Preocupat, precum pu\u0163ini, de soarta romanului, ca specie major\u0103 \u00een literatura noastr\u0103, Mihai Sin \u00eencerca, \u00een Marea miz\u0103 (2003), livr\u00e2nd observa\u0163ii ap\u0103sat personale, s\u0103 propun\u0103, de fapt, un aspru rechizitoriu, denun\u0163\u00e2nd \u201eletargia mimetic\u0103\u201c \u015fi dialogul subaltern cu alte culturi. Informat, b\u00e2ntuit de \u00eengrijor\u0103ri teribile, desf\u0103\u015fur\u00e2nd un polemism t\u0103ios, prozatorul invoca mustr\u0103tor \u201ecaren\u0163a de universal\u201c, inapeten\u0163a pentru tragic, neasumarea destinului colectiv (fiin\u0163a na\u0163ional\u0103) etc. Pornind de la aceste constat\u0103ri, s-ar cuveni s\u0103 examin\u0103m \u00een ce m\u0103sur\u0103 astfel de repro\u015furi (\u00eentemeiate) cap\u0103t\u0103 o fericit\u0103 rezolvare \u00een ultimul s\u0103u roman, ap\u0103rut postum (Ispita izb\u0103virii, Nemira, 2014), sub un titlu propus, pe ultima sut\u0103, de editor (Valentin Nicolau) \u015fi acceptat imediat, cu \u00eenc\u00e2ntare, de regretatul autor. Dincolo de unele exager\u0103ri, aprecieri hiperbolice v\u00e2ndute \u201ela cald\u201c, Mariana Cristescu, de pild\u0103, v\u0103z\u00e2nd \u00een romanul lui Sin \u201eo carte pentru Nobel\u201c sau chiar contabiliz\u00e2nd \u015fi afirma\u0163ia prieteneasc\u0103 a editorului,
\nV. Nicolau consider\u00e2ndu-l pe M. Sin \u201ecel mai important romancier din ultimele decenii\u201c, evident c\u0103 avem de-a face cu un roman de miz\u0103 mare. Probabil nefinisat, cu goluri epice \u015fi piste abandonate; dar care, salvator, g\u00e2nde\u015fte Lumea. O lume peste care \u201eDiavolul s-a \u00eentins peste m\u0103sur\u0103\u201c, a\u015fezat\u0103 (nea\u015fezat\u0103, mai degrab\u0103) sub blestemul deriziunii, a neputin\u0163ei care \u201ene seac\u0103\u201c, distrug\u00e2nd gena identitar\u0103. \u00cenc\u00e2t, firesc, personajele lui Sin (toate) caut\u0103 izb\u0103virea, \u00eencearc\u0103 s\u0103 afle calea lui Dumnezeu.
\nMoralist auster, dezvolt\u00e2nd, psihologizant, o viziune sumbr\u0103, Mihai Sin, chiar de la debut (A\u015ftept\u00e2nd \u00een lini\u015fte, 1973) era interesat de condi\u0163ia uman\u0103 \u015fi de spectacolul existen\u0163ial, analizat din unghiul degrad\u0103rii \/ alien\u0103rii. Traumele provocate de revela\u0163ia \u00eemb\u0103tr\u00e2nirii, filmul unei zile de concediu \u00een ora\u015ful natal, \u00een firescul ei infinitezimal (cazul lui Achim Brezeanu, \u00een Via\u0163a la o margine de \u015fosea, 1975) sau o c\u0103l\u0103torie cu autobuzul, cu un \u015fofer-tiran (Bate \u015fi \u0163i se va deschide, 1978) aduc \u00een scen\u0103 personaje dilematice, \u00een \u201ecea\u0163\u0103 existen\u0163ial\u0103\u201c (cf. Tania Radu), muncite de \u00eentreb\u0103ri, am\u00e2n\u00e2nd rezolvarea. Cu un ton neutru, a\u015fadar, \u00eentr-un ritm monoton, sub veghea ochiului impasibil, devoal\u00e2nd o stare de nemul\u0163umire, care \u2013 pentru unii vigilen\u0163i anali\u015fti din epoc\u0103 \u2013 p\u0103rea \u201eimproductiv\u0103 estetic\u201c. Dar care, sub elan rememorativ, \u00een episoade \u201eindependente\u201c, creiona terifiantul tablou societal, precum \u00een hulitul roman Schimbarea la fa\u0163\u0103 (1985). Fiindc\u0103 Mihai Sin, un prozator, negre\u015fit, din prima linie valoric\u0103 \u015fi un \u201erealist incurabil\u201c, cum apreciase, exact, Cornel Moraru, examineaz\u0103 via\u0163a la microscop, practic\u0103 \u201echirurgia social\u0103\u201c, iube\u015fte incizia; vrea s\u0103 p\u0103trund\u0103 dincolo de ceea ce se vede (apropiindu-se, astfel, \u201ede ceva necunoscut\u201c), \u00een\u0163elege c\u0103 literatura are un rol mediator, aduc\u00e2nd filosofia \u00een g\u00e2ndirea omului comun. \u00cen fine, cunosc\u00e2nd toate cotloanele vie\u0163ii se \u00eemp\u0103rt\u0103\u015fe\u015fte de la crezul realist, dar vorbe\u015fte, tocmai pentru a l\u0103muri chestiunea, de un \u201erealism al fiec\u0103ruia\u201c, accept\u00e2nd c\u0103 respectivul concept \u2013 dubios, lax etc. \u2013 r\u0103m\u00e2ne interpretabil. Evident, avea dreptate.
