.
The psychologies are abyssal, although differentiated also typologically as a
relation between nature and culture.
A great charge of emotional lucid
living defines the memorial prose of Toma George Maiorescu – considered by him
a “Time of return”. The evocations in “Fum amar in cerul gurii“/Bitter smoke in
in the roof of mouth” are dramatically connected with puberty epoch, time
before war with perverting fresh consciousnesses of friends until then, of
(separating) influence of Nazi ideology. The soul wound of the child in
transformation outrages strongly the human fiber in him.
The prose of Toma George Maiorescu
interferes, as well as the poetry – from axiological point of view, the
historical reality with its metaphysical projection. From psychological point
of view it interferes sensibility to the
“painful” and lucidity exam.
There are principles referring to
integrability between man and nature, to aphoristic certitude expressed in one
of his synapses: “the sense of life is life itself”.
A constant preoccupation,
perseveringly pursued in the last
decades of the XX century is the constitution of a coherent picture of the
forces lines of possible tendencies and
syntheses in an end of century-millennium. Toma George Maiorescu probes. Where
is the humanity going?
And he depicts through talks with
personalities representative for modern spirituality , the mode of
understanding, questions and expectations of the epoch. More than 100
personalities of intellectual elite (artistic, literary, scientific, many of
them Nobel laureates) participate to the colloquium included in the volumes
“Dialog cu secolul si oamenii lui”/Dialogue with the century and its people,
vol. I, and “Unde se intorc cosmonautii”/Where the cosmonauts return, vol. II.
Among interviewed are: Werner Heisenberg, Lucian Blaga, Jean Louis Barault, Galina
Ulanova and M. Sadoveanu, Gleen Seaborg, M. Solohov and Jacques Ives Cousteau,
Adolf Butenand, T. Arghezi, Kaneto Shinda, Go-Mo-Jo, C.M. de Jesus, Oskar
Niemeyer, Iannis Ritsos, Makarios, Alfred Kastler, etc.
To same preoccupation for “state of
mankind” at change of century-millennium there are added his books of travels, reports, notes of
route and board diaries (voyages as sailor). The writer's participative
curiosity and thirst for knowledge cross large geographical spaces between
equator and Arctic, between Sahara and countries of the black continent and
Middle Est, from “finistera” up to Urals and farther on. The writer searches,
probes opinions, describes geographical and human landscapes, psychological variety. He reveals
and outlines “state of mankind” (Volumes: “Zeii desculti”/ The barefoot gods,
“Calatorie prin vreme”/ Journey through time, “Hoinar pe meridiane”/Wanderer on
meridians, “Sub 50 de stele”/Under 50 stars, “Intre km. 2000 and
Golgota”/Between km 2000 and Golgotha.)
*
Completing.
Not in the last turn, Opera Omnia. We must mention his passing from
president-founder of the first ecologist party in Romania (Miscarea ecologista
din Romania/The ecologist movement from Romania), strict political function, to
a function eminently educative: the university chair of ecosophy. The ecosophy
is a discipline founded by Toma George Maiorescu in Romania, the discipline of
the five fundamental relations: 1) I – the other, 2) I – the social group, 3) I
– the Nature, 4) I – the Universe, 5) I – the self (Volumes: “Introducere in
Ecosofie”/ Introduction in Ecosophy, “Ecosofia” - university course,
“Imblanzirea fiarei din om sau Ecosofia”/ The taming of beast in man or the
Ecosophy” - in four editions).
Opera Omnia Toma George Maiorescu
includes circa 40 volumes of poems, prose, philosophy, and publshing.
Translated in over 20 languages by well-known writers-translators: David
Samoilov, Kirill Kovadji and Evghenii Yevtushenko into Russian, Geir Campos into Portuguese, George Anca into English, Per Olof Ekstrom into Swedish, Menelaos Ludenis and Dimos Rendis
into Greek, Andree Fleury and Paul
Miclau into French, S. Stamboliev
into Bulgarian, Prabhjot Kaur into Hindi, Pablo Neruda and Omar Lara into Spanish, Oskar Pastior into German, Franyo Zoltan and Balogh Josph
into Hungarian, Melike Roman into Turkish, Slomo David into Ivrit, O. Gurijan into Esperanto, etc.
The proposal for awarding Nobel Prize
for Literature has in view:
the literary work of Toma George
Maiorescu carries an unmistakable
stylistic imprint. Opera omnia presents a large opening toward
universality, a humanist-ecosophic vision putting the life in the ontological
center. “Sense of life is life itself” writes T.G.M. in one of his synapses.
T.G.M. literature is an open
permanent polemical confrontation with
the comfortable cliches of thought, with mental automatism, with common place
and path much walked.
