{"id":5069,"date":"2010-06-15T22:17:26","date_gmt":"2010-06-15T20:17:26","guid":{"rendered":"http:\/\/egophobia.ro\/?p=5069"},"modified":"2013-02-21T14:59:29","modified_gmt":"2013-02-21T12:59:29","slug":"alteritate-poetica-pe-muchia-periculoasa-a-gindului","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=5069","title":{"rendered":"Alteritate poetic\u0103 pe muchia periculoas\u0103 a g\u00eendului"},"content":{"rendered":"

[Gelu Vla\u015fin – Tratat la psihiatrie<\/em>, Editura Vinea, Bucure\u015fti, 1999, Editura Liternet, 2006; Atac de panic\u0103<\/i>, Editura Noesis, Bucure\u015fti, 2000, Editura Muzeul Literaturii Rom\u00e2ne, Bucure\u015fti, 2002; Poemul turn<\/em>, Colec\u0163ia “Biblioteca Bucure\u015fti” – Editura Muzeul Literaturii Rom\u00e2ne, 2001, Editura Liternet, 2003; Ultima suflare<\/em>, Editura Azero, 2005]<\/strong><\/p>\n

de Igor Ursenco<\/p>\n

\n1. <\/strong>Un traseu ini\u0163iatic cu matrice hidro-stilistic\u0103<\/strong>
\n(Prolegomene la toposul psiho-geografic al poetului Gelu Vla\u015fin)<\/strong><\/p>\n

MEMENTO:
\n\u201dr\u0103m\u0103sesem de unul singur \/ eu \/ care iubeam \/ singur\u0103tatea \/ \u00eentr-o jum\u0103tate \/de camer\u0103 \/ cu \/ o jum\u0103tate de lum\u00eenare \/ aprins\u0103 pe jum\u0103tate \/ ceasul \/ se oprise \/ la \/ jum\u0103tate pe o \/ jum\u0103tate de \/ \u015fifonier \/
\n(jum\u0103tatea mea disp\u0103ruse)\u201d,
\nGelu Vla\u015fin, Prolog la \u201datac de panic\u0103\u201d\n<\/p>\n

\u00cenceputul capricios al lunii aprilie curent l-am sacrificat unei deplas\u0103ri (cu ruta ocolitoare \u201dBaia Mare\u2013Salva\u2013N\u0103s\u0103ud\u2013Bistri\u0163a\u201d) dovedit\u0103 pe deplin ini\u0163iatic\u0103.<\/p>\n

\nAbia ie\u015fit de sub domina\u0163ia colinelor pitore\u015fti pierdute ici-colo printre drumurile serpentine, c\u0103 am \u015fi fost obligat s\u0103 \u00eemi pun ad hoc<\/em> mantia de translator \u015fi traduc\u0103tor: pentru o companie din Ucraina, dornic\u0103 s\u0103 construiasc\u0103 \u00een localitatea bistri\u0163ean\u0103 Salva o hidrocentral\u0103. A\u015fa cum avea s\u0103 aflu ulterior, evaluatorii ucraineni au optat metodic pentru o \u201ddescindere energetic\u0103\u201d m\u00edtic\u0103 prin excelen\u0163\u0103: acolo unde r\u00eeul Some\u015ful Mare ia \u00een piept tiparele inevitabile ale afluentului S\u0103l\u0103u\u0163a. Astfel c\u0103 se poate vorbi despre confluen\u0163a celor dou\u0103 cursuri de ap\u0103 \u2013 \u00een soarta celor afla\u0163i \u00een zon\u0103 -aproape ca despre o matrice impregnatoare blagian\u0103.<\/p>\n

\nLocul ales cu stricte\u0163e posed\u0103 (dac\u0103 nu este \u201dposedat\u201d chiar de) un registru stilistic greu de surprins, a\u015fa cum cursul lin, \u015fi pe alocuri tautologic, al apei \u00ee\u015fi dezgole\u015fte \u2013 c\u00eend te a\u015ftep\u0163i cel mai pu\u0163in \u2013 v\u00eertejurile \u015fi borboanele oculte ale ad\u00eencului, pentru a sf\u00eer\u015fi \u00een inflexiunea, \u015fi ea greu de presupus la \u00eenceput, a unui debit furtunos \u015fi, poate tocmai de aceea, poetic. Baraje hidroelectrice, turbine cu capacit\u0103\u0163i variabile, generatoare de energie, scurt-circuite electrice, tensiune variabil\u0103, comutatoare \u2013 \u015fi alte elemente strict tehnice care ar trebui s\u0103 asigure circularea energiei necesare func\u0163ion\u0103rii unui sistem integrat \u2013 mi s-au perindat \u00een fa\u0163a ochilor c\u00eend tocmai \u00eencercam s\u0103 (sur)prind, de la geamul pr\u0103fuit al automobilului cu numere de \u00eenmatriculare str\u0103ine, chipul nedeslu\u015fit al scriitorilor arhetipali care \u201dpopuleaz\u0103\u201d (\u00een mod \u201dpoetic\u201d, se putea altfel?) partea nord-vestic\u0103 a Rom\u00e2niei.<\/p>\n

\nM\u0103 refer \u00een primul r\u00eend la zona Maramure\u015f-Bistri\u0163a, reprezentat\u0103 echilibrat (doar \u00een acest eseu) de c\u0103tre Ioan. Es. Pop, Vasile Muste, Marin Slujeru, Cosmin Per\u0163a, Ana Dragu, Teodor Dun\u0103, Dan Coman \u015fi Marin M\u0103laicu-Hondrari. Dac\u0103 a\u015f risca o caracteristic\u0103 specific\u0103 tuturor scriitorilor invoca\u0163i, a\u015f \u00eencepe negre\u015fit cu vocabula \u201dcrepitudine\u201d <\/strong>\u2013 adic\u0103 starea final\u0103 (specific\u0103) a corpului aflat la frontiera mor\u0163ii fizice. Termenul nu e atestat \u00een DEX, desigur, de aceea m\u0103 bucur s\u0103 pot contribui, pe potriva reverbera\u0163iei mele lirice, cu un hapax legomenom<\/em> (format prin contaminare lexical\u0103 de la dou\u0103 r\u0103d\u0103cini semantice): \u201ccrepita\u0163ie<\/em>\u201d (zgomot produs de aer prin p\u0103trunderea \u00een \u00een pl\u0103m\u00eenii afesta\u0163i, prin lovirea extremit\u0103\u0163ilor unui os fracturat), \u201ecrep<\/em>\u201d (bucat\u0103 de \u0163es\u0103tur\u0103 sub\u0163ire \u015fi \u00eencre\u0163it\u0103, purtat\u0103 sub form\u0103 de doliu) + termina\u0163ia specific\u0103 de la vocabula \u201esolitudine\u201d.<\/p>\n