\nLibertatea cu care a scris Schimbarea la fa\u0163\u0103, deviind de la \u201eepicul clasic\u201c, vine s\u0103 confirme aprecierea. Prozatorul culege \u00eent\u00e2mpl\u0103ri \u201edure\u201c f\u0103r\u0103 furii justi\u0163iare, urm\u0103re\u015fte devenirea \u201es\u00e2mburelui de fiin\u0163\u0103\u201c; bl\u00e2nde\u0163ea privirii \u015fi moliciunea frazei articuleaz\u0103 un epic \u00een trepte, acro\u015f\u00e2nd cititorul. S\u0103 nu uit\u0103m enclavele eseistice, cu tot riscul dilu\u0163iei (asumat), c\u00e2teodat\u0103 de un \u201epitoresc nefunc\u0163ional\u201c. Mihai Sin a fost \u00eencercat de mirajul romanului total. \u00cen consecin\u0163\u0103, digresiunea, rememorarea (ca procedeu predilect, rezonan\u0163a evenimentelor conduc\u00e2nd la resemnificare) aduc \u00een pagin\u0103 o familie de spirite: observatori taciturni, sensibili, m\u0103cina\u0163i de fr\u0103m\u00e2ntul l\u0103untric, ei cunosc (f\u0103r\u0103 for\u0163a brebanian\u0103) metamorfoza. Acuz\u0103 \u00eensingurarea, degradarea, uzura erotic\u0103, abandonul; trag, prin astfel de incursiuni \u00een cosmosul individului, \u00een spa\u0163iul con\u015ftiin\u0163ei, un semnal de alarm\u0103. Timpul devine \u201eeroul\u201c acestor proze, anun\u0163\u00e2nd o violen\u0163\u0103 difuz\u0103 \u015fi o amenin\u0163are surd\u0103, p\u00e2nditoare. Mihai Sin se intereseaz\u0103 constant de suflet, dar nu cade \u00een abisalitate. G\u00e2ndirea sa este corect\u0103, explor\u00e2nd \u201emetafizica realului\u201c; vrea s\u0103 p\u0103trund\u0103 \u00een acea \u201ealt\u0103 lume\u201c (o alt\u0103 realitate) palp\u00e2nd misterul lucrurilor; sesizeaz\u0103 fisurile cotidianului, \u201eoboseala psihologic\u0103\u201c, relu\u00e2nd \u015fi m\u0103run\u0163ind \u00eentreb\u0103rile fundamentale. Reabiliteaz\u0103 no\u0163iunea de patetic, descoperind lumina interioar\u0103. Un ve\u015fnic r\u0103t\u0103citor (precum juristul Brendea) c\u0103l\u0103tore\u015fte, m\u00e2nat de nelini\u015fti, h\u0103ituit, spre sine: afl\u0103 vidul interior \u015fi como\u0163ia erotic\u0103 (Valeria). Astfel de pagini, cu unele accente de sarcasm \u015fi grotesc, blam\u00e2nd voluptatea r\u0103ului (contagioas\u0103) ridic\u0103 o terorizant\u0103 \u00eentrebare: Cum tr\u0103im? Ea respir\u0103 \u00een toat\u0103 proza lui M. Sin, scriitor interesat de o \u201eevolu\u0163ie fast\u0103\u201c, spunea, a binomului individ-societate. Important ar fi s\u0103 nu ne siluim firea. S\u0103 ne urm\u0103m drumul f\u0103r\u0103 a abdica.
