{"id":23984,"date":"2015-07-18T18:08:33","date_gmt":"2015-07-18T16:08:33","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=23984"},"modified":"2015-07-18T18:08:33","modified_gmt":"2015-07-18T16:08:33","slug":"this-new-puritan","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/this-new-puritan\/","title":{"rendered":"This New Puritan"},"content":{"rendered":"

\nVlad Dr\u0103goi, Eschiva,<\/em> Cartea Rom\u00e2neasc\u0103, 2015, 56 p.<\/strong><\/p><\/blockquote>\n

 <\/p>\n

\u201eThe next real literary \u00abrebels\u00bb in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. \u015f\u2026\u0163 These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that\u2019ll be the point.\u201c<\/strong><\/em>
\nDavid Foster Wallace, E Unibus Pluram: Television and U.S. Fiction, Review of Conteporary Fiction, 13:2 (1993: Summer), p.151<\/strong><\/p>\n

Proiectele poe\u0163ilor tineri (s\u0103 zicem debuta\u0163i dup\u0103 2008) par s\u0103 prelungeasc\u0103 \u015fi s\u0103 \u00eencerce perfec\u0163ionarea stilurilor dou\u0103mii\u015ftilor: schimbul \u00eentre promo\u0163ii nu s-a produs cu adev\u0103rat (tematic sau stilistic), din moment ce majoritatea tehnicilor care f\u0103ceau ca genera\u0163iei 2000 s\u0103-i poat\u0103 fi g\u0103site punctele de conflict intern au fost reluate, secven\u0163ial, dup\u0103 2010 \u015fi reg\u00e2ndite doar \u00een siajul noilor transform\u0103ri cyber. \u00cens\u0103, cum biografismul ranforsat de epifanii media\/sociale spontane al lui Sociu r\u0103m\u00e2ne neegalat, cum pia\u0163a neo-expresioni\u015ftilor hard creeaz\u0103, \u00een genere, fr\u00e2nturi eclectice \u00een r\u00e2ndul debutan\u0163ilor \u015fi cum anarhismul s-a pierdut \u00een momentul \u00een care grunge a devenit indie, a\u015fa \u015fi \u015farmurile bizare ale lui Constantin Acosmei p\u0103reau c\u0103 nu pot fi reluate \u00een stil mare: maniera unic\u0103 de a scrie poezie pe care o propunea poetul devenit cult \u015fi care a definit, din \u201995 \u00eencoace, pozi\u0163ion\u0103rile auto-caricaturale din sfera poe\u0163ilor autentici\u015fti p\u0103rea imposibil de imitat \u015fi dezvoltat. \u00cen primul r\u00e2nd, oricare poet care ar fi \u00eencercat acest dublu literar \u201ebufon\u201c ar fi fost pus, prin compara\u0163ie cu Acosmei, la index. \u00cen al doilea r\u00e2nd, concizia \u015fi \u201ezg\u00e2rcenia\u201c literar\u0103 a lui Acosmei \u00eei construiser\u0103 jum\u0103tate din faim\u0103: polemica pe care a deschis-o cartea \u00een subsol nu \u0163inea doar de o nou\u0103 manier\u0103, ci mai ales de redefinirea misiunii \u015fi a parcursului unui poet care \u2013 cu o singur\u0103 carte \u2013 a str\u0103b\u0103tut dou\u0103 decenii.
\n\u00cen 2013 \u00eens\u0103, setul de peisaje foburg\u00a0 al lui Acosmei era reluat de Vlad Dr\u0103goi. Majoritatea recenzen\u0163ilor observaser\u0103 cum postura (\u201efiltrul unei con\u015ftiin\u0163e retardate\u201c \u2013 Alex Goldi\u015f) se pierde \u00eentr-o \u201edezabuzare cinic\u0103 \u015fi un soi de manierism\u201c (Adina Dini\u0163oiu). \u00cen fapt, el construia un discurs sadic \u015fi ritualic din mici crochiuri ale unui cotidian s\u0103r\u0103cit de eveniment \u015fi \u00eembog\u0103\u0163it, \u00een imaginar, de scenarii 4chan. Iar acest pariu post-ironic (un fel de a combina solemnitatea discursului cu angajarea ironic\u0103 \u2013 t\u0103indu-le am\u00e2ndurora func\u0163iile \u015fi, prin adunare, sporindu-le paradoxal am\u00e2ndurora \u015fansele) i-a