{"id":8461,"date":"2012-05-16T21:05:41","date_gmt":"2012-05-16T19:05:41","guid":{"rendered":"http:\/\/egophobia.ro\/?p=8461"},"modified":"2012-05-17T14:52:58","modified_gmt":"2012-05-17T12:52:58","slug":"un-masacru-senzual-pentru-jucariile-emotionale","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=8461","title":{"rendered":"un masacru senzual pentru juc\u0103riile emo\u0163ionale"},"content":{"rendered":"

[val chimic, umilirea animalelor<\/em>, <\/strong>ed. Casa de pariuri literare, 2010]
\n <\/p>\n

(ca prin oglind\u0103)<\/font><\/p>\n

de Marius-Iulian Stancu<\/p>\n

 <\/p>\n

\nUmilirea animalelor<\/em> are loc pe parcursul a dou\u0103 capitole ample: zilele cu femeia chimic\u0103<\/em>, urmat de capitolul care d\u0103 \u015fi titlul volumului.
\n <\/p>\n

1.\u00a0\u00a0 un proces de tranzi\u0163ie<\/strong><\/p>\n

 <\/p>\n

Avem sentiment de inadecvare \u2013 geografic (\u201emuntele e prea aproape de mare,\/ c\u00e2mpia e prea \u00eentins\u0103\u201d), peste cel interpersonal. Avem \u201caici\u201d (\u201cnu m\u0103 simt bine aici\u201d) VS muta\u0163ia paradis, ca o permanent\u0103 amintire din viitor (\u201cdac\u0103 s-ar deteriora peisajul, dac\u0103 s-ar face at\u00e2t de frumos, c\u0103 numai o reac\u0163ie chimic\u0103 extrem\u0103 i-ar putea fi cauza, de-abia atunci o s\u0103 fiu fericit s\u0103 fac parte din el\u201d). \u201cDincolo\u201d nu se afl\u0103 \u00eens\u0103 dec\u00e2t moartea, o moarte care are mai mult de-a face cu desc\u0103rcarea unei baterii, dec\u00e2t cu ceva traumatic (\u201cfa\u0163a e str\u0103b\u0103tut\u0103 de benzi colorate,\/ iar lumina din baie, n\u0103ucitor de alb\u0103.\/ acolo a\u015f vrea s\u0103 pic lat\u201d \u2013 sindicatul electronic<\/em>), o moarte \u2013 punct terminus al dorin\u0163ei libidinale (\u201cm\u0103 g\u00e2ndesc cu voluptate la dezagregare \u015fi apoi la absorb\u0163ie\u201d \u2013 confesional<\/em>; \u201c\u00eenving\u0103torul cu capul t\u0103iat c\u0103ruia\/ mediul nu-i solicit\u0103 nimic\u201d – noctarium<\/em>). Avem versuri \u00een care se \u00eencearc\u0103 redarea la nivel stilistic a fragment\u0103rii, ca proiec\u0163ie a sinelui transformat \u00eentr-o ma\u015fin\u0103rie de recep\u0163ie, \u201cun caleidoscop echipat cu con\u015ftiin\u0163\u0103\u201d (Walter Benjamin) \u00een permanent\u0103 produc\u0163ie, gener\u00e2nd paralele poetice \u00eentre sine \u015fi ma\u015fina cinematografic\u0103, ca tot at\u00e2tea evad\u0103ri utopice (\u201cpentru c\u0103 am intrat \u00een produc\u0163ie, nu pot fi l\u0103sat \u00een pace\/\/ \u00eemi las m\u00e2inile peste geam, \u00eentr-o fantezie cretin\u0103\/ c\u0103 sunt pe un vapor, iar rochia \u00eemi flutur\u0103\/ [rochia e un episod ur\u00e2t, continental,\/ care te trage din nou \u015fi din nou \u00eenapoi]\u201d \u2013 m \/ f<\/em>). Avem un corp pe care \u00eel sim\u0163im din ce \u00een ce mai str\u0103in, ale c\u0103rui mecanisme le \u00een\u0163elegem tot mai pu\u0163in, \u00een aer plutind pericolul organelor\/ motora\u015felor anarhiste ce risc\u0103 s\u0103 ac\u0163ioneze independent de corp, f\u0103r\u0103 s\u0103 se mai raporteze la centrul \u201cde comand\u0103\u201d (\u201cpe pat e acela\u015fi corp poate c\u0103 \u00eemi apar\u0163ine\/ \u00eel iubesc, asta m\u0103 convinge c\u0103 nu e al meu.