De\u015fi neclarificat conceptual, departe de a \u00eentruni consensul, plutind \u00een echivoc, considerat un \u201egen sezonier\u201c chiar, hibrid\u00e2nd factualul \u015fi fic\u0163ionalul, fenomenul autofic\u0163iunii are o impresionant\u0103 carier\u0103, fie c\u0103 \u00eel accept\u0103m ca avatar modern al autobiografiei, fie c\u0103 vedem \u00een el o g\u0103selni\u0163\u0103 postmodernist\u0103. E drept, scriitura eului, a\u015fa-zisa literatur\u0103 personal\u0103, devoal\u00e2nd, prin elan simili-biografic, \u201eintimismele\u201c, \u0163inte\u015fte autenticitatea, foarte lesne compromis\u0103, \u00eens\u0103, prin \u201eimita\u0163ie romanesc\u0103\u201c, observa Ph. Lejeune.<\/p>\n
Anun\u0163at\u0103 entuziast, de voci credibile ale frontului critic, ascensiunea autofic\u0163iunii (cf. Alex Goldi\u015f) continu\u0103, chiar dac\u0103, la noi, fenomenul n-a iscat inflam\u0103ri polemice \u015fi adversit\u0103\u0163i p\u0103tima\u015fe, ireconciliabile; oricum, departe de scepticismul dizolvant din alte spa\u0163ii (precum cel francez, b\u00e2ntuit de radicalisme \u015fi decret\u00e2nd intrarea \u00een postliteratur\u0103). Infla\u0163ia literaturii eului, ca replic\u0103, poate g\u0103si o explica\u0163ie (plauzibil\u0103) \u00een esopismul literaturii antedecembriste, refugiat\u0103, pentru a se ap\u0103ra \/ sustrage bruiajului ideologic, \u00een ghetoul estetic, livr\u00e2nd, desigur, \u201ejum\u0103t\u0103\u0163i de adev\u0103r\u201c. De unde \u015fi rezerva (declarat\u0103!) fa\u0163\u0103 de fic\u0163ional, chiar dac\u0103 e evident\u0103, dup\u0103 un \u201etsunami\u201c memorialistic, \u201ereabilitarea fic\u0163iunii\u201c, cum avertizase Ion Simu\u0163. Or, Florina P\u00eerjol, \u00een recenta Carte de identit\u0103\u0163i, considera c\u0103 s-ar impune o cur\u0103 de \u201edezintoxicare\u201c (teme \u201e\u00eenalte\u201c, dublul limbaj, jocuri textualiste, ambiguitate moral\u0103 etc.). S\u0103 observ\u0103m, \u00eens\u0103, c\u0103 scriitura-de-sine, practicat\u0103 de harnicii autofic\u0163ionari biografi\u015fti, nu e \u00eempins\u0103 \u00een masochism; nu at\u00e2t violen\u0163a \u015fi vehemen\u0163a depozi\u0163iei impresioneaz\u0103, c\u00e2t istoria personal\u0103, \u00eencercuind, inevitabil, s\u00e2mburele dramatic, ap\u0103s\u00e2nd pedala evenimen\u0163ialului (\u0163in\u00e2nd, de regul\u0103, de \u201eistoria mic\u0103\u201c).
\nAm trecut \u00een revist\u0103 aceste prea \u015ftiute constat\u0103ri pentru a poposi asupra unui \u201eroman\u201c, v\u0103duvit, credem, de ecoul meritat. Avem \u00een vedere cartea Danei Gheorghiu, Toamna, c\u00e2nd se bat nucii, ap\u0103rut\u0103, \u00een 2013, la editura b\u0103im\u0103rean\u0103 Proema. Cine este Dana Gheorghiu? O scurt\u0103 recapitulare n-ar fi de prisos, b\u0103nuim.