f\u0103cut numele s\u0103 circule, dincolo de critica oficial\u0103, \u00een cercuri underground, experimentale \u015fi chiar \u00eentre autorii mainstream care dezvoltaser\u0103 simpatii\/antipatii pentru noul teribilist. Un alt caz recent este acela al lui Florentin Popa: mai bogat \u00een construc\u0163ii \u015fi mai baroc, poetul juca \u00een post-literar: oral \u015fi ludic, vizionar \u015fi parodic \u00een acela\u015fi timp, el ridica eclectismul la fileu ca emula\u0163ie a virtualului. Ambele mi\u015fc\u0103ri \u00eens\u0103 (am\u00e2ndoi poe\u0163ii venind din \u015fcoala bra\u015fovean\u0103 \u2013 Mu\u015fina, Bucur, Bodiu etc.) revitalizeaz\u0103 o formul\u0103 care a dat cu rest \u00een canonul recent. \u015ei nu doar din cauza predilec\u0163iilor criticii, ci mai ales din vina futilului intrinsec al propunerii: fie de a biciui o literatur\u0103 prea serioas\u0103, fie de a se diferen\u0163ia \u015fi de a recupera o tradi\u0163ie alternativ\u0103. Dac\u0103 \u00een Cinci (antologie important\u0103 pentru ce va fi fost parte din aripa ludic\u0103 a optzecismului rom\u00e2nesc) Romulus Bucur mixa dou\u0103 voci distincte (\u201eo, puritate elegant ambalat\u0103\/ \u00een foi din caietul de poezii\/ al iubitei \u015f\u2026\u0163 dar las\u0103 romulus bucur las\u0103\/ va veni o vreme c\u00e2nd\/ ai s\u0103 prime\u015fti \u015futuri\/ cu o cizm\u0103 nou\u0103-nou\u0163\u0103\u201c), cu o aceea\u015fi inten\u0163ie de a reformata imnuri calofile prin auto-parodiere, Dr\u0103goi \u00eemprumut\u0103 formula p\u00e2n\u0103 la pasti\u015f\u0103; \u00een prima parte a volumului Eschiva \u015fi \u00een c\u00e2teva poeme ale experimentului dark \u015fi sadic, Metode, Dr\u0103goi preia pozi\u0163iile ciudate ale lui Bucur. Mimarea inadecv\u0103rii \u00een raporturile cu ceilal\u0163i pare c\u0103 ajut\u0103 observ\u0103rii lor: \u00een momentul \u00een care sunt puse \u00een pozi\u0163ia unei noi sincerit\u0103\u0163i, a unui autenticism alternativ, comportamentele umane pot fi studiate ca gesturi str\u0103ine \u015fi absurde. Nu doar conven\u0163iile sociale sunt astfel deconspirate \u015fi puse pe un e\u015fafod al onestit\u0103\u0163ii (umanul supravie\u0163uie\u015fte aici doar ca abatere de la regulile de comportament), dar autoreflexivul pare c\u0103 poate sc\u0103pa pentru ace\u015fti poe\u0163i din capcana falsific\u0103rii \u015fi a apocrifelor doar prin intermediul unei auto-parodieri. Astfel (plec\u00e2nd chiar de la coperta bucolic\u0103 \u015fi hipsterish \u00eentre toate filmele artsy grave pe care \u015fi le dau tinerii poe\u0163i), nealinierea devine propriul ei calambur tematic \u00eentre Bucur \u015fi Dr\u0103goi: confesivul, precaut \u00een fa\u0163a m\u0103\u015ftilor angaj\u0103rii, genereaz\u0103 m\u0103\u015fti ale retard\u0103rii.
\nDeci, de unde aceast\u0103 pasiune pentru alint\u0103turi, diminutive \u015fi retardarea mimat\u0103? Probabil c\u0103, dup\u0103 invazia angaj\u0103rilor de tot felul de la \u00eenceputurile anilor 2000, relativiz\u0103rile au deconspirat exager\u0103rile. Veni\u0163i \u00eentr-un context \u00een care discursul general nu mai permite profeticul sau rage-ul, mul\u0163i poe\u0163i tineri lucreaz\u0103 de pe pozi\u0163iile unei pasivit\u0103\u0163i hardcore, ca o isterie intern\u0103 \u015fi personal\u0103: la Dr\u0103goi, spre exemplu, cearta cu sentimentalismul sau cu solemnitatea aduce a c\u0103utarea unei noi identit\u0103\u0163i emo\u0163ionale, prin ridiculizarea (cite\u015fte, astfel, rediscutarea) impulsului. Fals-infantilizat pentru noua deconstruire, el \u00ee\u015fi reg\u0103se\u015fte vocea doar prin ochii inocen\u0163i ai manierismului: \u201eo, m\u0103car de-o fi r\u0103mas mai mult\/ factorul fric\u0103\/ produs at\u00e2t de minunat\/ \u00een\u0103untru la b\u0103iatul cu sucul\/ ce singur se \u00eentoarce\/ ce singur se \u00eentoarce\/ sub\u0163ire \u00eembr\u0103cat\/ sub\u0163ire \u00eembr\u0103cat\u201c; \u201e\u015fi m-am g\u00e2ndit pu\u0163in\/ la s\u0103n\u0103tate\/ dar am respirat la fel\/ \u015fi n-am cerut masc\u0103\/ \u015fi nici ochii nu i-am \u00eenchis\/ c\u0103 n-am avut fricu\u0163\u0103\u201c. Aceea\u015fi postur\u0103 infantil\u0103 \u015fi pur\u0103 determin\u0103 un joc bizar de atitudini: dinamit\u00e2nd discursul calofil cu c\u00e2te un cuv\u00e2nt obscen (\u015fi detension\u00e2nd, din nou, prin incompatibilitatea celor dou\u0103 \u2013 \u201efiindc\u0103 chiar \u015fi c\u00e2nd \u00ee\u0163i moare cineva din familie, nu po\u0163i s\u0103 te am\u0103r\u0103\u015fti nonstop fiindc\u0103 \u0163i se duce toat\u0103 vitalitatea \u015fi mori \u00een pul\u0103\u201c) \u015fi condiment\u00e2nd banalul cotidian cu c\u00e2te un eufemism (\u201ec\u00e2t de \u00eempu\u0163i\u0163i vi-s puii\/ c\u00e2t de largi\/ vis (sic!) g\u00e2\u015ftele\u201c, \u201em\u0103i biscui\u0163el\u201c), Dr\u0103goi mizeaz\u0103 pe disonan\u0163e ale inocen\u0163ei. Puse \u00een contrast cu mici reful\u0103ri ale Metode-lor, noile calofilii devin, prin solemnitatea for\u0163at\u0103, rizibile. \u00cens\u0103, aici, centralitatea jocului na\u015fte mon\u015ftri: Dr\u0103goi pare c\u0103 \u00eensceneaz\u0103 poeme doar pentru a ajunge la dume. Citind invers argumentul, odat\u0103 ajunse la dume, poemele \u00ee\u015fi devoaleaz\u0103 cam tezist misiunea minor\u0103.
\nIar insisten\u0163a cu care livreaz\u0103 Dr\u0103goi personajul \u015fi spa\u0163ializarea vizeaz\u0103 deseori o retoric\u0103 textual\u0103 puternic\u0103: proiectele tematice mari sunt mutate \u00een zona nesemnificativului: \u201etrag tare de firu care duce la fant\u0103\/ cu peri\u015fori finu\u0163i\/ care e s\u0103pat\u0103 \u00een mas\u0103 ea \u015fi multe fire mai sunt acolo care intr\u0103 \u015fi ies\/ c\u0103 e tehnologie\/ \u015fi ca de o ven\u0103 trag pt c\u0103 a\u015fa arat\u0103 de fapt firu\/ e \u015fi ro\u015fu \u015fi are umfl\u0103turi\/ \u015fi inflexiuni de negru care d\u0103 aspect brutal de varic\u0103\/ de anatomie de care te sperii\/ \u015fi \u00eemi place s\u0103 fac focalizare pe el ca la camer\u0103\/ \u00eel pun aproape de ochi \u015fi prima dat\u0103\/ fac s\u0103 se vad\u0103 neclar \u00een dep\u0103rtare\/ apoi aproape\/ \u015fi m\u0103 g\u00e2ndesc c\u0103 ce aparat complex \u015fi fain \u00ees eu\/ pt c\u0103 pot s\u0103 fac c\u00e2nd doresc toate aceste comenzi speciale\/ \u015fi cu bucata de trup doar\u201c. Problema acestei tehnici \u00eens\u0103 e c\u0103 devine plictisitoare. Jocule\u0163ele \u015fi gag-urile care orneaz\u0103 etica nerdish taie deseori din alonja periferismului interior. Odat\u0103 prins\u0103 \u015fmecheria, at\u00e2t mir\u0103rile c\u00e2t \u015fi calofiliile (cite\u015fte alint\u0103tura) devin auxilii, iar terenul pe care \u00eel tatoneaz\u0103 Dr\u0103goi p\u00e2n\u0103 la ciclul Aron r\u0103m\u00e2ne \u00een urm\u0103 doar atunci c\u00e2nd tehnica, asimilat\u0103 \u00een respira\u0163ia larg\u0103 a poemelor lungi, trece \u00een subsol \u015fi nu mai e pur\u0103 gesticula\u0163ie.