With the limitations of dogmas and
with obtuse of prejudices, his writing, indifferent of genre, is defined
through a constant and ingenious battle
for imposing of means of innovative expression, for release of thought from
chains of obscure habits, for serene horizon of a generous, bio-centric,
ecosophic and ecumenical (of reciprocal respect and harmony between religions)
humanism. A cordial humanism, conscious of responsibility for global state of
mankind and of life conditions on planet. A humanist message of thought cut on
individual measures of everybody and of mankind as a whole, adapted through its
vision and action at the quota of technical-scientific and philosophical
progress of Millennium III.
Otherwise, the ideas and ecosophic
humanist message penetrate profoundly
and holistic Opera Omnia – Toma George Maiorescu.
Appropriating entire universal
dictionary of artistic expression (from Homer until today), the creation of
Toma George Maiorescu uses without
inhibitions those means of expression and forms which release his proper
personality. Stylistically he will put emphasis especially on search of
conspicuousness of an innovative expression. Thus T.G.M. will be “postmodern”
still before of defining and officialness of aesthetic current by literary
theory and criticism.
To the specificity of T.G.M.-ist
writing belongs also the permanent
tendency of enriching and enlargement of sphere of poetical language.
From the democratic street slang to concepts of intellectual elite modeled by
cybernetics, quantum physics, philosophy or internet, the writer integrates,
with a rare mastery, organic, in his poetic art, the freshness of new and
strong semantic springs.
University
Professor Dr. Paul MICLAU,
Former Dean
of the Faculty of Foreign
Languages
and Literature
Mail
address: Bucharest, Sector V, code 050579
Str.
Dimitrie Draghicescu, No.16
Radu Sergiu
Ruba
NICI MARIN, NICI MARIAN NU VIN DE LA
MARIA
Înainte de
toate, viaţă frumoasă tuturor Mariilor, numele să le ocrotească, fiindcă măcar
acesta e sfânt în ceea ce ele sînt.
Dar azi am
auzit, chiar şi la posturi de radio onorabile, prostia pe cale de generalizare
prin care li se adresează urări celor cu numele de Marin. Marin nu are cum să
vină de la Maria, iar Maria, apărut ca atare în greacă şi latină, nu a existat
înainte de creştinismul cât de cât răspândit. În limbile semitice, cel puţin în
ebraică şi în aramaică numele este Miriam. Marin, de la adjectivul marinus, e
un determinant latin comun pentru Mediterana, adică adjectivul marin, ceea ce e
legat de mare. Din poreclă, dintr-un indicativ topodependent necesar în
comunicare, a devenit nume propriu, asemenea lui Montanus, Urbanus, Paganus.
Marinus a existat la romani şi înainte de creştinism, deci, înainte de Maria.
Situaţia
numelui de Marian-a e ceva mai încurcată datorită culturii creştine. Marianus
la romani este fiul lui Marius, iar Mariana este fiica aceluiaşi tată, aşa cum
Lucianus este fiul lui Lucius, Emilianus al lui Emilius, Marcellinus al lui
Marcellus, Valentinus al lui Valens. Dar Marian, spre deosebire de celelalte
identităţi dezvoltate din numele tatălui, a beneficiat, în lumea creştină, în
special în cea mai şcolită, în cultura creştină, de suprapunerea unui
determinant în conexiune cu Maria peste numele fiului lui Marius, recte,
Marianus: cultul marian, de exemplu, în Bisericile Catolică şi Ortodoxă,
iconografia mariană în aceleaşi biserici. Cu acest pogorământ, Marian poate fi
asimilat, via culturalis, numelor celebrate sub puternica radiaţie mariană.
Pavel Susara
Şerban Foarţă
FRANÇOIS VILLON
B A L A D Ă
CE-O FĂCU VILLON LA
RUGĂMINTEA
MAICII LUI, – CA SĂ I
SE ÎNCHINE, EA,
SFINTEI FECIOARE
Regină-n Ceruri, pre Pământ regină,
Regină peste bahnele din Iad,
Primeşte-o între-ai tăi pe o creştină
Nevrednică să-i faci spre tine vad, –
Şi care-s eu, ce în genunchi îţi cad.
Prea mare-i, când păcatele dau peste,
Stăpână, mila-ţi, făr’ de care este
Cu neputinţă, dincolo de nor,
În Rai să urci. Ce-ţi spun, nu e
poveste:
În crezul ăsta vieţui şi-am sa mor.
Ci roagă-ţi Fiul, Maică,-n veci
Virgină,
Să-mi ierte vini, în care nu recad,
Să-mi ia, cum Egipţiecei, orice vină
Au cum lui Theophil, – scutit de Iad
La ruga-ţi caldă ca un gros plocad,
Chit că-i slujise Nàgodei. –
De-aceste
Mă apără, tu, vrednică de-o Veste
Ce ţi-o aduse-Arhanghelul, – în cor,
Slăvită de copii, bărbaţi, neveste.
În crezul ăsta vieţui şi-am sa mor.