\u201d \u2013 originea<\/em>; \u201cma\u015fin\u0103ria\/ pe care ai \u00eenv\u0103\u0163at-o func\u0163ioneaz\u0103 f\u0103r\u0103 tine\u201d – mama<\/em>), iar asta \u00ee\u0163i las\u0103 senza\u0163ia de obiect printre obiecte, de subiect ca reziduu aflat la periferia ma\u015finii (\u201cnu exist\u0103 nici un centru,\/ doar juxtapuneri ale resturilor tale, gr\u0103mezi de gunoi la periferii\u201d \u2013 tot ce ating prinde suflu<\/em>), doar c\u0103 ma\u015fina estetic\u0103 este \u00eenc\u0103 b\u00e2ntuit\u0103 de ceea ce R. L. Rutsky numea \u2013 fantoma esteticii kantiene, de \u201cspiritul utopiei\u201d (\u201ctotu\u015fi, exist\u0103 obiecte ne\u00eenfr\u00e2nate, dedate pl\u0103cerii \u015fi f\u0103r\u0103delegii,\/ care trezesc \u00een tine speran\u0163a de via\u0163\u0103\u201d \u2013 tot ce ating prinde suflu<\/em>). \u00cen a\u015fteptarea transform\u0103rii fizice des\u0103v\u00e2r\u015fite (spin<\/em>), \u201cun tablou de familie al frumoasei ma\u015fin\u0103rii\u201d, o transformare prefigurat\u0103 ca violent\u0103 (\u201cviolen\u0163a la care r\u00e2vnesc este luminiscent\u0103, mut\u0103 \u015fi alb\u0103\u201d \u2013 l\u0103cuit integral<\/em>), \u00ee\u0163i imaginezi \u00een metrou cum ar putea s\u0103 arate asta (peisajul dilatat ca un airbag, o vedere cu podul brooklyn \u2013 noctarium<\/em>), \u201cnevoia de a \u015fti c\u0103 \u00een \u00eentuneric\/ ar trebui s\u0103 porneasc\u0103 un motor\/ \u015fi niciodat\u0103 o inim\u0103\u201d (noctarium<\/em>). La cap\u0103tul liniei se afl\u0103 \u201cun corp \u00eentr-o cutie\u201d (tai leg\u0103turile<\/em>), un obiect care \u00ee\u015fi dore\u015fte alte obiecte (\u201cpoate dac\u0103 o s\u0103 muncesc foarte mult,\/ o s\u0103-mi permit multe obiecte metalice, orbitoare\/ dar am obosit\u201d \u2013 tai leg\u0103turile<\/em>). Androizi tineri care s\u0103 reflecte idealul acelei umanit\u0103\u0163i \u201ccare va tr\u0103i toat\u0103 via\u0163a \u00eentr-o goan\u0103 din ce \u00een ce mai disperat\u0103 dup\u0103 fun<\/em> \u015fi sex; o genera\u0163ie de kids<\/em> incurabili\u201d (Michel Houellebecq, Posibilitatea unei insule<\/em>), \u201ccopilul-mami \u015fi copilul-tati\u201d (MIT<\/em>), <\/em>vor cunoa\u015fte dar nimic nu-i va mai atinge (\u201ccu juc\u0103ria grefat\u0103 la inim\u0103…\/\/ oamenii nu au murit \u00eentre pere\u0163ii scunzi\/ – doar au intrat \u00een amor\u0163ire\u201d \u2013 au promis c\u0103 ne fac animalele cele mai frumoase<\/em>). Aici \u00eel putem \u00eent\u00e2lni pe \u201comul de celofan\/ cu burta \u00eencre\u0163it\u0103\u201d, pe copiii c\u0103rora \u201cle supureaz\u0103\/ ochii bionici\u201d (ar trebui s\u0103 m\u0103 bucur c\u00e2t timp mai sunt \u00een via\u0163\u0103<\/em>); tot aici pe \u201coamenii de cancer\u201d (MIT<\/em>) \u015fi pe cel cu \u201curechi de Mickey Mouse & Pac-Man fugarul\u201d (desene animate<\/em>). De aici \u00eencepem s\u0103 pierdem pu\u0163in c\u00e2te pu\u0163in firul (\u201cam ie\u015fit din memorie\/ ca din cea mai perfid\u0103\/ boal\u0103 a tinere\u0163ii\u201d \u2013 scanare complet\u0103<\/em>), contextul este din ce \u00een ce mai vag conturat, are din ce \u00een ce mai pu\u0163in\u0103 leg\u0103tur\u0103 cu ceea ce credeam c\u0103 se \u015ftie, imaginarul peisaj post-apocaliptic se materializeaz\u0103 treptat sub ochii no\u015ftri, cu fiecare liter\u0103, de parc\u0103 ar fi o crea\u0163ie a studiourilor Warner Bros.<\/p>\n