\nPrintre poe\u0163ii descenden\u0163i din zona amintit\u0103, autorul (singular \u015fi \u00eensingurat!) al \u201dManifestului Deprimist\u201d, dovede\u015fte suficient\u0103 versatilitate \u00eenc\u00eet s\u0103 asigure conductibilitate energetic\u0103 alterit\u0103\u0163ilor sale autodeclarate (sau, dimpotriv\u0103, ocultate cu cea mai grav\u0103 \u201delectrocinetic\u0103\u201d lingvistic\u0103!) pentru a risca s\u0103-\u015fi urmeze propriul destin literar: \u00eentre Bistri\u0163a \u015fi Bucure\u015fti. Desigur, atunci c\u00eend \u00eentre Rom\u00e2nia \u015fi Spania nu exist\u0103 suficient\u0103 distan\u0163\u0103 empatic\u0103. De unde devine limpede de ce, la cap\u0103tul tensiunii estetice consumat\u0103 fragmentar \u00een \u201dgeneratoarele\u201d angoasei materializate \u00een c\u0103r\u0163ile publicate p\u00een\u0103 acum (\u201dTratat la psihiatrie\u201d \u2013 \u201dPoemul turn\u201d \u2013 \u201datac de panic\u0103\u201d \u2013 \u201dultima suflare\u201d), lui Gelu Vla\u015fin \u00eei r\u0103m\u00eene suficient spa\u0163iu (\u015fi timp!) s\u0103-\u015fi noteze impresiile trans-literare \u00een jurnalul s\u0103u iberic de “Don Quijote R\u0103t\u0103citor”.<\/p>\n

\nDe aici \u015fi deta\u015farea temporal\u0103 dar absolut necesar\u0103, pentru c\u0103 atunci c\u00eend nu e posibila o configura\u0163ie mai prielnic\u0103 pentru a se configura \u00een \u201domul decor\u201d, Vla\u015fin sf\u00eer\u015fe\u015fte inevitabil, suspendat \u00een \u201dfigura\u201d (non-stilistic\u0103, evident!) de generator entuziast al unei \u201dre\u0163ele literare\u201d (www.reteaualiterara.com<\/span><\/a>) cu acoperire interna\u0163ional\u0103: \u201dstau prin \/ vecini \/ alungat de prea \/ mult\u0103 fobie \/ a\u015ftept\u00eend \/ s\u0103 se \u00eent\u00eemple \/ un vis cu vacan\u0163\u0103-n\u00a0 \/ paris\u201d (\u201ddepresie doisprezece\u201d).<\/p>\n

2. <\/strong>O perspectiv\u0103 sistemic\u0103 deprimist\u0103<\/strong><\/p>\n

MEMENTO:
\n\u201dAfar\u0103-i cumplit de \/ real eu \/ mai ron\u0163\u0103i \/ o vorb\u0103 ce st\u0103 printre din\u0163i (…) \/ s\u00eent destul \/ de ratat ca s\u0103 \/ scriu un poem \/ cum m\u0103 dor \/ s\u00eenii t\u0103i \/ dezgoli\u0163i \/ \u00eentr-o sear\u0103\u201d,
\nGelu Vla\u015fin, \u201ddepresie opt\u201d<\/p>\n

Plasate \u00eentr-un \u201dinfrareal\u201d devenit suficient de prozaic, \u201danteceden\u0163ele existen\u0163ei\u201d la care f\u0103cea referin\u0163\u0103 Gaston Bachelard \u00een penetrantul s\u0103u studiu \u201dPoetica reveriei\u201d prind tot mai mult contur \u00een poezia modern\u0103: chiar dac\u0103 uneori \u00een registru psihiatric, a\u015fa cum deja pentru Luhmann \u201dsocietatea modern\u0103 ajunge s\u0103 se alc\u0103tuiasc\u0103 doar din comunic\u0103ri \u015fi func\u0163ii comunicative\u201d. Dincolo de acestea de la urm\u0103, pu\u0163in ce mai r\u0103m\u00eene din fiin\u0163ele umane integre (edenic) \u015fi (nostalgic) integrale c\u00eendva, acum recuperate hic et nunc<\/em> \u00eentr-un \u201dsistem psihic ce \u00ee\u015fi men\u0163ine \u00een con\u015ftiin\u0163\u0103 \u015fi limbaj propria sa modalitate de operare autopoietic\u0103\u201d: \u201ddegetele privesc \/ neputincioase \/ spectacolul \/ umbrelor la \/ num\u0103rul doisprezece \/ c\u00eend \/ pictezi \/ depresii pe \/ um\u0103rul meu\u201d (\u201ddepresie \u015fase\u201d).<\/p>\n