\nCategoric, Mihai Sin a iubit literatura problematic\u0103. Se apleac\u0103, \u00een consecin\u0163\u0103, asupra unei tipologii (e vorba de \u00eenfr\u00e2n\u0163ii vie\u0163ii), pune sub lup\u0103 iner\u0163ia existen\u0163ei provinciale, fauna \u00eensingura\u0163ilor \u015fi a dezam\u0103gi\u0163ilor. Aceast\u0103 cazuistic\u0103 sparge, \u00eens\u0103, coaja banalului \u015fi invit\u0103 la o \u201etranscriere problematic\u0103\u201c, f\u0103r\u0103 furii justi\u0163iare. \u00centre Marele Eveniment \u015fi astfel de \u201eschi\u0163e fumurii\u201c (cf. Eugen Simion), preocupat de culoarea vie\u0163ii de provincie, scriitorul nu ezit\u0103; alege, prompt, ca \u201epoet al vie\u0163ii cotidiene\u201c (c\u00e2t de exact\u0103 o fi eticheta?) aceast\u0103 proz\u0103 de observa\u0163ie, \u00een care foiesc in\u015fi culpabili, goli\u0163i de voin\u0163\u0103, rata\u0163i, b\u00e2ntui\u0163i de spaime, lovi\u0163i de indiferen\u0163a celor din jur. Mereu grav, Sin p\u0103trunde, cu o acuitate maladiv\u0103, \u00een ascunzi\u015furile oamenilor. Scotoce\u015fte \u00een ungherele sufletului. Primejdia \u00ee\u015fi arat\u0103 col\u0163ii, \u201emecanismul suferin\u0163ei\u201c trebuie descifrat. \u00cen pofida lini\u015ftii epice, a molcomelii aparente, abia \u00eenfior\u00e2nd suprafa\u0163a textului, ad\u00e2ncurile fierb; prozatorul interogheaz\u0103 nelini\u015ftea, \u00eenfige harponul \u00eentreb\u0103rilor \u00een carnea epicului. Investigheaz\u0103, deci, condi\u0163ia uman\u0103 \u00een realitatea ei imediat\u0103. \u201eIlumin\u0103rile\u201c r\u0103stoarn\u0103 acest epic \u201eamorf\u201c, propun\u00e2nd o \u00een\u0103l\u0163are \u015fi, anterior, o medita\u0163ie. Spun ceva adev\u0103rat despre protagoni\u015fti, ad\u00e2ncind sau \u00eembl\u00e2nzind obsesiile. Promiscuitatea intr\u0103 \u00een regimul firescului, lumea ne \u00eentoarce un chip ur\u00e2\u0163it \u015fi vulgar, destinul va fi siluit. Ca \u015fi eroii s\u0103i, Sin este un vicios al analizei. Un Octavian \u015eteflea (de pild\u0103), spirit scormonitor, complicat, porne\u015fte \u201e\u00eentr-o mare c\u0103l\u0103torie\u201c. M\u00e2na\u0163i de teama singur\u0103t\u0103\u0163ii, de nepotrivirile \u015fi eroziunile cuplului, de existen\u0163a larvar\u0103 \u015fi \u201eb\u0103l\u0103ceala porceasc\u0103\u201c, de tirania \u201emicului \u015fef\u201c \u015fi abulia turmei, ace\u015fti eroi voiajeaz\u0103; caut\u0103 \u00een permanen\u0163\u0103, c\u0103l\u0103toresc \u201espre ceva\u201c.
