{"id":22624,"date":"2015-03-05T14:01:40","date_gmt":"2015-03-05T12:01:40","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=22624"},"modified":"2015-03-05T14:01:40","modified_gmt":"2015-03-05T12:01:40","slug":"innodarea-liniilor","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/innodarea-liniilor\/","title":{"rendered":"\u00cennodarea liniilor"},"content":{"rendered":"

Diana Trandafir, Discurs \u00een ro\u015fu \u015fi alb<\/em>,\u00a0 Editura Tracus Arte, Bucure\u015fti, 2013<\/strong><\/p><\/blockquote>\n

 <\/p>\n

Am observat c\u00e2ndva c\u0103 lirica feminin\u0103 este \u00een privin\u0163a metaforelor mai bine articulat\u0103 spa\u0163ial dec\u00e2t cea \u201emasculin\u0103\u201c, \u015fi de aceea mai greu de urnit din forma pe care poetul de la bun \u00eenceput o caut\u0103 \u015fi o g\u0103se\u015fte cu u\u015furin\u0163\u0103; dar c\u0103, \u00een schimb, timpul \u015fi culoarea sunt elementele de construc\u0163ie imagistic\u0103 mai fluide, mai active \u00een sens poetic: p\u00e2n\u0103 la urm\u0103, cele mai expuse tr\u0103d\u0103rii poetului, odat\u0103 aduse la cuv\u00e2nt. Mai mult, \u201eautoarele\u201c \u00eentre\u0163in deseori aceast\u0103 \u00eent\u00e2mpinare \u201eb\u0103rb\u0103toas\u0103\u201c, cro\u015fet\u00e2ndu-\u015fi poemele din cuvinte de timp \u015fi culoare. Este \u015fi cazul Dianei Trandafir, care \u00een Discurs \u00een ro\u015fu \u015fi alb ne arat\u0103, \u00eenc\u0103 din titlu, calea sa, cuv\u00e2ntul s\u0103u: suntem chiar \u00eenaintea clipei surghiunului, la Cin\u0103, c\u00e2nd (\u015fi unde) lucrurile sunt f\u0103cute: timpul a venit, iar lucrurile sunt colorate asemenea vorbelor ce mai pot fi aruncate: \u00een ro\u015fu \u015fi alb. A\u015fadar, \u00een ro\u015fu \u015fi alb, cum e firesc pentru clipa de fa\u0163\u0103, de\u015fi mai po\u0163i z\u0103ri ici-colo o pat\u0103 neagr\u0103, un col\u0163 de draperie \u201edin catifea ar\u0103mie …\u201c (dincolo se aude o femeie treb\u0103luind), un tavan decolorat etc.
\nDar ce acoper\u0103, de fapt, culorile acestea, ro\u015fu \u015fi alb? La prima vedere, chiar ceea ce ele acoper\u0103 \u00eendeob\u015fte: puritate \u015fi suferin\u0163\u0103, adunate \u00eentr-un singur \u201eindivid\u201c: c\u0103ci tocmai acesta r\u0103m\u00e2ne \u201emiza\u201c (copci). La drept vorbind, \u00een acest \u201ediscurs \u00een ro\u015fu \u015fi alb\u201c ele nu sunt, \u00eenc\u0103, ele \u00eensele; doar se chinuie s\u0103 fie; iar poetul le tot \u00eentoarce pe toate fe\u0163ele, doar-doar vor intra, ca atare, \u00eentr-o form\u0103. Nu le las\u0103, pentru a fi \u015fi ele ca atare, liniile (drepte, curbe etc.). Da, liniile ori compu\u015fii din linii: de la tavane, la rafturi, de la dulapuri, la \u201ecet\u0103\u0163i de oase\u201c:\u00a0 \u201ePie\u0163ele publice n-ar trebui inventate \/ fiindc\u0103 n-au fost construite doar pentru noi \/ ar fi putut fi numite cet\u0103\u0163i de oase \u015fi ar mu\u015fca din ferestre \/ cu n\u0103frame \u015fi sori plini de pete \/ doar a\u015fa s-ar sf\u00e2r\u015fi p\u00e2nda dintre genera\u0163ii \/ \u00eenainte de a \u00eencepe propria noastr\u0103 p\u00e2nd\u0103 \/ aceea care sugrum\u0103 vl\u0103starul \/\/ tu continu\u0103 s\u0103 dai \u015futuri pline \u00een gol \/ consecin\u0163ele nu pot fi omise \/ cum nu pot fi dispre\u0163ui\u0163i nici lupii suri care url\u0103 \/ cu din\u0163i sclipitori din reclame \/ \u015fi voci \u00eemprumutate direct din icoane\u201c. Noduri de linii, care se chinuie, desf\u0103cute, ref\u0103cute, r\u0103sf\u0103cute de c\u0103tre poet, s\u0103 se \u201e\u00eentrupeze\u201c. Dar cum ar putea? Cum li s-ar putea \u00eent\u00e2mpla a\u015fa ceva, de vreme ce ele, odat\u0103 intrate \u2013 \u00een sf\u00e2r\u015fit! \u2013 \u00eentr-o form\u0103, ar fi de-o seam\u0103 cu \u201eindividul\u201c \u015fi ar suporta surghiunul, \u00eent\u0103inuirea, moartea?