\nPentru c\u0103 \u00een ultimele poeme din volum (de la paginile 30 c\u0103tre final, inclusiv poemul amplu, foarte bun, Elsa \u2013 chiar dac\u0103 pu\u0163in cam retoric \u015fi facil teoretizant \u2013 \u201edeci astea sunt vigilen\u0163a \u015fi sim\u0163ul de paz\u0103 la om, fa\u0163\u0103 de proprietate \u015fi fa\u0163\u0103 de corp, \u015fi aten\u0163ie, am zis la om, nu doar la rom\u00e2n, pentru c\u0103 deja cadrul e global\u201c) formula \u00ee\u015fi g\u0103se\u015fte spa\u0163iul de desf\u0103\u015furare: ea nu mai r\u0103m\u00e2ne imitarea unui minorat mimat, \u00e1 la Bucur, ci \u00ee\u015fi \u00eempline\u015fte, prin acumularea epicului, func\u0163ia de nuan\u0163are: \u201ebinecuv\u00eentat\u0103\/ sup\u0103rarea pu\u0163in jucat\u0103\/ a fr\u0103\u0163iorului cu p\u0103r mare \u015fi maieu\/ c\u00eend se \u00eenghesuie\/ al\u0103turi de mam\u0103 \u015fi sor\u0103\/ pe dou\u0103 scaune de dub\u0103\/ \u015fi el nimere\u015fte l\u00eeng\u0103 geam\/ cumva \u00een picioare\/ cu fa\u0163a la interval\/ \u015fi v\u0103z\u00eendu-se a\u015fa\/ \u00eenchide c\u00eeteva secunde ochii\/ str\u00eenge din buze\/ \u015fi zice\/ de fapt mai mult \u015fopte\u015fte\/ eu n-am cum s\u0103 stau a\u015fa\/ masc\u00eendu-\u015fi discret n\u0103duful\/\/ \u015fi la mine\/ doar un sur\u00ees se poate vedea\u201c (din binecuv\u00eentat\u0103). Astfel, acel Acosmei limbut pe care \u00eel configura \u00eenceputul volumului cu jum\u0103tate de m\u0103sur\u0103 \u00ee\u015fi redirec\u0163ioneaz\u0103 perspectivele: de la a se face pl\u0103cut \u201ela cititor\u201c prin sintaxa str\u00e2mb\u0103 \u015fi naivitatea mimat\u0103, la a descrie raporturi interesante din post-uman. Abia aici, referin\u0163ele nerd (jocuri video, filme de ni\u015f\u0103, extravagan\u0163e ale unknown-ului) \u00ee\u015fi cap\u0103t\u0103 rostul: lumea descris\u0103 din fa\u0163a unui ecran \u2013 cu toate rela\u0163iile interumane \u015fi referen\u0163iale recompuse.
\nA\u015fadar, dac\u0103 poezia \u201esimpatic-obraznic\u0103\u201c a lui Romulus Bucur \u201eiese dintr-o compensa\u0163ie\u201c, \u201epatimile\u201c lui Dr\u0103goi vin ca o compensa\u0163ie \u00een cadrul noii sincerit\u0103\u0163i. Nu e greu de v\u0103zut c\u0103 ceea ce respira la \u00eenceputul volumului doar \u00een interiorul conven\u0163iei post-ironice \u2013 \u015fi, din cauza asta, dup\u0103 ce ne-am prins de \u015fmecherie, iner\u0163iile momentelor, vocea for\u0163at contorsionat\u0103 \u015fi ermetismul devin sup\u0103r\u0103toare \u2013 trece c\u0103tre final \u00een spate, l\u0103s\u00e2nd liber\u0103 o proz\u0103 poetic\u0103 confesiv\u0103. Raportul st\u0103 astfel invers: dac\u0103 \u00een Eschiva Dr\u0103goi \u00eencepe cu \u201e\u00eenc\u0103p\u0103\u0163\u00e2narea\u201c (cite\u015fte stilizare \u2013 Sontag) de a-\u015fi reorienta poetica din Metode, el o face pentru ca maniera s\u0103 devin\u0103 stil spre finalul volumului.
\n\u00cens\u0103 un stil auto-creativ, care poate fi reprodus \u015fi perfec\u0163ionat la nesf\u00e2r\u015fit; care doar din interiorul s\u0103u poate vorbi, cum doar \u00een interiorul s\u0103u are ceva de zis. Oric\u00e2t ar schimba atitudinea (de la sadic la elegiac), el nu provoac\u0103 pe c\u00e2t promite. Dincolo de a anihila posibilele repro\u015furi prin eviden\u0163a conven\u0163iilor, Vlad Dr\u0103goi va trebui s\u0103 ias\u0103 din propriul teren.<\/p>\n","protected":false},"excerpt":{"rendered":"

Vlad Dr\u0103goi, Eschiva, Cartea Rom\u00e2neasc\u0103, 2015, 56 p.   \u201eThe next real literary \u00abrebels\u00bb in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles. \u015f\u2026\u0163 These anti-rebels would be outdated,… Cite\u0219te mai mult »This New Puritan<\/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":[],"class_list":["post-23984","post","type-post","status-publish","format-standard","hentry","category-cultura-literara"],"views":1500,"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\/23984","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=23984"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23984\/revisions"}],"predecessor-version":[{"id":23985,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/23984\/revisions\/23985"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=23984"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=23984"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=23984"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}