{"id":19803,"date":"2014-06-26T12:07:32","date_gmt":"2014-06-26T10:07:32","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=19803"},"modified":"2014-06-26T12:07:32","modified_gmt":"2014-06-26T10:07:32","slug":"literatura-uber-alles-o-saga-banateana","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/literatura-uber-alles-o-saga-banateana\/","title":{"rendered":"Literatura \u201e\u00fcber alles\u201c. O saga b\u0103n\u0103\u0163ean\u0103"},"content":{"rendered":"<blockquote><p><strong>\u015etefan Ehling, <em>Nu-l blama\u0163i pe ambi\u0163ios,<\/em> Editura Tim, Re\u015fi\u0163a, 2013<\/strong><\/p><\/blockquote>\n<p>&nbsp;<\/p>\n<p>Prozator puternic, atipic, de solid\u0103 instruc\u0163ie \u015fi civilitate, \u015etefan Ehling tip\u0103rea (la 68 de ani!) o carte masiv\u0103 (Martha, \u00een 2008), lu\u00e2nd \u015fi premiul de debut al filialei timi\u015forene a Uniunii Scriitorilor. Romanul, ca surprinz\u0103toare apari\u0163ie t\u00e2rzie, impunea prin for\u0163\u0103 problematic\u0103, anun\u0163\u00e2nd un ambi\u0163ios ciclu. \u00centr-adev\u0103r, ritmic, cel care se preg\u0103tea \u201es\u0103 devin\u0103 scriitor\u201c ne-a oferit alte titluri, dup\u0103 un program riguros, urmat cu tenacitate nem\u0163easc\u0103: Profesor H\u00fcbner (2010), N-ai de g\u00e2nd, domnule, s\u0103 la\u015fi garda jos? (2012) \u015fi, recent, Nu-l blama\u0163i pe ambi\u0163ios (2013). Fiind martor \u015fi reflector, consemn\u00e2nd un fragment de Istorie (ideologizat\u0103 brutal), \u015etefan Ehling ne dezv\u0103luie, de fapt, un topos: o umanitate plurietnic\u0103 din nordul Banatului, \u00eentr-o vreme trecut\u0103 printr-un cutremur istoric, av\u00e2nd ca vector epic anii de forma\u0163ie. Prozator adev\u0103rat, de un \u201ebalzacianism necesar\u201c (cum se va pronun\u0163a criticul Bauer), profesorul Marchi\u015f, ca protagonist-scriitor, \u00een r\u0103sp\u0103r cu literatura schematic\u0103 a realismului socialist, ar vrea s\u0103 scrie un roman taman despre acea perioad\u0103. Dar g\u00e2ndul de a oferi un roman realist-socialist, cu eroi pozitivi, pe m\u0103sura standardelor impuse de paznicii dogmatici ai epocii, este deturnat de invazia negativilor \u015fi de numeroasele inserturi: de la considera\u0163iile \u201eoarecum teoretice\u201c p\u00e2n\u0103 la adnot\u0103rile lectorului-comentator (profesor de istoria muzicii la Graz), cu pigment ironic \u015fi referin\u0163e livre\u015fti. Acel roman care \u201ese zbate s\u0103 ias\u0103 la lumin\u0103\u201c sondeaz\u0103 o Istorie convulsiv\u0103, dinamic\u0103, traumatic\u0103, de bog\u0103\u0163ie epic\u0103, nerefuz\u00e2nd analiza psihologic\u0103. Cum Vasile Marchi\u015f, intrat \u00een vizorul Securit\u0103\u0163ii, fusese supus unui \u201elan\u0163 de h\u0103r\u0163uiri\u201c \u015fi, \u00een plus, \u201elucrase pentru Securitate\u201c (f\u0103c\u00e2nd lec\u0163ii de german\u0103 cu ofi\u0163erii), se r\u0103sp\u00e2ndise zvonul c\u0103 manuscrisul la care trudea viza o reglare de conturi. Fr\u0103m\u00e2nt\u0103rile sale, v\u0103dind \u201eun hermeneut pasionat\u201c, conjug\u00e2nd realismul satiric (inventariind oportunismele \u015fi dela\u0163iunile abjecte ale vremii) cu re\u0163eta postmodernismului, pe suport metatextual, privesc grijile redact\u0103rii. Autorul \u015ftie c\u0103 scrisul nu e treab\u0103 de diletant \u015fi, \u00een consecin\u0163\u0103, uz\u00e2nd de o conven\u0163ie (b\u0103t\u0103torit\u0103), purcede la sprijinul unui expert, sub pretextul \u00eencredin\u0163\u0103rii manuscrisului spre lectur\u0103. Urm\u00e2nd, desigur, \u201eo discu\u0163ie profund\u0103\u201c. Pensionar acum, fostul profesor Marchi\u015f \u00een\u0163elege scrisul ca tomograf; d\u0103 la iveal\u0103, a\u015fadar, \u201eo carte aproape autobiografic\u0103\u201c, \u015ftiind c\u0103 orice carte adev\u0103rat\u0103 se hr\u0103ne\u015fte \u201ecu s\u00e2ngele autorului\u201c. Iar literatura r\u0103m\u00e2ne, mai presus de orice, \u0163inta suprem\u0103 (\u201e\u00fcber alles\u201c).