\nS\u0103 ne amintim c\u0103 la debutul lui M. Sin (considerat de unii \u201eambiguu\u201c), repro\u015ful cu care fusese \u00eent\u00e2mpinat t\u00e2n\u0103rul prozator viza tocmai absen\u0163a temelor. Or, interesat de lumea noastr\u0103 \u201ea\u015fa cum este\u201c, f\u0103r\u0103 nimb eroic, Sin frecventa temele zise minore. Plonjeaz\u0103 \u00een spa\u0163iul mediocrit\u0103\u0163ii, con\u015ftientizeaz\u0103 e\u015fecul, \u00eenregistreaz\u0103 psihologia senectu\u0163ii, acuz\u00e2nd mizeriile fiziologicului \u015fi povara trecutului. Propune un bilan\u0163, interoga\u0163ia oferind coeren\u0163\u0103 scenariului epic. Fluxul memoriei amestec\u0103 timpurile, medita\u0163ia epic\u0103 (strunit\u0103, vizibil, de un mobil polemic) ajunge la dezeroizare \u015fi disociere (voind \u201ea demarca binele de r\u0103u\u201c). Respect\u00e2nd condi\u0163ia grav\u0103 a scriitorului, convins c\u0103 \u201enu mai e loc pentru iluzii\u201c, Mihai Sin a fost un ins a\u015fezat, serios, iubind \u201emedierea filosofic\u0103\u201c.
\nRame \u015fi destin (1989) propunea dou\u0103 nuvele excep\u0163ionale (ultimele). Or, M. Sin r\u0103m\u00e2ne un mare nuvelist, romanele sale fiind, credem, salbe de nuvele. \u00cenc\u00e2t volumul se a\u015feza \u00een prelungirea problematic\u0103 a celorlalte c\u0103r\u0163i. Un Dionisie Baica, cuprins de elanuri t\u00e2rzii, descoper\u0103 peisajul cu \u201eo bucurie necunoscut\u0103\u201c (v. Clipa, ca o lam\u0103 rece); este un urs \u00een criz\u0103, \u00eencep\u00e2nd s\u0103 judece; constat\u0103 c\u0103 \u201eni se \u00eent\u00e2mpl\u0103 tot timpul ceva, dar n-avem ochi s\u0103 vedem\u201c. De\u015fteptarea, trezirea l\u0103untric\u0103, \u201evia\u0163a la \u0163ar\u0103\u201c sunt nimerite prilejuri de a radiografia convulsiile psihicului, contextul. L\u00e2ng\u0103 cei cu sufletul speriat, oprimat, mi\u015fun\u0103 grobienii, st\u00e2rni\u0163i de furia posesiei. Bun observator, M. Sin are \u015ftiin\u0163a concretului, penseaz\u0103 am\u0103nuntul, prinde firescul vie\u0163ii. Nuvela titular\u0103 poate fi citit\u0103 \u015fi ca un \u201er\u0103zboi al sexelor\u201c. Dincolo de astfel de asperit\u0103\u0163i, protagoni\u015ftii \u2013 filosofi de ocazie \u2013 se \u00eent\u00e2lnesc \u00een zarea contemplativ\u0103; discut\u0103 despre \u201esingur\u0103tatea etern\u0103\u201c \u015fi neasem\u0103narea destinelor, cu indign\u0103ri patetice (precum domnul Bica) \u015fi efuziuni sentimentale, acuz\u0103 pe micii faraoni \u015fi \u201eparadisul lor de beton\u201c (garaje, moda cavourilor). Plute\u015fte izul degrad\u0103rii, rememor\u00e2nd o vitalitate stins\u0103. Prozator temeinic, M. Sin evit\u0103, de regul\u0103, tezismul. Coboar\u0103 \u00een firesc cu o \u201elentoare funerar\u0103\u201c, are \u2013 am v\u0103zut \u2013 \u201eprejudecata\u201c realismului, \u00ee\u015fi urmeaz\u0103 consecvent repertoriul problematic, temele obsesive. Acuitatea privirii cheam\u0103 \u00een sprijin, paradoxal, moliciunea frazei. Arborescen\u0163a, asocia\u0163ionismul, tehnica devierilor slujesc intersec\u0163iei destinelor. \u201eA\u015ftept\u00e2nd \u00een lini\u015fte\u201c (cum ne anun\u0163a, la debut), f\u0103r\u0103 temperament de lupt\u0103tor, insuficient pre\u0163uit, Mihai Sin este frisonat de responsabilitatea scrisului. El r\u0103m\u00e2ne, cu o vorb\u0103 acceptat\u0103 mai de toat\u0103 lumea, \u201eun analist sub\u0163ire\u201c, descoperind, cu reverbera\u0163ii nostalgice, metafizica realului.