[Gelu Vla\u015fin, Dan Coman & Claudiu Komartin]<\/p>\n

\nA\u015fa cum anticipam, titlurile afi\u015fate cu ostenta\u0163ie aproape furibund\u0103 (\u201dTratat la psihiatrie\u201d \u2013 \u201dPoemul turn\u201d \u2013 \u201datac de panic\u0103\u201d \u2013 \u201dultima suflare\u201d) dau seam\u0103 de un topos heterotopic<\/em> postimpresionist, cel pu\u0163in la nivelul epidermei lexico-semantice: de care este str\u00eens \u00eenf\u0103\u015furat ca o c\u0103ma\u015f\u0103 de for\u0163\u0103 a centaurului Nessus. Conectat la generatoarele de energie genera\u0163ionist\u0103 \u015fi mentin\u00eend \u00een permanen\u0163\u0103 tensiunea variabil\u0103 \u00eentre grup\u0103rile poetice, stilul practicat de poetul Vla\u015fin aminte\u015fte (\u00een subsidiar) de un comutator de scurt-circuitare poetic\u0103: \u00een faze mai scurte sau relativ lungi, \u00een dependen\u0163\u0103 de unghiul de asumare personal\u0103 a fenomenelor (temelor) abordate, intensitatea \u015fi durata lor de desf\u0103\u015furare textual\u0103. De unde \u015fi \u201dexploziile\u201d inevitabil \u00een interferen\u0163e stilistice u\u015for recognoscibile, plasate de regul\u0103 \u00een descenden\u0163a estetic\u0103 \u201dBlaga & St\u0103nescu\u201d.<\/p>\n

\n\u00cen special acest lucru e valabil pentru volumele \u201dTratat la psihiatrie\u201d \u015fi \u201datac de panic\u0103\u201d, concepute la umbra generoas\u0103 a genenera\u0163iei \u015faizeciste, revendicat\u0103, la r\u00eendul ei, din seva cultural\u0103 interbelic\u0103. Iradia\u0163ia semantic\u0103 \u2013 originat\u0103 necunten \u00een turbina cu capacit\u0103\u0163i variabile a memoriei poetice afective \u2013 nu poate transborda frontiera viziunii lirice impresionist-postimpresioniste dec\u00eet cu viz\u0103 de ie\u015fire obligatorie. De exemplu, versul canonic (\u201ds-a \u00eentors \u00een lume o stea \/ mi-s m\u00eeinile arse de ea\u201d) stocat de Lucian Blaga \u00een \u201dAntologia de poezie popular\u0103\u201d ardelean\u0103 sub forma ondulatorie a luminii crepusculare, la Gelu Vla\u015fin e generat \u00een lumin\u0103 exiten\u0163ial\u0103, \u00eentrupat\u0103 la cel\u0103lalt cap\u0103t al existen\u0163ei sale, anume corpuscular: \u201dm-am re\u00eentors \/ \u00een lume \/\/ \u015fi lumea \/\/ nu exist\u0103 \/\/ o nebunie fierbinte \/\/ cade \/ din ceruri \/\/ privesc fa\u0163a \/ mor\u0163ii \/\/ \u015fi moartea \u00eemi \/ sur\u00eede \/\/ complice \/\/ \u00eentinz\u00eendu-mi m\u00eena…\u201d (\u201dre\u00eentoarcere\u201d).<\/p>\n

\nAlt\u0103 dat\u0103, pentru a \u00een\u0163elege \u2013 \u00een empatia autorului extins\u0103 pe suprafe\u0163ele generoase ale angoasei \u2013 cum e \u201ds\u0103 respiri \/ proasp\u0103t cu \/ ochii mari bolnavi de \/ mirare \u015fi \/ (…) \/ s\u0103 vorbesc \/ ore-n \u015fir cuvintele altora, \/ <\/strong>t\u0103lpile lor \/ strivindu-mi privirea \u00eentoars\u0103\u201d (\u201dparestezie\u201d) sau cum e posibil \u201ds\u0103 privesc \/\/ \u00eentunericul surd \/\/ cu ochii \/ \u015fi cu buzele mute \/\/ \u015fi cum \/ s\u0103 m\u0103 nasc \/\/ din cenu\u015f\u0103 \/\/ c\u00eend pas\u0103rea din mine \/\/ \u00eenc\u0103 nu \u015fi-a luat zborul \/ iat\u0103 \/ g\u00eendul muribund\u201d (\u201dprivirea\u201d) nu ar fi de prisos \u201dcontabilizarea\u201d fenomenologic\u0103 a dou\u0103 texte foarte cunoscute, semnate de un transgenera\u0163ionist consacrat:<\/p>\n

\n\u201dEu m\u0103 rugam la um\u0103rul t\u0103u, \/ m\u0103 rugam cu un fel de cuvinte albastre. \/ (…) Numai p\u0103s\u0103rile lovindu-se, foarte mirate, \/ \u00een noi \u00ee\u015fi v\u0103rsau zborul. \/ Eu m\u0103 rugam \u00een cuvinte ciudate. \/ Tu erai piatra, tu erai norul\u201d (Nichita St\u0103nescu, \u201dC\u00eentec\u201d);<\/p>\n

\n\u201dA venit toamna, acoper\u0103-mi inima cu ceva, \/ cu umbra unui copac sau mai bine cu umbra ta. \/ M\u0103 tem c\u0103 n-am s\u0103 te mai v\u0103d, uneori, \/ c\u0103 or s\u0103-mi creasc\u0103 aripi ascu\u0163ite p\u00een\u0103 la nori, \/ c\u0103 ai s\u0103 te ascunzi \u00eentr-un ochi str\u0103in (…) \/ \u0218i-atunci m\u0103 apropii de pietre \u015fi tac, \/ iau cuvintele \u015fi le-nec \u00een mare\u201d (Nichita St\u0103nescu, \u201dEmo\u0163ie de toamn\u0103\u201d).<\/p>\n

