{"id":24126,"date":"2015-08-23T14:20:55","date_gmt":"2015-08-23T12:20:55","guid":{"rendered":"http:\/\/revistacultura.ro\/nou\/?p=24126"},"modified":"2015-08-23T14:20:55","modified_gmt":"2015-08-23T12:20:55","slug":"nada-love","status":"publish","type":"post","link":"https:\/\/revistacultura.ro\/nou\/nada-love\/","title":{"rendered":"Nada, love!"},"content":{"rendered":"

Andrei D\u00f3sa, Nada<\/em>, Editura Pandora M, Bucure\u015fti, 2015, 64 pagini<\/strong><\/p><\/blockquote>\n

I love to talk about nothing. It\u2019s the only thing I know anything about. De\u015fi pare greu de crezut, cugetarea nu-i apar\u0163ine lui Seinfeld. Mai important dec\u00e2t proprietatea e motivul invoc\u0103rii ei. Nothing, nimic, nada \u2013 cuvinte ce acoper\u0103 realit\u0103\u0163i semantice dintre cele mai eterogene, precum generozitatea (nu face nimic), ambi\u0163ia (totul sau nimic) ori modestia (\u015ftiu c\u0103 nu \u015ftiu nimic). Ce se \u00eent\u00e2mpl\u0103, \u00eens\u0103, atunci c\u00e2nd substitu\u0163ia e complet\u0103? Ce se \u00eent\u00e2mpl\u0103 atunci c\u00e2nd nimicul ajunge s\u0103 \u00eenlocuiasc\u0103 totalit\u0103\u0163ile surogate?<\/strong><\/em>
\nCharismatic Poetry<\/strong>
\nUn r\u0103spuns ni-l oferea Hemingway \u00eentr-o povestire publicat\u0103 \u00een \u201933. Un altul ni-l ofer\u0103 acum Andrei D\u00f3sa. Spun asta, pentru c\u0103 solu\u0163ia mimeaz\u0103, chiar dac\u0103 cu alte scopuri, gestul prozatorului american, amorul lu\u00e2nd locul nimicului: \u201eAmorul nostru carele e\u015fti \u00een amor,\/ amor numele t\u0103u, amor \u00eemp\u0103r\u0103\u0163ia\/ ta, amor voia ta, precum \u00een amor,\/ a\u015fa \u015fi pe amor. D\u0103-ne nou\u0103 ast\u0103zi\/ amorul nostru cel de toate zilele\/ \u015fi ne amor nou\u0103 gre\u015felile noastre,\/ precum \u015fi noi amor gre\u015fi\u0163ilor\/ no\u015ftri, \u015fi nu ne amor pe noi \u00een\/ amor, ci ne izb\u0103ve\u015fte de amor,\/ pues amor. Slav\u0103 \u0163ie, dragoste\/ plin\u0103 de dragoste, dragostea fie\/ cu tine\u201c. Chiar dac\u0103 nu e prima dat\u0103 c\u00e2nd rescrie elogiul iubirii, D\u00f3sa \u00ee\u015fi deschide volumul cu aceast\u0103 od\u0103 existen\u0163ial\u0103 \u015fi s-ar p\u0103rea c\u0103 amorul reprezint\u0103 singura solu\u0163ie \u00een fa\u0163a nimicniciei vie\u0163ii, dar \u015fi \u00een fa\u0163a nimicurilor de zi cu zi. Registrul devine, \u00een schimb, eclectic \u015fi a\u015f c\u00e2rcoti zic\u00e2nd c\u0103 avem de-a face cu o edi\u0163ie bilingv\u0103 (romglez\u0103), \u00eens\u0103, din fericire, poliglotia tr\u0103deaz\u0103 o parte din mizele \u015fi atuurile sale poetice.
\nDac\u0103 n-au f\u0103cut mare lucru, discu\u0163iile din jurul genera\u0163iei 2000 au stabilit totu\u015fi influen\u0163ele \u015fi v\u00e2rfurile, identificate \u015fi confirmate, at\u00e2t de scriitori, c\u00e2t \u015fi de critic\u0103. Pu\u0163ine sunt numele care s\u0103-l fi ocolit pe D\u00f3sa, figur\u0103 tentacular\u0103 care absoarbe c\u00e2te ceva din cei cu care dialogheaz\u0103. De la t\u00e2n\u0103rul Bogza preia critica social\u0103; de la Geo Dumitrescu, D\u00f3sa \u00eemprumut\u0103 madrigalul r\u0103sturnat; de dubletul Naum-Mazilescu aduc aminte construc\u0163iile imaginare; Attila J\u00f3zsef e cel care-l \u00eenva\u0163\u0103 construc\u0163ia metaforelor concrete (\u201eDiminea\u0163a am mintea aerisit\u0103 ca un patio\u201c); influen\u0163a lui Mircea C\u0103rt\u0103rescu e prezent\u0103 prin amestecul de real, livresc & fantastic; de la Mircea Dinescu sunt figurile alegorice \u2013 \u201emoartea folose\u015fte Gillette\u201c; ca la Ioan Es. Pop, New-York-ul e \u201ef\u0103r\u0103 ie\u015fire\u201c; membrii Familiei D. sunt emulii Familiei (Cristian) Popescu; jocurile stilistice fac cu ochiul unui Coman \u015fi e limpede c\u0103 Vlad Moldovan eman\u0103 acela\u015fi tip de sensibilitate.