\nProzatoarea ie\u015fea \u00een lume \/ debuta editorial (pe-atunci Dana Dinu) \u00een volumul colectiv Gustul livezii (Editura Facla, 1985), al\u0103turi de al\u0163i \u015fapte tineri condeieri, v\u0103dind, \u00eendeosebi, \u00een Castelanii, densitate \u015fi dexteritate prozastic\u0103, un textualism moderat \u015fi o acut\u0103 observa\u0163ie feminin\u0103, cu apetit pentru nuan\u0163\u0103 \u015fi autoscopie, la curent cu procedeele moderne. Un ochi avid, caleidoscopic, re\u00eenviind \u2013 prin refrac\u0163ie \u2013 un topos de verosimilitate fic\u0163ional\u0103, cu proze filtrate, \u00eencerc\u00e2nd varii registre stilistice. Totu\u015fi, trezind \u2013 din unghiul dispre\u0163ului falocrat \u2013 anumite rezerve fa\u0163\u0103 de posibilele largi desf\u0103\u015fur\u0103ri epice, de \u201esuflu romanesc\u201c, anun\u0163ate. Pe care autoarea le-a infirmat prompt.
\nPesta (Editura Brumar, 2009), de pild\u0103, se a\u015feza \u00een prelungirea unei alte c\u0103r\u0163i, de meritat ecou (Die Fabrukler), semnific\u00e2nd \u2013 ambele \u2013 apartenen\u0163a la un fabulos topos (reinventat) \u015fi converg\u00e2nd tentativei de mitologizare a unui spa\u0163iu-blazon (fire\u015fte, Timi\u015foara). Dac\u0103 \u00een cazul \u201ecelor din Fabric\u201c, o lume crepuscular\u0103 de care autoarea se simte legat\u0103 \u015fi afectiv, avem de-a face cu o istorie tr\u0103it\u0103, Pesta se vrea o reconstituire (pe cel pu\u0163in trei nivele narative), f\u0103r\u0103 a fi, exemplar, un roman istoric. Fire\u015fte, Die Fabrukler aducea \u00een scen\u0103 personaje fictive, \u201erecunoscute\u201c \u00eens\u0103; prilej de a semnala for\u0163a fic\u0163ional\u0103 a prozatoarei, apetitul narativ \u015fi gradul de verosimilitate \/ credibilitate, convoc\u00e2nd amintiri \u015fi medit\u00e2nd asupra implacabilei treceri. \u00cen acela\u015fi stil \u201emig\u0103lit\u201c (cum sesizase I. Arie\u015fanu, \u00een 1998), cu acela\u015fi interes pentru o geografie literar\u0103 \u00eenecat\u0103 \u00een aburul legendelor, Dana Gheorghiu purcede la un trudnic efort documentaristic, balans\u00e2nd \u00eentre istorie \u015fi prezent, \u00eentre real \u015fi imaginar, recuper\u00e2nd nu doar un topos, ci re-cre\u00e2nd \u015fi un mythos adecvat (nota Gh. Schwartz), impun\u00e2nd, deopotriv\u0103, prin scriitur\u0103 \u015fi arhitectur\u0103 romanesc\u0103. Fiindc\u0103 Pesta r\u0103m\u00e2ne un roman bine scris \u015fi abil construit. Plonj\u0103m, a\u015fadar, \u00eentr-un loc cosmopolit, un spa\u0163iu imaginar \u00een care reperele \/ bornele istorice sunt concrete \u015fi exacte. Re\u00eent\u00e2lnirea unor fo\u015fti colegi (doi istorici \u201eocazionali\u201c, afl\u0103m) ar fi pretextul acestei incursiuni, reconstituind o lume care a fost. Tiberiu, beneficiar al unei copil\u0103rii \u201ede ser\u0103\u201c \u015fi