\nCa rezultat al \u201ddistil\u0103rii\u201d intricate (dup\u0103 modelul \u201dtez\u0103-antitez\u0103-sintez\u0103\u201d) \u00een \u201dlaboratorul\u201d antologicului \u201dPoem\u201d creat de Nichita St\u0103nescu (\u201dSpune-mi, dac\u0103 te-a\u015f prinde-ntr-o zi \/ \u015fi \u0163i-a\u015f s\u0103ruta talpa piciorului, \/ nu-i a\u015fa c\u0103 ai \u015fchiop\u0103ta pu\u0163in, dup\u0103 aceea, \/ de team\u0103 s\u0103 nu-mi strive\u015fti s\u0103rutul?\u201d) existau toate \u015fansele din lume ca Vla\u015fin s\u0103-\u015fi scrie textul \u00een (gradul de) \u201ddepresie unu\u201d: \u201ds\u0103rutul care-mi sfarm\u0103 \/ t\u00eemplele \u015fi \/ norii mei \/ peste \/ care tu \/ \u0163i-ai f\u0103cut culcu\u015ful \u00een \/ fiecare noapte de \/ s\u0103rb\u0103tori \/ am \/ s\u0103-\u0163i dedic \/ poeme \u015fi \/ timp … \/ iat\u0103 \/ ziua \/ c\u00eend nu privesc prin \/ gaura cheii \/ cuv\u00eentul care \/ mu\u015fc\u0103 din \/ creierul \/ t\u0103u\u201d. Evident, eroul liric nu putea sf\u00eer\u015fi dec\u00eet \u00een pielea unui deprimist autarhic, suficient sie\u015fi chiar \u015fi atunci c\u00eend \u00ee\u015fi recunoa\u015fte indirect propria vulnerabilitate \u00een fa\u0163a scrisului \u201d\u00eenstr\u0103inat\u201d de la (\u015fi dup\u0103) predecesori.<\/p>\n

\nDar frecventarea genera\u0163iilor \u00een contumacie estetic\u0103, dac\u0103 pot spune a\u015fa, nu poate fi redus\u0103 \u00een cazul poetului la prelu\u0103ri stilistice contondente, la fel cum filtrul ultimei genera\u0163ii nu \u00eei \u00eencremene\u015fte vizibil registrul <\/strong>exprim\u0103rii auctoriale. Or, disecate perpetuu de \u201dultima suflare\u201d post-modernist\u0103, o parte din textele lui Gelu Vla\u015fin prind contur valoric doar odat\u0103 ajunse la frontiera intertextualit\u0103\u0163ii declarate \u2013 a\u015fa cum e cazul Epilogului la \u201datac de panic\u0103\u201d (\u201dcortina cade \/ spectatorii aplaud\u0103 \/ regizorul suspin\u0103 \/ generos \/ actorii \/ ram\u00een \u00eenfip\u0163i \/ \u00een mijlocul \/ scenei \/ pentru totdeauna \/ cu ochii \/ pironi\u0163i pe o \/ stea \/ c\u0103z\u0103toare \/ din po\u015feta neagr\u0103 \/ o scrisoare \/ \u00eemi face semne \/ disperate cu \/ ochiul \/ (pa idiotule \u00eemi iau geamantanul \u015fi plec)\u201d.<\/p>\n

Prin diferen\u0163iere \u015fi autoreferen\u0163ialitate sistematic\u0103, demn\u0103 de o soart\u0103 poetic\u0103 mai \u00eeng\u0103duitoare, Gelu Vla\u015fin \u00ee\u015fi genereaz\u0103 propria sa hermeneutic\u0103 axiologic\u0103, servit\u0103 totodat\u0103 ca deconstruirea imanen\u0163ei oficiale: estetice \u015fi biografice. Pentru c\u0103 doar prin transliteralitate asumat\u0103 deplin (\u201dundeva se \/ moare \/\/ jocul care doare \/\/ \u00een cerul cu sc\u00eencete de \/ moarte \/\/ nici noaptea nu \/ mai caut\u0103 \/\/ nici moartea \/ nu mai moare \/\/ jocul \/ care doare\u201d, \u201dprimul joc\u201d) mai poate fi dep\u0103\u015fit \u201dscenariul\u201d concentric-apocaliptic, propus de Nichita St\u0103nescu \u00een poemul \u201dC\u00eentec\u201d, citat mai sus: \u201dAstfel ne trecea via\u0163a, astfel muream, \/ deveneam transparen\u0163i, de ghea\u0163\u0103. \/ Priveli\u015ftea lumii trecea ca prin geam \/ prin lipsa noastr\u0103 vertical\u0103 de via\u0163\u0103\u201d.<\/p>\n

3. <\/strong>O pat\u0103 verde\u00a0 pe creierul baroc r\u0103t\u0103citor <\/strong><\/p>\n

MEMENTO:
\n\u201ddincolo de cuvinte \/\/ sunt ochii mei \/\/ care \/ str\u0103bat \/ \u00eentunericul \/\/ dincolo de \u00eentuneric \/\/ e\u015fti tu \/ cu bra\u0163ele \/ \u00eencruci\u015fate \/ \u015fi dincolo \/ de tine \/ huruie nimicul \/\/ ca o moarte ruginit\u0103\u201d (\u201ddincolo\u201d)<\/p>\n

Dar \u201decua\u0163iile de gradul doi\u201d \u2013 perfect identificabile \u00eentr-un text \u00a0postimpresionist prin excelen\u0163\u0103 \u2013 nu se mai pot\u00a0 men\u0163ine \u00een \u201dsuave trigonometrii \/ ale divinului “a fi” (Nichita St\u0103nescu, \u201dLat\u201d), iar poetul Gelu Vla\u015fin nu poate trece mai departe f\u0103r\u0103 s\u0103 le chestioneze validitatea: \u201d\u00eent\u00eemplarea \/ de a fi \/\/ este o \/\/ r\u0103st\u0103lm\u0103cire \/\/ a zeilor \/ pierdu\u0163i \/ poate c\u0103 \/\/ sim\u0163irea \u00eencepe \/\/ cu tine \/\/ \u015fi se sf\u00eer\u015fe\u015fte \/\/ dincolo \/ de cuvinte…\u201d (\u201dpoate c\u0103\u201d). \u00cen sufletul atins de bruma crepuscularit\u0103\u0163ii precoce, \u201dparc\u0103 \/ nici cuvintele \/\/ nu-mi mai despic\u0103 \/\/ timpanul \/ frunza vi\u0163ei- \/\/ de vie \/ ca o pat\u0103 \/ verde \/\/ pe creierul meu \/\/ r\u0103t\u0103citor\u201d (\u201dpustiul\u201d). Or, abia aici \u00eencepe calvarul trecerii dinspre propria biografie palpabil\u0103 la tensiunea celor virtuale.<\/p>\n