Sărmană îs, pe oase-am prins rugină,
Şi, vârstnică, mă-mpuţinez şi scad;
Nu ştiu ceti, dar văd şi eu,
Regină,-n
Biserică, pe muri, şi Rai, şi Iad;
Într-ăsta fierb în smoală ăi de cad,
Întâiu-i plin de trâmbiţe celeste, –
Mă bucură, precât de groază-mi este
De cestălalt. Fă-mi parte, căci mi-e
dor,
De toate bucuriile aceste.
În crezul ăsta vieţui şi-am sa mor.
Vergură, ce-ai născut pre Cel ce este
În veci; care păcatul lumii-aceste
L-a luat asupră-i, carele, de peste
Lumină şi, de dincolo de nor,
Om s-a făcut, – prin jertfa-i dând de
veste
Nou ev, în care Domnul, El, ne este.
În crezul ăsta vieţui şi-am sa mor.
[Traducere – în amintirea MARIEI-MIA,
– de Ş. F.]
Adelina Fleva
mi-e sufletul
mi-e sufletul de-acum drumeţ pribeag
privirea mi s-a încleiat pe-un ram
iar corbii cu sutanele macabre
îmi croncăne prohodul pe la geam
şi Doamne ce duhoare se desprinde
din trupul care zace în sicriu
acum că sunt o mână de ţărână
mi-e dor de învelişul Tău cel viu
aş vrea să ţip buchete de proteste
şi glas de valuri sparte mă îngână
mi-e dor de-agapa Ta pe trup şi plete
dar peste ele viermii stau pe-o rână
Vişan Dragoş
Deshidratat
.
Deschide-mi dinții
cerul gurii înnegrit
poarta strategiei închiderii
țipătului
dă-n ei cu târnăcopul să se
descleșteze
într-un pat de lut din fosta vale
Carasu
eu sunt deținutul ajuns doar piele și
os
acum fantoma legată cu sârmă
ce se mai arată înspre Valea Seacă
noaptea
în zeghea intelectualilor condamnați
pe care tu neiubită patrie
"populară"
de fapt slujnică stalinistă
l-ai împușcat tam-nesam pe când
te înjura de stea roșie la un sisific
iad și Canal
fiindcă pe vipie la început de
septembrie 1949
nu-i dădeai o ultimă gamelă
cu apă limpede rece de la dereaua
pe care tocmai o sfărâma și astupa
.
Izvorul tuturor răutăților
o să-i ajungă pe fiii tăi
peste șaptezeci de ani
și hogea Nastratin
nu se va mai ivi
pe-o Dunăre Veche
cu caicul la mal
Streche Nicolae Florentin
*
Luna, bat-o vina! - Beth Hart
"Ea isi aminteste clipa cand
s-au vazut,
pana la cel din urma minutar,
viata ei n-a fost vreodat' la fel.
Da, insingurata in intuneric,
cu ochii aprinsi pe ploaie,
viata ei nu a fost vreodat' la fel,
ea varsa lacrimi, este o taina,
si nimeni n-a vazut ce durere imi
provoaca,
este magie neagra, este vremea
Vrajitoarei!
Luna, bat-o vina, da,
luna, bat-o vina!....
Da, este o taina
si nimeni n-a vazut ce durere imi
provoaca,
este magie neagra, este vremea
Vrajitoarei!
Ti-am zis ca-i luna, bat-o vina,
luna, bat-o vina, da,
luna, bat-o vina!"
Norica Isac
*
bărbați în alb-negru
Norica Isac (M.G.)
acei bărbați din albume
în acele fotografii alb-negru
surprinsi între două mutații:
-de veac și (inter)belice-
mult mai înalți cu pălarii pe cap
mult mai subțiri în pardesie lungi
mult mai umblați cu pantofi lustruiți
în spatele lor
o stradă cu automobil
un colț de cafenea
cu afiș music hall
umărul
și dantela unei rochii cu jupon
la o masă
un trandafir
vândut la colț de stradă
toate acestea
în ochii
acelor bărbați din albume
zâmbind în fața
mașinilor de fotografiat
între două fleshuri:
-de timp și de foc-
Jorj Maria
*
mi-am jupuit rânduri de piele
până fața s-a urâțit într-atât
încât doar câinele meu surd
mă recunoaște
doar el mai descifrează
semnele muțeniei mele
mi-am jupuit rânduri de piele
dar poezia mea nu s-a schimbat
sunt creația cuvintelor
care nu oferă nimic în schimb
sunt fanatica iconografului Rubliov
care s-a împuținat văzând cu ochii
mi-am jupuit rânduri de piele
pentru ca moartea să fie mai ușoară
simt gustul de fum al toamnei
se ard lucrurile
se așează bruma în fața cerului
nimic nu-mi amintește să fi avut
o altă viață
pielea cuvintelor este albă
este neagră
lucioasă ca o rășină care plânge.
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