Victor, ins documentat \u015fi mare povesta\u015f, \u00ee\u015fi ofer\u0103 \u2013 de-a lungul a patru zile \u2013 r\u0103gazul acestei \u201eimersiuni\u201c \u00eentr-o istorie fabuloas\u0103, pigmentat\u0103 anecdotic, \u00eentregit\u0103 prin reciprocitate. Peste Cetate se pr\u0103v\u0103lise suflul mor\u0163ii \u015fi ciuma, \u201eboala cea gr\u0103bit\u0103\u201c, b\u00e2ntuind vreme de 13 luni (p\u00e2n\u0103 \u00een martie 1739), f\u0103cuse numeroase victime. Motivul acestei reconstituiri, cu sursele la vedere, citate pios, \u00eel ofer\u0103, \u00eens\u0103, evocarea figurii lui Lewy, un personaj fascinant, cunoscut \u00een copil\u0103ria celor doi colegi. Anticarul Lewy, \u201eomul c\u0103r\u0163ilor\u201c, profe\u0163ea \u2013 pornind din Fabric \u2013 sf\u00e2r\u015fitul ora\u015fului, \u00eenso\u0163it de ceata urc\u0103toare a pu\u015ftanilor. \u201eZ\u0103ludu\u201c Lewy, cel care \u201e\u015ftia ceva istorie\u201c, voia s\u0103 \u00eempiedice distrugerea cazarmei Transilvania; altfel, ora\u015ful ar fi fost invadat de \u015fobol\u0103nimea refugiat\u0103 acolo (gata \u201es\u0103 buzneasc\u0103\u201c), aduc\u00e2nd \u201eboli\u015ftea\u201c.
\n\u00cen percep\u0163ia trecutului, semnal\u0103m puterea fabulatorie, desc\u0103tu\u015fat\u0103, acoperind un gol istoric, plomb\u00e2nd, \u00eens\u0103, \u015fi documente inatacabile. Lewy, prin zarva iscat\u0103, va intra \u00een vizorul organelor, fiind \u201es\u0103ltat\u201c cu o dubi\u0163\u0103 \u015fi disp\u0103r\u00e2nd o vreme. Erau anii c\u00e2nd la noi se instalase ciuma ro\u015fie; \u015fi autoarea, prin simbolistica propus\u0103, face dovada unor remarcabile abilit\u0103\u0163i regizorale. Dar profetul \u201ecel r\u0103u de gur\u0103\u201c revine, las\u0103 \u201etestamentar\u201c (\u00een chip de \u00cenv\u0103\u0163\u0103tor) pova\u0163a de a st\u00e2rpi \u015fobol\u0103nimea; \u00eenc\u00e2t hoarda isterizat\u0103 a celor mici va ini\u0163ia, ca echip\u0103 exterminatoare, Noua Cruciad\u0103, dorindu-se a fi salvatoarea Cet\u0103\u0163ii, dup\u0103 \u00eendelungi \u201eantrenamente\u201c, intercalate cu alte episoade relatate cu har (spaima iscat\u0103 de buboiul lui Auric\u0103, corec\u0163ia aplicat\u0103 lui Maranian, orbi\u0163i fiind \u201ede adrenalin\u0103\u201c \u015f.a.). Finalul impresioneaz\u0103; mica oaste a \u201eizb\u0103vitorilor\u201c, \u00eendrept\u00e2ndu-se spre locul \u201eb\u0103t\u0103liei\u201c, se confrunt\u0103 cu un peisaj terifiant. Imaginea st\u00e2rvurilor, a \u015fobolanilor (gaza\u0163i) reprezint\u0103, \u015focant, chiar descoperirea Mor\u0163ii. Altfel spus, ie\u015firea din copil\u0103rie \/ iluzie, o brusc\u0103 maturizare, pe care cei doi fo\u015fti colegi-\u201ecrucia\u0163i\u201c o retr\u0103iesc, cu emo\u0163ia re\u00eent\u00e2lnirii, \u00eentr-un ora\u015f \u201efrunta\u015f \u00een multe\u201c.