<br \/>\nSe cuvine s\u0103 observ\u0103m c\u0103, trecut prin experien\u0163e dureroase, \u015etefan Ehling scrie, \u00een deghizament, f\u0103r\u0103 angajament polemic. El consemneaz\u0103 cu har, pe un ton neutral, rememor\u00e2nd, o cascad\u0103 de evenimente, f\u0103r\u0103 a vitupera. De\u015fi, spuneam, \u201escrie cu s\u00e2ngele s\u0103u\u201c, livr\u00e2nd romane stufos-memorialistice, cu personaje migratoare.<br \/>\nDac\u0103 N-ai de g\u00e2nd, domnule, s\u0103 la\u015fi garda jos?, roman pus sub semnul \u201efr\u0103m\u00e2nt\u0103rilor unui debutant b\u0103tr\u00e2n\u201c, nara, pe o \u00eentins\u0103 por\u0163iune, despre deportarea \u015fvabilor b\u0103n\u0103\u0163eni \u00een URSS (ianuarie 1945), cu multe victime printre membri familiei Ehling, ar fi de remarcat tocmai stilul digresiv, lipsit de patim\u0103, decolorat ideologic. \u00cenc\u00e2t a vedea \u00een \u015ftefan Ehling \u201eun Soljeni\u0163\u00een postmodern\u201c este nu doar excesiv, ci de-a dreptul fals, denatur\u00e2nd mesajul romanesc. Dincolo de merite (reale!), romanul, propulsat adjectival drept \u201eo mare carte a literaturii noastre\u201c,\u00a0 n-are cum fi \u201eo epopee a gulagului sovietic\u201c, cum crede, netulburat, Gh. Seche\u015fan. El aduce, \u00een schimb, o und\u0103 dureroas\u0103, de pild\u0103, odat\u0103 cu revenirea lui Hansi Jung \u00een \u0163ar\u0103, la Giarmata, pentru a fi prezent la \u00eenmorm\u00e2ntarea tat\u0103lui; rev\u0103zute, locurile dragi poart\u0103 o \u201eaur\u0103 de sfin\u0163enie\u201c, f\u0103r\u0103 a poten\u0163a \u2013 precizeaz\u0103 doct autorul \u2013 ceea ce \u00een literatur\u0103 ar fi (am numi) sentimentul dezr\u0103d\u0103cin\u0103rii.<br \/>\nRomanul ultim, a\u015fezat sub un titlu, \u015fi el, nefericit ales (\u00een sensul de nepotrivit, restrictiv fa\u0163\u0103 de densa substan\u0163\u0103 romanesc\u0103), este, desigur, un Bildungsroman, relat\u00e2nd despre \u201eplanurile mari\u201c ale unui student ambi\u0163ios, \u00een context postbelic. Adaptarea lumii dup\u0103 r\u0103zboi, \u00een plin totalitarism ro\u015fu, \u00eei prilejuie\u015fte prozatorului aceea\u015fi binevenit\u0103 deta\u015fare. Experien\u0163a de via\u0163\u0103 (bogat\u0103 \u015fi traumatic\u0103), puseele parodice, lecturile \u00eentinse, metabolizate, filtrate critic, de inteligen\u0163\u0103 analitic\u0103, cultura muzical\u0103 etc. se r\u0103sfr\u00e2ng \u00een paginile c\u0103r\u0163ii, \u00eencheg\u00e2nd o compozi\u0163ie postmodern\u0103, amestec\u00e2nd\/ ambiguiz\u00e2nd timpul istoric \u015fi cel auctorial. De altminteri, pe bun\u0103 dreptate, Eugen Dorcescu sesiza c\u0103, pe l\u00e2ng\u0103 eroul real (evident, Marchi\u015f), se insinueaz\u0103 \u00een cutele textului un erou latent: timpul. Consecin\u0163ele sunt previzibile: uitare, limpezire, dezideologizare. \u00cenc\u00e2t, sfid\u00e2nd puzderia de evenimente (o colec\u0163ie de \u201e\u00eent\u00e2mpl\u0103ri n\u0103prasnice\u201c), v\u0103dind o memorie fabuloas\u0103, \u00een rama