\nExers\u00e2nd pe marginea trendurilor genera\u0163ioniste, D\u00f3sa a reu\u015fit nu doar s\u0103 sintetizeze atitudinea minimalist-cotidian\u0103 \u015fi neoexpresionismul cu vizionarismul unor Komartin, Manasia ori Vancu (\u201euneori oamenii au nevoie de asisten\u0163\u0103\/ c\u00e2nd fericirea se termin\u0103\u201c; \u201evopsesc \u00een culori de r\u0103zboi\/ fe\u0163ele statuilor\/ din insula pa\u015ftelui\u201c; \u201ecopiii au desenat pe asfalt\/ uria\u015fi urc\u00e2nd dealuri \u00eenflorite\/ cu pe\u015fti mari \u00een bra\u0163e\u201c), ci \u015fi s\u0103 adauge, \u00een spiritul autenticit\u0103\u0163ii, o nou\u0103 transcenden\u0163\u0103 de tip existen\u0163ial. Un poet care, de\u015fi declar\u0103 c\u0103 nu vrea nimic, crede c\u0103 merit\u0103 totul. Oricum, u\u015for nu poate fi s\u0103 gestionezi \u015fi s\u0103 dep\u0103\u015fe\u015fti cople\u015fitorul ansamblu poetic amintit.
\nLucrurile sunt, bine\u00een\u0163eles, mult mai complexe \u015fi, generaliz\u00e2nd, am face o nedreptate, \u00eens\u0103 formulele poetice de dup\u0103 2000 sunt multe \u015fi, tocmai de aceea, inconsistente. Nu-l putem acuza pe D\u00f3sa de oportunism \u00eentr-o epoc\u0103 a individualismului \u015fi a produc\u0163iilor de ni\u015f\u0103, de vreme ce ecua\u0163ia, simpl\u0103 \u015fi direct\u0103, spune cam a\u015fa: c\u00e2\u0163i poe\u0163i, at\u00e2tea formule.
\n\u00cen schimb, majoritatea celor din prima jum\u0103tate a dou\u0103miismului au discreditat tendin\u0163ele celorlal\u0163i prin \u00een\u0103l\u0163area propriilor habitudini la nivel de paradigm\u0103 literar\u0103. De aici poezia care, \u00eenc\u0103 din titlu, se define\u015fte ca un non-discurs, func\u0163ion\u00e2nd \u00een baza unei logici provenind dintr-alt regn dec\u00e2t cele familiare, o poezie care \u00ee\u015fi testeaz\u0103, la modul mucalit, limitele \u015fi afinit\u0103\u0163ile. Spre deosebire de cei mari, juniorii au f\u0103cut un pas \u00een spate, \u015fi-au tras respira\u0163ia dup\u0103 manifestele milenariste, pun\u00e2nd o barier\u0103 \u00eentre ei \u015fi noile tipuri de expresivitate. Fie c\u0103 e vorba de ecranul calculatorului (\u201eca atunci c\u00e2nd \u00eencerci s\u0103 c\u00e2\u015ftigi\/ la un joc video\/ pe juma de ecran bulit\u201c), fie c\u0103 e vorba, pur \u015fi simplu, de o distan\u0163\u0103 auto-ironic\u0103, ace\u015ftia \u015fi-au pus repede numele pe hart\u0103, av\u00e2nd parte de un level-up. \u00cei putem suspecta cel mult de experimentalism \u015fi tendin\u0163e avangardiste.
\nUn imaginar ferm conturat, traversat de o tonalitate viguroas\u0103 concretizat\u0103 \u00een expresii eliberatoare, sus\u0163inute de o mig\u0103loas\u0103 structur\u0103 arhitectonic\u0103 \u2013 completate de un onirism extrem de diluat. Acestea sunt principalele resorturi estetice de care dispune poetul la aceast\u0103 or\u0103. C\u00e2nd viseaz\u0103, D\u00f3sa ia lumea \u00een posesie, intr\u00e2nd \u00eentr-un spa\u0163iu al libert\u0103\u0163ii \u00een care oamenii nu mai joac\u0103 roluri, m\u0103\u015ftile fiind lep\u0103date. Pelicule sub\u0163iri marcheaz\u0103 grani\u0163a dintre cele dou\u0103 lumi: \u201eam \u00eent\u00e2lnit fete \u00eentr-un film mut\u201c. Moment tipic al tranzi\u0163iei suprarealiste, finalul poemelor tr\u0103deaz\u0103 un ritual surprinz\u0103tor care, din p\u0103cate, nu prea las\u0103 loc nuan\u0163\u0103rilor.