\nSt\u00e2rnind oarece zarv\u0103 \u00een ora\u015ful de pe Bega, romanul Toamna, c\u00e2nd se bat nucii, pornind de la \u201eun caz real de malpraxis\u201c, a fost citit, nedrept, doar ca un denun\u0163. Dar nu vendeta este miza c\u0103r\u0163ii. Un doctor cu \u201efumuri scriitorice\u015fti\u201c (Traian Ferfelea) se joac\u0103 cu via\u0163a unui pacient-prieten, consider\u00e2nd drept \u201efleac\u201c un carcinom de gradul al treilea. C\u0103l\u0103rindu-\u015fi reziden\u0163ii, \u00eencercat de \u201eeuforii aforistice\u201c, medicul vrea s\u0103 urce: \u201e\u00eel trage a\u0163a spre culme\u201c \u015fi \u00eent\u00e2rzie, din calcule meschine, interven\u0163ia; \u201eo mare tic\u0103lo\u015fie\u201c, evident. Pus\u0103 \u00een fa\u0163a diagnosticului terifiant, oblig\u00e2nd la mastectomie, cea care a mers pe m\u00e2na lui Ferfelea ezit\u0103 \u00eentre iertare \u015fi uitare. Personajul va disp\u0103rea, abandonat, \u201eexpulzat\u201c de m\u00e2na scriitoarei, mutilat\u0103, trecut\u0103 prin suferin\u0163\u0103. Lupta cu boala (invaziv\u0103, perfid\u0103) procur\u0103 pagini frisonante, de amprent\u0103 camusian\u0103: o via\u0163\u0103 \u00een deriv\u0103, st\u0103p\u00e2nit\u0103 \u2013 \u00een fa\u0163a groz\u0103viei \u2013 de fric\u0103 \u015fi furie, cu dorin\u0163a de a \u00eenvinge r\u0103ul, cu momente de lumin\u0103. Speran\u0163a revine \u00een acele saloane ale disper\u0103rii, prietenii \u00eencearc\u0103 s\u0103 o scoat\u0103 din \u201emla\u015ftina depresiilor\u201c, prins\u0103 \u00een h\u0103\u0163i\u015ful unor tr\u0103iri de mare zbucium sufletesc. \u00centre via\u0163\u0103 \u015fi moarte, cu trupul schilodit, pacienta se bucur\u0103 de \u00eencuraj\u0103rile unor \u201edoctori de suflete\u201c precum Zorca (care \u015ftie c\u0103 \u201eDumnezeu are un plan cu fiecare dintre noi\u201c), Roswita, \u201epantera roz\u201c etc., cei care \u015ftiu c\u0103, fraterniz\u00e2nd, avem datoria de a tr\u0103i, neoferind timp nefericirii. Sunt fixate, cu fine\u0163e psihologic\u0103, aceste seisme, pe canavaua unor \u201emacrameuri suflete\u015fti\u201c, oferind, paradoxal, un mesaj tonic. Eroina \u201ese adun\u0103\u201c, \u00ee\u015fi suport\u0103 destinul, redevine femeie, sim\u0163ind solidaritatea celor de al\u0103turi. Este, negre\u015fit, o \u00eenving\u0103toare, g\u0103sind o rezolvare inteligent\u0103; doctorul, cel suspectat de \u201eferfelirea\u201c vie\u0163ilor, este trimis \u00een uitare, abandonat ca personaj. Altminteri, exista riscul ca s\u0103 alunece \u00een pamflet. Or, \u201eeliber\u00e2ndu-se\u201c de Ferfelea, chem\u00e2nd la ramp\u0103 alte \u00eent\u00e2mpl\u0103ri \u015fi al\u0163i oameni, feliind cotidianul (examinat secven\u0163ial), autoarea ne propune \/ \u00ee\u015fi ofer\u0103 un exerci\u0163iu de exorcizare, veritabila eliberare: terapia prin scris! Cu personaje \u201ecompuse\u201c, \u00eentre fic\u0163iune \u015fi realitate, Dana Gheorghiu evit\u0103 viziunea reportericeasc\u0103 ori tonul lamentativ. Bine\u00een\u0163eles, romanul procur\u0103 o lectur\u0103 \u201ecu cheie\u201c, trezind interesul epidermic al celor m\u00e2na\u0163i de elan detectivistic. Dar adev\u0103rata cheie ne-o ofer\u0103 \u00eens\u0103\u015fi autoarea, preciz\u00e2nd: Ferfelea \u201enu merit\u0103 s\u0103 se \u00eentind\u0103 ca o piftie peste memoria ta\u201c, refuz\u00e2nd sindromul Monte Cristo; r\u0103zbunarea, adic\u0103.