\nDac\u0103 Nichita St\u0103nescu \u00ee\u015fi mai permitea \u2013 \u00een aceea\u015fi \u201dEmo\u0163ie de toamn\u0103\u201d heraclit\u0103 \u2013 s\u0103 \u201d\u015fuiere luna \u015fi s\u0103 o rasar\u0103\u201d pentu a o \u201dpreface \u00eentr-o dragoste mare\u201d ca o replic\u0103 superioar\u0103 celei tangibile, la poetul bistri\u0163ean orice metaforizare sublim\u0103 nu mai poate r\u0103spunde \u201dimpresiilor \/ cu baionete \/ fracturiste\u201d, deoarece \u201dpe limba mea \/ juram\u00eentul \/ \u015fi-a instalat boem \/ depresiile absurde \/ poemele \/ s-au a\u015fternut \/ cu \u00eenghe\u0163ul lor infantil\u201d (\u201d23:50\u201d). Iat\u0103 a\u015fadar cum \u00eentr-o premiz\u0103 \u2013 \u00eenainte de toate ontologic\u0103 \u2013 pe care trebuie s\u0103 \u015fi-o asume programatic, niciun scriitor nu poate pretinde s\u0103 ias\u0103, la cap\u0103tul ei promi\u0163\u0103tor, cu sim\u0163ul datoriei \u00eemplinite plenar: \u201ddac\u0103 nimicul \/ s-ar transforma \u00een \/ fulger \u015fi \/ fulgerul \/ \u00een cuv\u00eent \/ \u015fi \/ cuv\u00eentul \/ \u00een t\u0103cere \/ ap\u0103s\u0103toare \/ atunci \/ nimicul \/ ar deveni \/\/ animalul de prad\u0103 \/ al \/ destinului ucis\u201d (\u201ddac\u0103\u201d).<\/p>\n

\nP\u00een\u0103 la un anumit punct de inflexiune estetic\u0103, explica\u0163ia poate fi relativ simpl\u0103: siguran\u0163a auctorial\u0103 postimpresionist\u0103, afi\u015fat\u0103 programatic \u00eentre paginile dense ale c\u0103r\u0163ilor examinate, poate distruge p\u00een\u0103 la r\u0103d\u0103cini calculii morfologici \u015fi tumorile semantice benigne. Cu riscul real de a r\u0103m\u00eene \u00eempietrite de data acesta deja \u00een paradigma unui condom\u00edniu mental minat, mai multe texte \u201d\u00ee\u015fi iau inima \u00een din\u0163i\u201d pentru a aprofunda alternativa poetic\u0103 de sorginte baroc\u0103: \u201dmintea mea \/ rup\u00eendu-\u0163i c\u0103ma\u015fa \/ \u00een care \/\/ tu \/ \u0163i-ai imbr\u0103cat g\u00eendul \/\/ negru \/\/ ca o pat\u0103 de s\u00eenge \/\/ \u00eentins\u0103 \/\/ pe caldar\u00eemul mor\u0163ilor\u201d (\u201dogoh I\u201d).<\/p>\n

Anume din lupta purtat\u0103 de un Gelu Vla\u015fin \u201dcorporalizat\u201d din anumite tr\u0103s\u0103turi \u015fi adic\u0163ii recognoscibile (\u201d\u00een mintea mea \/\/ \u00eencol\u0163esc ideile \/\/ precum \/ s\u00eemburii de \/ chaparo \/ pe c\u00eempiile \/ andaluziei \/ de prea \/ mult\u0103 a\u015fteptare \/ iat\u0103 \/ ideea \/ secer\u00eend \/ neputin\u0163a rostirii \/ cu \/ m\u00eena…\u201d, ideea\u201d) \u015fi un alter-ego naturalizat \u00een domeniile fantasmagorice de la Mancha (\u201dc\u00eend mintea \/ nu mai \/ \u015ftie \/ s\u0103-\u015fi caute zborul \/\/ c\u00eend lumina \/ se pr\u0103bu\u015fe\u015fte \/ din ochiul\u00a0 pustiu \/ \u015fi c\u00eend visul \/\/ \u00ee\u0163i p\u0103r\u0103se\u015fte somnul \/\/ atunci \/ moartea \/ e \/ \u00eemplinit\u0103…\u201d, \u201d\u00eemplinire\u201d) te bucuri genuin atunci c\u00eend iese biruitoare anume poetica impersonal\u0103 e<\/em>ventiv\u0103<\/em>, acea categorie ontologic\u0103 care indic\u0103 fie o schimbare produs\u0103 \u00een starea subiectului sau faptul c\u0103 subiectul se transpune \u00een alt\u0103 stare dec\u00eet aceea \u00een care se g\u0103sea la momentul vorbirii: \u201dlumina \/\/ nu \u015ftie \/\/ s\u0103 \/ moar\u0103 \/\/ ea nu \u015ftie \/\/ s\u0103 \/ fac\u0103 \/\/ nu \u015ftie \/\/ cum e\u015fti \/ tu \/\/ cum mi-e\u015fti \/\/ ea nu \/ \u015ftie \/\/ s\u0103 r\u00eed\u0103 \/\/ s\u0103 c\u00eente \/ \u00een ploaie \/\/ ea nu poate \/ s\u0103-mi vorbeasc\u0103 \/\/ ea nu\u201d (\u201dlumina\u201d).<\/p>\n

Solu\u0163ia era pe undeva (relativ) aproape de Parisul fenomenologic al lui Gaston Bachelard: cel care visa la \u201do estetic\u0103 a onirismului\u201d menit\u0103 s\u0103 incorporeze inclusiv \u201dparadisurile artificiale\u201d generate de poe\u0163ii naturali(za\u0163i).<\/p>\n