\nTotu\u015fi, ignorat de N. Manolescu \u00een Istoria sa, \u201eoarecum debusolat\u201c, s-a spus, dup\u0103 \u201989, Mihai Sin a devenit un caz controversat, provoc\u00e2nd mu\u0163enie \u015fi \u201estupefac\u0163ie\u201c. Pentru Alex \u015etef\u0103nescu, M. Sin devine, prin dipticul Quo vadis, Domine? (1993, 1996), un \u201eavocat al cauzei Securit\u0103\u0163ii\u201c. Adev\u0103rul e c\u0103 Sin, refuz\u00e2nd maniheismul revigorat cu ferocitate, \u00eencerca s\u0103 judece nu doar \u00een alb \u015fi negru. Acuzat pentru factura propagandistic\u0103 a noilor romane (desigur, \u201ede idei\u201c) sau pentru \u201efantezia politic\u0103\u201c pe care o ilustrau eseist-divagant, cu certe probleme de construc\u0163ie, Sin a fost privit cu circumspec\u0163ie. Un Dominic Vanga, inginer, \u201eales\u201c de colonelul Coldea (care \u00eei citise c\u00e2teva eseuri studen\u0163e\u015fti) pentru \u201eI.Q-ul\u201c s\u0103u, intr\u0103 pe lista comploti\u015ftilor, preg\u0103tind, \u00een \u201ebunc\u0103ra\u015ful\u201c cu oameni de valoare, epoca postCeau\u015fescu. La \u201eRe\u015fedin\u0163\u0103\u201c, prin medita\u0163ie colectiv\u0103 (anun\u0163\u00e2nd parlamentarismul), echipa, sub obl\u0103duirea acelei fac\u0163iuni securistice, se preg\u0103te\u015fte v\u0103dind responsabilitate pentru soarta Rom\u00e2niei, \u00eencerc\u00e2nd a evita \u2013 sub spectrul neverosimilului, s\u0103 recunoa\u015ftem \u2013 impostoriada. \u00cenc\u00e2t, aparent \u201euitat\u201c, b\u00e2ntuit de obsesii \u015fi spaime, \u00eentr-o singur\u0103tate agresiv\u0103, pierz\u00e2ndu-\u015fi r\u0103bdarea, Dominic Vanga va fi adus de Murza \u00een Bucure\u015fti (\u00een 22 decembrie, Pia\u0163a Palatului), invitat \u201es\u0103 se n\u0103pusteasc\u0103 spre intrare\u201c, salv\u00e2nd re\u0163eta conspira\u0163ionismului \u015fi \u201eun anume tip de elit\u0103\u201c. Care se va deda la Marele Jaf al capitaliz\u0103rii Rom\u00e2niei, recicl\u00e2nd \u201ecurvele de partid \u015fi de Stat\u201c \/ \u201ehaita numit\u0103 Partid\u201c.
\n\u00cen fond, Ispita izb\u0103virii continu\u0103 subiectul. Sub Marea Ocult\u0103, \u201eRom\u00e2nica\u201c e aruncat\u0103, prin lucrarea Diavolului, pe Calea Pierzaniei (distrugere, maculare), trezind reac\u0163ia celor ce aleg calea poc\u0103in\u0163ei.
\nDemar\u00e2nd greoi, sub pretextul unui voiaj \u00een c\u0103utarea rubedeniilor, plecate demult \u00een \u201e\u0163ara dream-ului\u201c, romanul pune \u00een discu\u0163ie soarta comunit\u0103\u0163ilor rom\u00e2ne\u015fti, \u00een disolu\u0163ie, topite \u00een \u201emagma american\u0103\u201c. Bucure\u015fteanul Mike, deja sim\u0163indu-se american \u015fi so\u0163ia sa Ioana, lans\u00e2nd diatribe la adresa buc\u0103t\u0103riei fast-food, \u00eel \u00eenso\u0163esc pe Vicen\u0163iu Tudan \u00een c\u0103l\u0103toria spre or\u0103\u015felul Glassport, \u00een c\u0103utarea mormintelor Rozetei Opri\u015f, mistuit\u0103 de \u201edorul de cas\u0103\u201c \u015fi a lui Sam, un \u201efoachi\u201c, cel care \u201efusese rom\u00e2n\u201c. Intr\u0103 \u00een scen\u0103 b\u0103tr\u00e2nul domn George Corun (\u201eborn in USA\u201c), un b\u0103rbat falnic, atras de baschet (fusese coach), nu de demonul politichiei, precum ambi\u0163iosul s\u0103u frate, ajuns primar cu sprijinul comunit\u0103\u0163ii poloneze. George, cet\u0103\u0163ean