\nS\u0103 not\u0103m, \u00een treac\u0103t, c\u0103, cercetat din alt unghi, cazul Ferfelea revine, \u015farjat, \u015fi \u00een masivul roman Anotimpul Grivanilor, la care trude\u015fte, de ani buni, Ion Nicolae Anghel. Acolo, oameni reali \u201egliseaz\u0103\u201c \u00een personaje \u015fi Tr\u0103ienic\u0103, livr\u00e2nd, cu \u201er\u00e2g\u00e2ieli sapien\u0163iale\u201c, \u201etran\u015fe de aforizme\u201c, \u00eembrac\u0103, tratat pamfletar, \u201ecostumu\u2019 de scriitor\u201c. \u00cencondeiat, Ferfelea, \u201ehipocritul\u201c, intr\u0103 \u00een galeria \u201egrivanilor tranzi\u0163iei\u201c. Dac\u0103 Dana (\u201ecobaiul lui Ferfelea\u201c) \u00ee\u015fi ocup\u0103, terapeutic, mintea cu scrisul, Ion Nicolae Anghel realizeaz\u0103, printre altele, filmul \u015fantajului, radiografiind o epoc\u0103.
\nRomanul Danei Gheorghiu (\u015fi Anghel, de fapt), irizat de autobiografic, \u00eendeamn\u0103, \u00eens\u0103, spre o lectur\u0103 fic\u0163ional\u0103. \u015fi este, categoric, o carte cu destin. Semnatar\u0103 merituoas\u0103 a unui \u015fir de volume, conjug\u00e2nd c\u00e2teva registre narative, angaj\u00e2nd o dubl\u0103 identitate (pendul\u00e2nd \u00eentre magia povestirii, cu parfum de epoc\u0103 \u015fi cruda realitate), Dana Gheorghiu \u015fi-a probat \u00eenzestrarea epic\u0103. Deja cu palmares, ignorat\u0103 (inexplicabil) \u00een dic\u0163ionare, ocolit\u0103 de premii, puternica \u015fi ambi\u0163ioasa prozatoare intr\u0103 \u2013 nota undeva Cornel Ungureanu \u2013 \u00een bibliografia obligatorie a Banatului literar. Prozatoare de for\u0163\u0103, cum spuneam, Dana Gheorghiu are dreptul la o alt\u0103 vizibilitate pe scena noastr\u0103 literar\u0103. De\u015fi, \u00een confuzia axiologic\u0103 \u00eenst\u0103p\u00e2nit\u0103, e cam greu s\u0103 r\u0103zba\u0163i…<\/p>\n","protected":false},"excerpt":{"rendered":"
De\u015fi neclarificat conceptual, departe de a \u00eentruni consensul, plutind \u00een echivoc, considerat un \u201egen sezonier\u201c chiar, hibrid\u00e2nd factualul \u015fi fic\u0163ionalul, fenomenul autofic\u0163iunii are o impresionant\u0103 carier\u0103, fie c\u0103 \u00eel accept\u0103m ca avatar modern al autobiografiei, fie c\u0103 vedem \u00een el o g\u0103selni\u0163\u0103 postmodernist\u0103. E drept, scriitura eului, a\u015fa-zisa literatur\u0103 personal\u0103, devoal\u00e2nd, prin elan simili-biografic, \u201eintimismele\u201c,… Cite\u0219te mai mult »Pactul autofic\u0163ional<\/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":[4220,14306,12355],"class_list":["post-23778","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-alex-goldis","tag-carte-de-identitati","tag-florina-pirjol"],"views":1393,"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\/23778","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=23778"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23778\/revisions"}],"predecessor-version":[{"id":23779,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23778\/revisions\/23779"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=23778"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=23778"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=23778"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}