\u00cen aceast\u0103 \u201dfenomenologie a diferitelor st\u0103ri egotice\u201d, exegetul francez identifica cel pu\u0163in trei st\u0103ri ale \u201deu\u201d-lui: al somnului, al narcozei \u015fi al reveriei. Or, eroul liric adoptat de Gelu Vla\u015fin e un personaj de tip baroc \u2013 \u00een\u0163eles ca \u201ddezechilibrat \u00een interior datorit\u0103 unei pasiuni tragice\u201d \u2013 care \u00ee\u015fi afi\u015feaz\u0103 masca existen\u0163ial\u0103 \u00eentr-un mod similar ca arhetipalii protagoni\u015fti literari Sigismund de Polonia (Pedro Calder\u00f3n de la Barca), Pelegrinul (F\u00e9lix Lope de Vega) <\/a>sau Hamlet (Shakespeare).<\/p>\n

\u00cen timp ce \u201dalter ego-ul beletristic\u201d al lui Vla\u015fin mimeaz\u0103 public o arlechinad\u0103 cerebral\u0103, eventual de salon literar (\u201ds\u00eent \/ doar clownul \/ care-\u0163i \/ serve\u015fte \/ clien\u0163ii la \/ cin\u0103 c\u00eend \/ sexul t\u0103u \/ explodeaz\u0103 \u00een \/ creier\u201d, \u201dpanic disorder\u201d), replica \u201dfrankestein\u201d-izat\u0103 a alterit\u0103\u0163ii sale, pitit\u0103 \u00een tubula\u0163ia v\u00eescoas\u0103 a cerebelului, \u00eei tr\u0103deaz\u0103 obsesia ad\u00eenc\u0103: \u201dnu te mai str\u00eenge \/\/ \u00een chingile ei \/ mintea mea \/\/ nu-\u0163i mai tulbur\u0103 somnul \/\/ nu te mai \u00eenc\u00eent\u0103 \/\/ mintea mea \/\/ cea f\u0103r\u0103 de minte \/\/ \u00een ea url\u0103 \/\/ \u00eensingurarea\u201d (\u201dalt\u0103 minte\u201d). Rezultatul nu putea fi dec\u00eet un previzibil \u201dTratat la psihiatrie\u201d (\u201damnezie psihogen\u0103\u201d, \u201ddemen\u0163\u0103 presenil\u0103\u201d, \u201dpsihoz\u0103 reactiv\u0103\u201d, \u201dparkinson\u201d, \u201dhipocondrie\u201d, \u201dfabulatorium\u201d, \u201dsindromul de clerambault\u201d, \u201danorexia nervosa\u201d, \u201dparanoia\u201d, \u201dconvulsie psihogen\u0103\u201d, \u201dsindrom amnestic\u201d, \u201dneuroastenie\u201d ori \u201dmoral insanity\u201d sunt doar c\u00eeteva titluri \u201dclinice\u201d concludente ale acestui clivaj imaginat) dintre paginile c\u0103ruia \u00ee\u015fi coaguleaz\u0103 identitatea un tulkus tibetan<\/em> plauzibil. Ajuns\u0103 la acest punct de inflexiune ontologic\u0103, \u201dexisten\u0163a\u201d sa literar\u0103 monstruoas\u0103 e \u00een stare s\u0103 concureze, \u00een modul cel mai democratic posibil, galeria clien\u0163ilor notorii de pe cu\u015feta lui Freud.<\/p>\n

4. <\/strong>Mic tratat de \u201dhumbertianism\u201d apoptozic<\/strong><\/p>\n

MEMENTO:
\n\u201dnebunul \/ alearg\u0103 \/ prin sufrageriile \/ tale \/ (…) unde \/ firmiturile \/ s-au \u00eempra\u015ftiat \/ \u00een noaptea-n care \/ trebuia s\u0103-mi \/ cunosc destinul \/ de la \/ etajul trei \/ noaptea neuronilor mei \/ (…) fantoma care-\u0163i \/ agreseaz\u0103 uneori \/ patul \u00eengust \/ c\u00eend nebunia din \/ ochiul t\u0103u st\u00eeng \/ doarme\u201d (\u201ddepresie cinci\u201d)<\/p>\n

La fel ca distinc\u0163ia obligatorie \u00eentre \u201dvis\u201d \u015fi \u201dreverie\u201d \u2013 trasat\u0103 de p\u0103rintele fenomenologiei poetice franceze \u2013, personajul inventat de Vladimir Nabokov \u00een romanul \u201dLolita\u201d era con\u015ftient de existen\u0163a a dou\u0103 feluri de memorie vizual\u0103. \u00cen laboratorul (\u201dcamera cenu\u015fie\u201d a) min\u0163ii, prima recompune abil, cu ochii deschi\u015fi, o imagine fizic\u0103 (culoare, piele, etc), iar alta evoc\u0103 pe \u201decranul interior al pleoapelor\u201d, cu ochii \u00eenchi\u015fi, replica obiectiv\u0103<\/em> <\/strong>(subl. mea \u2013 I.U.) \u015fi perfect vizualizat\u0103 a chipului \u00eendr\u0103git: fantoma minuscul\u0103 \u00een culori naturale. Dominat de \u201dtulbur\u0103ri\u201d estetice instrumentate deliberat \u015fi cu mult\u0103 migal\u0103 \u2013 i-a\u015f spune \u201dhumbert-humbertian\u0103, ca \u00een cazul eroului liric al lui Nabokov \u2013, \u015fi \u201dalter ego-ul beletristic\u201d al lui Vla\u015fin devine irecuperabil posedat de imaginea m\u00edtic\u0103 a Lolitei: maturizat\u0103 precoce \u015fi pueril\u0103 \u00een acela\u015fi timp.<\/p>\n