\nNe-am putea \u00eentreba, cu un ton poetic, nu \u201ecritic\u201c: ce ascunde poetul sub ro\u015fu \u015fi alb, ferindu-l astfel de \u00eent\u0103inuire? Dar \u015fi de toate celelalte care ar putea urma acesteia? Pe cine nu vrea s\u0103 aduc\u0103 \u00een chip, turn\u00e2nd peste el ro\u015fu \u015fi alb, at\u00e2ta vreme c\u00e2t el, poetul, \u015ftie c\u0103 \u201emiza r\u0103m\u00e2ne tot individul\u201c (copci)?
\nMi-a fost clar de la bun \u00eenceput, citind volumul de poezii al Dianei Trandafir, c\u0103 poetul trebuie c\u0103utat nu \u00een ro\u015fu \u015fi alb (culorile care, odat\u0103 aduse la form\u0103, s-ar face \u201eindivid\u201c), adic\u0103 \u00een culorile discursului s\u0103u, ci mai degrab\u0103 \u00een liniile \u00eennodate, at\u00e2t de clar \u201eformate\u201c (\u201eformatate\u201c discursiv), care prind \u00eentr-un chenar un fel de vid al oglinzii, un nev\u0103zut, mai bine spus, dar unul paradoxal, al oglindirii; sau, poate, un \u201eniciunde\u201c acum \u00eentruchipat: \u201ene-am \u00eent\u00e2lnit la o intersec\u0163ie \/ omida e format\u0103 din cercuri concentrice finan\u0163ate direct de la surs\u0103 \/ urc\u0103 lent pe zidul r\u0103cit \/ nu mai suspina \u00een ne\u015ftire (vara ninge ca iarna); sau privesc spre raftul de sus \/ p\u00e2n\u0103 unde oasele mele pot face podul \/ drumurile care urc\u0103-n tavan se opresc tot la tine \/ prima amintire e despre tine \u015fi str\u0103zi \/\/ \u015fi e tot dureroas\u0103 (a\u015fezat\u0103 pe coate \u00eemi p\u00e2ndesc gleznele)\u201c; sau, poate, un \u201ecorp f\u0103r\u0103 cap\u201c (mai puternic\u0103 dec\u00e2t mine este teama noastr\u0103 de moarte).
\nIndicii (verbali ai) spa\u0163iului sunt cei mai activi \u201eoperatori\u201c de imagine \u00een poemele acestui volum. Doar ei, \u015fi nu cei ai timpului etc., sunt structura\u0163i \u2013 e drept, aproape temporal, fiindc\u0103 dau seam\u0103 de un ideal \u00eenscris \u00een linii \u00eennodate \u2013 \u015fi pu\u015fi \u00eentr-o ordine ierarhic\u0103; pentru c\u0103 poetul e continuu cu privirea c\u0103tre sus. Ei se \u00eennoad\u0103 (verbal) pentru a deveni mai activi dec\u00e2t sunt: \u201ev\u00e2ntul \u00eempr\u0103\u015ftie spa\u0163iul risipit pe podea (ne c\u0103ut\u0103m \u00een agenda cu coper\u0163ile ro\u015fii)\u201c; pentru c\u0103 tocmai ei sunt r\u0103spunz\u0103tori \u015fi de timp, \u015fi de culoare. Iar poetul \u015ftie aceasta \u015fi \u00eei re-\u00eennoad\u0103, cu pricepere, \u00een cuvinte poetice de o fr\u0103gezime aproape solid\u0103. Desigur, la nivel de cuv\u00e2nt, el \u201evede\u201c; dar, \u00een fapt, adic\u0103 dincolo de cuvinte, el este atins \u015fi atinge \u00een acela\u015fi timp. A\u015fa \u00ee\u015fi cap\u0103t\u0103 trupul! Dar aceasta nu \u00eenseamn\u0103 c\u0103 metafora spa\u0163ial\u0103 a \u00eennod\u0103rii liniilor nu r\u0103m\u00e2ne \u00een centrul poetic al \u201ediscursului \u00een ro\u015fu \u015fi alb\u201c: \u201etu \u00eencerci rezisten\u0163a m\u0103t\u0103sii \u00een \u015foapt\u0103 \/ st\u0103m pe spate privim \u00een tavan printre oglinzi \/ ne\u00eentoarse linii curbe \/ curen\u0163i (la etaj se s\u0103rb\u0103tore\u015fte un botez ori o na\u015ftere)\u201c.