onest, \u201eredescoper\u0103\u201c limba \u015fi lumea de acas\u0103. Fiindc\u0103, \u00eentr-o lung\u0103 spovedanie, va m\u0103rturisi c\u0103 \u201ecealalt\u0103 jum\u0103tate e Dincolo\u201c. C\u00e2nd va veni \u00een \u0163ar\u0103, bucur\u00e2ndu-se \u2013 ca de un \u201eun ultim dar\u201c \u2013 de \u00eent\u00e2lnirea cu \u00eenv\u0103\u0163\u0103toarea M\u0103d\u0103lina Albotif, va recunoa\u015fte c\u0103 iube\u015fte Rom\u00e2nia tainic\u0103 (\u0163ara p\u0103rin\u0163ilor), tr\u0103ind, de fapt, dou\u0103 vie\u0163i. Politicos, chiar protocolar, \u201ecap de matematician\u201c, George depl\u00e2nge destinul rom\u00e2nesc \u015fi alterarea fibrei, desp\u0103r\u0163irea de obiectele \u201esacre\u201c, definindu-ne fiin\u0163a identitar\u0103, amenin\u0163at\u0103. O tem\u0103, s\u0103 recunoa\u015ftem, de care fug mul\u0163i \u015fi pe care Mihai Sin o atac\u0103 frontal prin vocea lui George, cel care \u2013 spune Mike \u2013 \u201eidealizeaz\u0103 s\u0103rmana Rom\u00e2nie\u201c. Dar \u201eprietenii rom\u00e2ni\u201c au ap\u0103rut t\u00e2rziu \u00een via\u0163a domnului Corun. Pentru George, sf\u00e2r\u015fitul e aproape \u015fi fostul coach, \u00een lupta cu timpul, \u00ee\u015fi poart\u0103 singur\u0103tatea, \u00eencerc\u00e2nd s\u0103 spun\u0103 ceva poporului rom\u00e2n, sub \u201easediu\u201c, ap\u0103sat de etichete infame.
\nP\u0103r\u0103sind brusc aceast\u0103 pist\u0103, M. Sin ne propune alt fir epic. Apare prezic\u0103torul Ionic\u0103 Pascu-\u201enebunu\u201c, fost medicinist, bucur\u00e2ndu-se de faima Vindec\u0103torului, ucis de iresponsabilul Petre, cel care primise \u201eporunca\u201c (\u015ftiut\u0103 de Ionic\u0103) de a sc\u0103pa lumea de un \u201epolitic\u201c. S-ar p\u0103rea c\u0103 Sin pierde controlul nara\u0163iunii. \u00cen fapt, stufosul roman, simetrizabil, trebuie citit \u201e\u00een oglind\u0103\u201c, identific\u00e2nd o mul\u0163ime de similitudini \u015fi paralelisme. Fiindc\u0103 \u015fi George, de pild\u0103, \u015ftia c\u0103 va fi ucis de un nebun, disp\u0103r\u00e2nd, astfel, un om mare (recunoa\u015fte Tom), chiar dac\u0103 nu antrenase \u00een NBA.
\n\u00cen fine, ne \u00eent\u00e2lnim \u2013 pe un alt palier romanesc \u2013 cu un fost mare gazetar, de str\u0103lucire meteoric\u0103, care, fugind de lume, devine un cer\u015fetor \u201edemn\u201c, \u00eenso\u0163it de un prieten canin (Rex), duc\u00e2nd o existen\u0163\u0103 subteran\u0103. Prilej de a asculta, ca \u201eduhovnic captiv\u201c, \u015fi confesiunea unui inginer mecanic (director), doritor a c\u0103uta o ie\u015fire prin \u201egolirea de reziduuri\u201c (episodul Relu Porumb, asaltul pr\u0103d\u0103torilor, un posibil manual sexologic etc.). Adic\u0103 repetate deraieri epice, pentru ca, finalmente, sub o alt\u0103 identitate, marele jurnalist-boschetar (devenit Ion Iancu), \u201edec\u0103zut din drepturi\u201c, s\u0103 se re\u00eentoarc\u0103 la via\u0163a \u201ede alt\u0103dat\u0103\u201c. E atras de ambi\u0163iosul proiect al unui cercet\u0103tor, g\u00e2ndind \u00eempreun\u0103 la viitorul Rom\u00e2niei. \u015ei constat\u00e2nd, intr\u00e2nd \u00een re\u0163ea, neputin\u0163a Invididului \u00een fa\u0163a Sistemului. \u00centreb\u00e2ndu-se dac\u0103 experien\u0163a sa (\u201ealunec\u00e2nd \u00een jos\u201c pentru a palpa Adev\u0103rul) meritase sacrificiul.