unor seisme\/ prefaceri istorice, estompa scriitorului pare tratamentul firesc. Ca privitor, \u015fez\u00e2nd la uli\u0163\u0103, \u201etare curios\u201c, ochiul copilului \u00eenregistreaz\u0103, \u00een Zvorini, precipitarea lor: un mo\u015f R\u0103vosie, a\u015ftept\u00e2ndu-i pe americani, trebuie \u201el\u0103murit\u201c, \u00een vreme ce du\u015fmanii poporului \u00ee\u015fi fac de cap. Se ascute lupta de clas\u0103, \u201etitoi\u015ftii\u201c trebuie, desigur, pedepsi\u0163i. Via\u0163a satului pulseaz\u0103, devia\u0163iile epice se dezvolt\u0103 stufos, \u00eencercuind o geografie precis\u0103, real\u0103. \u015ei dac\u0103 \u00eenv\u0103\u0163\u0103torul Domide cuteza a crede c\u0103 vom avea de-a face, c\u00e2ndva, cu \u201eun literat\u201c, profe\u0163ia lui s-a \u00eemplinit. Cu pigment ironic \u015fi intersti\u0163ii eseistice, \u00eenchipuind o galerie de portrete \u015fi \u00eent\u00e2mpl\u0103ri, cu epic arborescent, cu savante analogii \u00eentre st\u0103ri suflete\u015fti \u015fi partituri muzicale, \u015etefan Ehling ne propune o saga b\u0103n\u0103\u0163ean\u0103. Care, negre\u015fit, va continua. Revenit \u00een Timi\u015foara dup\u0103 anii petrecu\u0163i ca dasc\u0103l, \u00een S., printre olteni, profesorul Vasile Marchi\u015f (\u00een travesti), pensionar, e urm\u0103rit, nevindecabil, de boala scrisului. Romanul, am v\u0103zut, \u201ese zbate s\u0103 ias\u0103 la lumin\u0103\u201c \u015fi cartea nu poate fi dec\u00e2t \u201eaproape autobiografic\u0103\u201c. \u00cen pofida vremurilor aspre, \u015etefan Ehling, \u00eencerc\u00e2nd o fresc\u0103 a vie\u0163ii de toate zilele \u00een\/ sub comunism, re\u00eenvie trecutul f\u0103r\u0103 ur\u0103 \u015fi p\u0103rtinire. Din promisa tetralogie, aduc\u00e2nd \u00een scen\u0103 personaje migratoare, a\u015ftept\u0103m cu interes Cu hora \u2019nainte, roman \u00een lucru, dup\u0103 c\u00e2te \u015ftim. Deja \u015etefan Ehling este un nume consacrat, de neignorat \u00een orice clasament onest, nu doar zonal, al prozei noastre.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u015etefan Ehling, Nu-l blama\u0163i pe ambi\u0163ios, Editura Tim, Re\u015fi\u0163a, 2013 &nbsp; Prozator puternic, atipic, de solid\u0103 instruc\u0163ie \u015fi civilitate, \u015etefan Ehling tip\u0103rea (la 68 de ani!) o carte masiv\u0103 (Martha, \u00een 2008), lu\u00e2nd \u015fi premiul de debut al filialei timi\u015forene a Uniunii Scriitorilor. Romanul, ca surprinz\u0103toare apari\u0163ie t\u00e2rzie, impunea prin for\u0163\u0103 problematic\u0103, anun\u0163\u00e2nd un ambi\u0163ios&hellip;&nbsp;<a href=\"https:\/\/revistacultura.ro\/nou\/literatura-uber-alles-o-saga-banateana\/\" rel=\"bookmark\">Cite\u0219te mai mult &raquo;<span class=\"screen-reader-text\">Literatura \u201e\u00fcber alles\u201c. O saga b\u0103n\u0103\u0163ean\u0103<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8],"tags":[11594,11593],"class_list":["post-19803","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-nu-l-blamati-pe-ambitios","tag-stefan-ehling"],"views":1295,"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/19803","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/comments?post=19803"}],"version-history":[{"count":0,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/19803\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=19803"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=19803"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=19803"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}