\nRar te \u00eent\u00e2lne\u015fti cu o poezie at\u00e2t de \u201esolid\u0103\u201c, f\u0103cut\u0103 dintr-o metafor\u0103 at\u00e2t de \u201espa\u0163ioas\u0103\u201c \u015fi pus\u0103 \u00eentr-o form\u0103 at\u00e2t de (bine) \u201e\u00een\u0103l\u0163at\u0103\u201c, cum sunt poemele Dianei Trandafir din Discurs \u00een ro\u015fu \u015fi alb. Desigur, cititorul refuz\u0103 \u201emesajul\u201c acesta at\u00e2t de clar \u00eencarcerat \u00een metafora tactil\u0103 a \u201edublei senza\u0163ii\u201c: nu po\u0163i nici tu s\u0103 fii \u201eindivid\u201c; mai bine r\u0103m\u00e2i \u00een aceast\u0103 clip\u0103 dinaintea surghiunului, chiar dac\u0103 ar trebui s\u0103-\u0163i spui, dup\u0103 poet: \u201egreu s-a f\u0103cut trupul meu \/ greu ca un mort\u201c (alt\u0103 scufundare identic\u0103). \u00cen fond, de ce s\u0103 treci dincolo, \u00eenspre Cin\u0103?
\nO rug\u0103ciune spus\u0103 cu trupul (tactil, \u00een registrul \u201edublei senza\u0163ii\u201c), cu o m\u0103sur\u0103 de metafor\u0103 cum rar mai putem \u00eent\u00e2lni ast\u0103zi: iat\u0103 ce \u00eent\u00e2lnim \u00een poezia acestui volum. Totodat\u0103, un experiment poetic tr\u0103it de-a dreptul \u00een cuvintele cele mai potrivite. Nu este vorba, desigur, despre o \u201epoezie filosofic\u0103\u201c (dac\u0103 a\u015fa ceva o fi exist\u00e2nd!), a\u015fa cum s-ar putea \u00een\u0163elege din unele cuvinte folosite de mine. C\u0103tre o poezie \u201ecurat\u0103\u201c, rostit\u0103 printr-o \u201eg\u00e2ndire\u201c asemenea oglinzilor fidele \u00een care sunt \u00eennodate liniile trupului, ne \u00eendeamn\u0103 poetul. Cine-i urmeaz\u0103 calea are curajul s\u0103 \u00eencerce el \u00eensu\u015fi descompunerea \u00een linii \u00eennodate. Dar ce poate fi mai frumos \u2013 \u015fi mai nobil \u2013 dec\u00e2t incanta\u0163ia de re-compunere (de sine) pe care o po\u0163i auzi din versurile unui poet, atunci c\u00e2nd capul \u0163i-e p\u0103trat, inima, o piatr\u0103, picioarele, ca ni\u015fte trunchiuri de copaci? E vorba, aici, \u015fi de un adev\u0103r: trupul poetului, o \u00eennodare de linii!<\/p>\n","protected":false},"excerpt":{"rendered":"

Diana Trandafir, Discurs \u00een ro\u015fu \u015fi alb,\u00a0 Editura Tracus Arte, Bucure\u015fti, 2013   Am observat c\u00e2ndva c\u0103 lirica feminin\u0103 este \u00een privin\u0163a metaforelor mai bine articulat\u0103 spa\u0163ial dec\u00e2t cea \u201emasculin\u0103\u201c, \u015fi de aceea mai greu de urnit din forma pe care poetul de la bun \u00eenceput o caut\u0103 \u015fi o g\u0103se\u015fte cu u\u015furin\u0163\u0103; dar c\u0103,… Cite\u0219te mai mult »\u00cennodarea liniilor<\/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":[13677,13678],"class_list":["post-22624","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-diana-trandafir","tag-discurs-in-rosu-si-alb"],"views":1855,"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\/22624","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=22624"}],"version-history":[{"count":0,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/22624\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=22624"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=22624"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=22624"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}