\nS\u0103 observ\u0103m c\u0103 eseismul lui Sin, mereu problematizant, se planetarizeaz\u0103. El invoc\u0103 violul istoric, prin bol\u015fevizare, dar \u015fi Noua Dictatur\u0103, \u00eentr-o lume g\u00e2ndit\u0103 ocult, nu condus\u0103 \u201ela vedere\u201c. Sunt pagini catifelat-poetice (sentimentul miracolului feminin, o diminea\u0163\u0103 de august, \u201eactul divin\u201c al \u00eempreun\u0103rii) l\u00e2ng\u0103 cele care inventariaz\u0103 ipostazele R\u0103ului: ordine venite \u201edin \u00eenalturi\u201c, \u201ebijuteria\u201c cu drepturile omului, lucrarea Diavolului etc. Sau: o Rom\u00e2nie comunizat\u0103, cu destin deturnat \u015fi \u201elumea paralel\u0103\u201c a tinerilor, ca teritoriu de cucerit; un proiect generos (secret \u015fi inutil, de fapt), aduc\u00e2nd corec\u0163ii democra\u0163iilor Occidentale, cum \u015fi-au propus cei doi, f\u0103r\u0103 \u015fansa continuit\u0103\u0163ii \u015fi a izb\u0103virii; un amestec perfid de bine \u015fi r\u0103u sub t\u0103v\u0103lugul globaliz\u0103rii, \u00een care \u201ediavolii veniser\u0103 cu treburi pe p\u0103m\u00e2nt\u201c, tr\u0103g\u00e2nd sforile politicii \u00een raportul na\u0163ional \/ suprastatal, f\u0103r\u0103 anticorpi la \u00eendem\u00e2n\u0103; exaltarea unor savan\u0163i, f\u0103r\u0103 acces la Marile Taine; \u015fi, \u00een fine, g\u00e2ndul isp\u0103\u015firii, niciodat\u0103 \u00eencol\u0163it \u00een mintea marilor tic\u0103lo\u015fi. Pentru a se re\u00eentoarce, \u00een finalul romanului, la tema obsesiv\u0103, cea a timpului devorator. Un Vicen\u0163iu, la hotel, \u00eempresurat de \u00eendoieli \u015fi vise \u201egrele\u201c, \u201egalopa spre b\u0103tr\u00e2ne\u0163e\u201c. Prin jocul sor\u0163ii, putem citi Ispita izb\u0103virii ca o carte testamentar\u0103 a unui important \u015fi nelini\u015ftit prozator, chinuit de \u00eentreb\u0103ri, ispitit de himera romanului total.<\/p>\n","protected":false},"excerpt":{"rendered":"
Preocupat, precum pu\u0163ini, de soarta romanului, ca specie major\u0103 \u00een literatura noastr\u0103, Mihai Sin \u00eencerca, \u00een Marea miz\u0103 (2003), livr\u00e2nd observa\u0163ii ap\u0103sat personale, s\u0103 propun\u0103, de fapt, un aspru rechizitoriu, denun\u0163\u00e2nd \u201eletargia mimetic\u0103\u201c \u015fi dialogul subaltern cu alte culturi. Informat, b\u00e2ntuit de \u00eengrijor\u0103ri teribile, desf\u0103\u015fur\u00e2nd un polemism t\u0103ios, prozatorul invoca mustr\u0103tor \u201ecaren\u0163a de universal\u201c, inapeten\u0163a… Cite\u0219te mai mult »Mihai Sin \u015fi ispita romanului total<\/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":[15126,13404],"class_list":["post-24604","post","type-post","status-publish","format-standard","hentry","category-cultura-literara","tag-marea-miza","tag-mihai-sin"],"views":1057,"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\/24604","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=24604"}],"version-history":[{"count":1,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24604\/revisions"}],"predecessor-version":[{"id":24605,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/posts\/24604\/revisions\/24605"}],"wp:attachment":[{"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/media?parent=24604"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/categories?post=24604"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistacultura.ro\/nou\/wp-json\/wp\/v2\/tags?post=24604"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}