[Gelu Vla\u015fin, Marin Mincu, Şerban Axinte & Cosmin Perţa]<\/p>\n

\nE chiar \u201dnimfeta\u201d, adesea nenumit\u0103 sau cu mai multe nume generice, cea din cauza c\u0103reia \u201dmintea \/\/ nu mai minte \/\/ nu mai st\u0103 cuminte \/ nu te mai \u0163ine de m\u00een\u0103 \/\/ nu-\u0163i mai s\u0103rut\u0103 \/ umerii goi \/\/ nu te mai alint\u0103 \/ nu te mai desc\u00eent\u0103 \/\/ mintea mea \/ nu te mai cheam\u0103 \/ nu te mai vrea\u201d (\u201dalt\u0103 minte\u201d). Tr\u0103irea intens\u0103 a acestor st\u0103ri marginale declan\u015feaz\u0103 \u015fi \u00een \u201dcazul Vla\u015fin\u201d o memorie confabulatorie<\/em> (\u201edelir de imagina\u0163ie” dup\u0103 Dupr\u00e9 sau \u201edelir de confabulare” dup\u0103 Neisser) ce \u00ee\u015fi etaleaz\u0103 \u2013 \u00een mis-en-scena pasiunii avide \u2013 tulbur\u0103ri de imagina\u0163ie autoprovocat\u0103: \u201dg\u00eendul meu a \/ v\u0103zut harta vie\u0163ii \/ din \/ palm\u0103 c\u00eend \/ rosteai delirul dragostei \/ tale \/ te-am cules \/ r\u0103sp\u00eendindu-te printre \/ muzici alternative \u015fi \/ c\u0103r\u0163ile din bibliotec\u0103 (…) \/ te-am cules dintre \/ iubi\u0163ii mirelei uita\u0163i pe \/ cearceafuri \u015fi \/ din paharele ro\u015fii de \/ plastic te-am cules \u015fi \/ mi-am presat \/ sufletul \u00eentre \/ coper\u0163ile tratatului de \/ psihiatrie (\u201dsindromul cushing\u201d).<\/p>\n

Aici se impun dou\u0103 remarci necesare.<\/p>\n

\n\u00cenchipuindu-\u015fi \u201d\u00een cel mai mici am\u0103nunte nimfeta c\u0103reia \u00eei va da lec\u0163ii \u00een francez\u0103 \u015fi m\u00eeng\u00eeieri \u00een humbertez\u0103\u201d, personajul nabokovian \u00ee\u015fi \u201dva eclipsa, prototipul \u00een totalitate\u201d, spre delectarea necontraf\u0103cut\u0103 a cititorului cunosc\u0103tor. Spre deosebire de acesta, personajul liric invocat de Vla\u015fin nu are niciun motiv de auto\u00eencurajare \u00een plus (\u201dpoate n-ai nimic \/ poate c\u0103 numai a\u015fa inima va bate din nou\u201d,\u201d23:50\u201d), pentru c\u0103 imaginea \u00eenchegat\u0103 \u201d\u00een fa\u0163a unei oglinzi care colabora\u201d, \u00een cazul estetului nabokovian, nu mai r\u0103m\u00eene valabil\u0103 de data aceasta. \u00cen timp ce \u201dg\u00eendul meu primitiv \/ caut\u0103 disperat \/ printre mizeriile cotidiene \/\/ eu \u015ftiu prea bine de ce \/ sufletul prea plin pentru \/ \u00eendeletniciri f\u0103r\u0103 sens \/ s\u0103 te simt \/ aproape c\u00eend \/ tu nu mai e\u015fti (\u201ddepresie zece\u201d): \u201deu \/ \u015ftiu c\u0103 \/ tu e\u015fti \/ un co\u015fmar dintr-un vis \/ de mul\u0163i ani \/ r\u0103t\u0103cit \/ \u00eentr-o groap\u0103 \/ comun\u0103 (\u201ddepresie treisprezece\u201d).<\/p>\n

\n\u00cen plus, Nabokov e interesat de \u201dpreludiul nebuniei\u201d produs de \u201d\u00eenfior\u0103rile amoroase\u201d emanate de la nimfetele din anturaj, \u00een timp ce premiza de la care se configureaz\u0103 construc\u0163ia bio-bibliografic\u0103 \u015fi editorial\u0103 a lui Vla\u015fin atinge \u00een treac\u0103t, \u015fi adesea teatralizat, \u201dtablourile andreei\u201d (\u201dacromegalie\u201d) sau trece \u00een revist\u0103 \u201diubi\u0163ii mirelei\u201d (\u201dsindromul cushing\u201d) \u00eentr-o form\u0103 preponderent exhibi\u0163ionist\u0103, f\u0103r\u0103 a ajunge la esen\u0163a \u201dst\u0103rilor morbide \u015fi a perversiunilor\u201d despre care aten\u0163iona naratorul \u201dLolitei\u201d: \u201dm\u00eeinile tale verzi \u015fi \/ unghiile vopsite \u00een \/ alb \u015fi spa\u0163iile \/ neclare dintre \/ liniile \/ delicate ale \/ spr\u00eencenelor c\u00eend \/ nasul t\u0103u roz \/ preveste\u015fte z\u0103pada \/ (…) sau \/ poate pistruii t\u0103i \/ dezinhiba\u0163i \/ s\u00eemb\u0103t\u0103 diminea\u0163a cu \/ herbie hancock \u015fi \/ glen miller \/ ascun\u015fi \u00een ma\u015fina de \/ tocat amintiri\u201d (\u201dparestezie\u201d).<\/p>\n

\nDar magia actului poetic poate origina o func\u0163ionalitate neb\u0103nuit\u0103, din cele mai nea\u015fteptate surse ale deprim\u0103rii. Anume \u00een intersti\u0163iile intime ale reful\u0103rii poetice de \u201dspecialitate\u201d \u00ee\u015fi exercit\u0103 brusc func\u0163ia compensatorie chipul dominant al unei \u201diubite <\/strong>intangibile\u201d \u015fi foarte speciale: \u201dam \/ dou\u0103 oglinzi care \/ strig\u0103 din \/ baie \/ chipul t\u0103u gri \/ n-o s\u0103 \u015ftii cum \/ te \/ macin\u0103 viermii \/ s\u0103rutului \/ (…) buc\u0103t\u0103ria \/ cu \/ fumuri transpirate \/ printre \/ tablourile andreei (…) \/ n-o s\u0103 mai fac \/ poze voalate cu \/ vie\u0163ile tale \/ triste \u015fi tu \/ n-o s\u0103 \/ mai fii \/ alba-ca-z\u0103pada pentru \/ piticii mei\u201d (\u201dacromegalie\u201d). \u00cembarcarea karmic\u0103 pentru \u201dsta\u0163ia terminus\u201d a senzorialit\u0103\u0163ii ca obiect de stidiu artistic, merge m\u00een\u0103 \u00een m\u00een\u0103 cu <\/strong>gestul suprem de \u201dapoptoz\u0103\u201d poietic\u0103<\/em>. Altfel spus, programul de sinucidere celular\u0103, prin activarea genelor letale sau represia celor antiletale, sau declan\u015farea programului genetic de moarte controlat\u0103, pentru a p\u0103stra homeostazia celular\u0103 a unui organism, inclusiv estetic: \u201dnavaja \/ \u00eemi taie \/ nemiloas\u0103 \/ carnea mea \/\/ str\u0103vezie \/ carnea mea \/\/ putred\u0103 \/ carnea mea \/\/ p\u0103c\u0103toas\u0103 \/ \u015fi din \/ ad\u00eencurile c\u0103rnurilor \/ mele \/ \u00eemi \u0163\u00ee\u015fneste \/\/ \u00eentunericul \/ orbindu-m\u0103 …\u201d (\u201dnavaja\u201d).<\/p>\n