\nTrip-uri extravagante<\/strong>
\nMoment \u00een care a\u015f puncta, totu\u015fi, c\u00e2teva din defectele volumului. Faptul c\u0103 decupajul urm\u0103tor \u2013 \u201elocuie\u015fte \u00een casa n\u0103p\u0103dit\u0103 de alge\/ bine\/ asisten\u0163\u0103\/ \u00eel \u00eentreab\u0103 cineva ce mai face\/ t\u0103cere\u201c (titluri extrase din cuprins) \u2013 poate trece drept poem devine \u00eengrijor\u0103tor, fiindc\u0103, a\u015fa cum se \u00eent\u00e2mpl\u0103 uneori \u015fi la Dmitri Miticov ori la Bogdan Co\u015fa, versurile lui plutesc uneori la limita ilizibilit\u0103\u0163ii. Cu toate c\u0103 obscuritatea e inten\u0163ionat\u0103 \u015fi dificultatea e artificial\u0103, \u0163in s\u0103 precizez: dac\u0103 e complicat, discursul nu devine \u015fi interesant; dac\u0103 e inteligent, nu \u00eenseamn\u0103 c\u0103 e \u015fi poetic. Evident, metaforele pot provoca turbulen\u0163e, \u00eens\u0103 nu turbulen\u0163a \u00een sine e scopul metaforei. \u00cen cel mai r\u0103u caz, o metafor\u0103 bun\u0103 pune pe g\u00e2nduri, f\u0103r\u0103 s\u0103 atrag\u0103 aten\u0163ia \u00een mod deliberat asupra distan\u0163ei pe care o casc\u0103 \u00eentre elemente: \u201erazele str\u0103bat ochiurile \u0163es\u0103turii\/ ca \u015fi cum acolo ar exploda de extenuare\/ c\u00e2te un soare\u201c.
\nPunctate de pauze de respira\u0163ii sau de \u0163igar\u0103, poetul red\u0103 trip-uri extravagante ce transform\u0103 personajul principal, cu mai mult sau mai pu\u0163in succes, fie \u00eentr-un Luceaf\u0103r, fie \u00eentr-un Peeping Tom. De regul\u0103, personajul lui D\u00f3sa e un poliglot Pan-Atlantic, oarecum elitist, pentru care ceilal\u0163i, inclusiv membrii familiei, sunt ni\u015fte idio\u0163i de piatr\u0103 lega\u0163i de TV. Un junky domestic (\u201edulce-i bongul de acas\u0103\u201c), ce cunoa\u015fte pre\u0163ul banilor. Un om nietzschean cu reac\u0163ii pavloviene care nu se poate integra nici \u00een ego-mediatizarea, nici \u00een violen\u0163a terorist\u0103 ce coloreaz\u0103 via\u0163a societ\u0103\u0163ii americane. Asta p\u00e2n\u0103 acum. Odat\u0103 cu acest volum, cea care conteaz\u0103 e vocea interioar\u0103. It\u2019s all about finding yourself in a mental space: \u201etu vei fi aici mereu\/ vei fi mereu la fel de monoton\u0103\/ voce interioar\u0103\u201c.
\nConceput ca un mecanism de coping existen\u0163ial, volumul se cite\u015fte ca un experiment avangardist dirijat de o brutalitate omniscient\u0103, secondat\u0103, nu o dat\u0103, de aten\u0163ia unui procuror, mai ales atunci c\u00e2nd compune scenele de violen\u0163\u0103. Camufl\u00e2ndu-\u015fi viziunile despre poezie, via\u0163\u0103 \u015fi moarte sub locul comun al unei tragice pove\u015fti de iubire, D\u00f3sa se fere\u015fte de acuzele de abstractizare, sco\u0163\u00e2nd la iveal\u0103 exact ce trebuia pus la vedere: un talent autentic.
\nS\u0103 cuno\u015fti moartea din interior, s\u0103 locuie\u015fti nimicul \u015fi s\u0103 scrii apoi despre el. Asta e Nada: un show de ireveren\u0163\u0103 poetic\u0103 \u015fi poten\u0163\u0103 liric\u0103. O poezie ambi\u0163ioas\u0103 ce pariaz\u0103 nu doar pe nuan\u0163ele vie\u0163ii, ci \u015fi pe revela\u0163ia grav\u0103 a absurdului.<\/p>\n","protected":false},"excerpt":{"rendered":"

Andrei D\u00f3sa, Nada, Editura Pandora M, Bucure\u015fti, 2015, 64 pagini I love to talk about nothing. It\u2019s the only thing I know anything about. De\u015fi pare greu de crezut, cugetarea nu-i apar\u0163ine lui Seinfeld. Mai important dec\u00e2t proprietatea e motivul invoc\u0103rii ei. Nothing, nimic, nada \u2013 cuvinte ce acoper\u0103 realit\u0103\u0163i semantice dintre cele mai eterogene,… Cite\u0219te mai mult »Nada, love!<\/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":[6938,14912],"class_list":["post-24126","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-andrei-dosa","tag-nada"],"views":1176,"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\/24126","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=24126"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24126\/revisions"}],"predecessor-version":[{"id":24127,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24126\/revisions\/24127"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=24126"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=24126"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=24126"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}