\nSurprins \u00een \u201dmaterialitatea\u201d gravita\u0163ional\u0103 dar voluptoas\u0103 a unei \u201dLolite imateriale\u201d \u2013 ce apare mult mai plauzibil\u0103 datorit\u0103 perversiunii imaginare \u015fi fanteziei apocaliptice de care d\u0103 dovad\u0103 \u201destetul \u00eenn\u0103scut Humbert Humbert\u201d al lui Nabokov \u2013 eroul liric al lui Gelu Vla\u015fin e m\u00eentuit de ini\u0163ierea transliterar\u0103 suprem\u0103, mult mai repede dec\u00eet putea b\u0103nui \u00eensu\u015fi autorul: \u201dmoartea vine \/ ca o scorpie neagr\u0103 \/\/ cu col\u0163ii \u00eenfip\u0163i \u00een creierul meu \/\/ moartea vine p\u00ee\u015f-p\u00ee\u015f cu mutra \/ ei \/ ascu\u0163it\u0103 \/ printre cuvinte \/\/ unde animalul de prad\u0103 \/ \u015fi-a \/ f\u0103cut culcu\u015f din oasele mele \/\/ \u00eempr\u0103\u015ftiate alalt\u0103ieri \/ pe asfaltul \/ din fa\u0163a poemului turn \/ \u015fi ziua \/ mea am daruit-o la cin\u0103 \/ printre \/ ram\u0103\u015fi\u0163ele c\u0103rnii \/ \u00eencol\u0103cite \/ \u00een jurul trupului meu ame\u0163it \/ ca un \/ g\u00eend virgin ie\u015fit la v\u00een\u0103toare (\u201dbandung\u201d).<\/p>\n

\nCea care \u00eel caut\u0103 \u201d\u015fi azi prin \/ gunoaie \/ canale \u015fi prin guri de metrou\u201d (\u201ddepresie treisprezece\u201d) se alege cu un soi de apologie neinten\u0163ional\u0103 la origini, dar cu at\u00eet mai valoroas\u0103 pentru un \u201dManifest Optimist\u201d care \u0163ine locul de veci \u00een \u201dportretul\u201d familiar (\u015fi deci familial) al Mor\u0163ii: \u201dm\u0103 b\u00eentui mereu \/ c\u00eet un stol de \/ vampiri \/ ai tupeu \u015fi \/ ventuze \u00een loc de urechi \/ un nas verde cu solzi \/ \u015fi o coas\u0103 pe um\u0103r cu \/ din\u0163ii g\u0103lbui\u201d (\u201ddepresie treisprezece\u201d).<\/p>\n

\nDe aici \u00eencolo orice trop artistic cu func\u0163ie taxonomic\u0103 \u00ee\u015fi pierde valoarea estetic\u0103 \u00een fa\u0163a poten\u0163ialit\u0103\u0163ilor autarhice ale nefiin\u0163ei: \u201da fost ieri ziua \u00een care puteam s\u0103 \/ fiu moartea ta \/ a fost ieri \/ ziua \/ \u00een care ne puteam dezbr\u0103ca de \/ noi \u00een\u015fine \/ a fost ieri ziua \u00een care \/\/ te tot \u00eentrebam \/ cu cearc\u0103ne \u00een \/ g\u00eend \/ a fost ieri (…) seara \u00een care \/ puteam s\u0103 \/ fiu trupul t\u0103u \/ a fost ieri noaptea \/\/ \u00een care \/ a\u015f fi putut \/ a fost ieri \/\/ \u00een \u00eenceputuri \/ o zi oarecare \/ a fost ieri \u00een pa\u015fii t\u0103i \/ o lini\u015fte \/ a fost \/ noaptea \u00een care \/ puteam s\u0103 \/ fiu mortul t\u0103u \/ moartea mea\u201d (\u201dsuryana\u201d).<\/p>\n","protected":false},"excerpt":{"rendered":"

[Gelu Vla\u015fin – Tratat la psihiatrie, Editura Vinea, Bucure\u015fti, 1999, Editura Liternet, 2006; Atac de panic\u0103, Editura Noesis, Bucure\u015fti, 2000, Editura Muzeul Literaturii Rom\u00e2ne, Bucure\u015fti, 2002; Poemul turn, Colec\u0163ia “Biblioteca Bucure\u015fti” – Editura Muzeul Literaturii Rom\u00e2ne, 2001, Editura Liternet, 2003; Ultima suflare, Editura Azero, 2005] de Igor Ursenco 1. Un traseu ini\u0163iatic cu matrice hidro-stilistic\u0103 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"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":""},"categories":[585,125],"tags":[1149,609,359,1129],"class_list":["post-5069","post","type-post","status-publish","format-standard","hentry","category-egophobia-27","category-invitat","tag-egophobia-27","tag-gelu-vlasin","tag-igor-ursenco","tag-invitat"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-1jL","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=5069"}],"version-history":[{"count":9,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5069\/revisions"}],"predecessor-version":[{"id":9547,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/5069\/revisions\/9547"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}