 <\/p>\n

\u201ccum stau pe marginea drumului,<\/p>\n

e foarte posibil s\u0103 nu rezist,<\/p>\n

ci s\u0103 intru \u00een panic\u0103<\/p>\n

 <\/p>\n

am terminat-o \u015fi de data asta prost,<\/p>\n

aproape inuman, contacte stricate,<\/p>\n

blocaje. o hodorogeal\u0103 a inimii.<\/p>\n

 <\/p>\n

din resturi<\/p>\n

nici o transfigurare:<\/p>\n

g\u0103sesc o gazda folosit\u0103 \u00eendelung \u00een care<\/p>\n

mi-e \u015fi sil\u0103 s\u0103 intru.\u201d (pauz\u0103 de lucru<\/em>)<\/p>\n

 <\/p>\n

Un eros metalic (\u201cnici g\u00e2t nici membre nimic\/ o inim\u0103 artificial\u0103\/ m\u0103 va iubi la nesf\u00e2r\u015fit\u201d \u2013 copiez Z HCL<\/em>), o stare de asediu continu\u0103, un terorism aproape firesc prin interiorizare, un masacru senzual pentru juc\u0103riile emo\u0163ionale.<\/p>\n

 <\/p>\n

2.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 rapoarte <\/strong>& <\/strong>sarcini<\/strong><\/p>\n

 <\/p>\n

Dac\u0103 \u00een primul capitol suntem para\u015futa\u0163i aproape direct, f\u0103r\u0103 prea multe preliminarii, \u00een peisajul post-apocaliptic, \u00een genul benzilor desenate, \u00eentr-un scenariu de tipul Predator 3<\/em>, <\/em>\u00een capitolul doi pare c\u0103 asist\u0103m la o \u00eencercare de identificare a originilor \u201cst\u0103rii finale\u201d.<\/p>\n

 <\/p>\n

Relat\u0103rile sunt redactate \u00een genul raport <\/em>de birou, ac\u0163iunile sunt tot at\u00e2tea sarcini<\/em> de lucru (majoritatea poeziilor din capitolul doi sunt intitulate chiar a\u015fa \u2013 Sarcini<\/em>: <\/em>tensiunea, desp\u0103r\u0163irea, copil\u0103ria, femeia \u00een cas\u0103, onoarea, copilul, distrac\u0163ia), efectele sunt de multe ori comice, la grani\u0163a cu absurdul. De exemplu – Sarcini (persoana I)<\/em>:<\/p>\n

 <\/p>\n

\u201cnu exist\u0103 cuv\u00e2ntul \u201c\u00eeng\u0103lve\u015fti\u201d<\/p>\n

tu nu auzi ce zic?<\/p>\n

am clipit o dat\u0103<\/p>\n

 <\/p>\n

\u00ee\u015fi preseaz\u0103 gura de ceafa mea<\/p>\n

iar piciorul \u015fi-l v\u00e2r\u0103 \u00eentre picioarele mele<\/p>\n

apoi vine rapid \u00een fa\u0163\u0103 \u015fi-mi dezvele\u015fte gingia<\/p>\n

m\u0103 \u00eempunge cu degetul \u00een coaste<\/p>\n

\u201cnu te \u00eengr\u0103\u015fa c\u0103 te tai\u201d<\/p>\n

 <\/p>\n

\u00eenchisesem ferestrele, c\u0103 altfel ne m\u00e2ncau \u0163\u00e2n\u0163arii<\/p>\n

robotisem toat\u0103 ziua pe balcon<\/p>\n

fusese \u015fi-a\u015fa destul de aiurea<\/p>\n

cu mutatul sticlelor \u00een pivni\u0163\u0103<\/p>\n

acum tot eu s\u0103 ofer ac\u0163iune<\/p>\n

 <\/p>\n

\u00een orice caz, c\u0103lare pe telefon,<\/p>\n

asigur\u0103ri:<\/p>\n

sunt cu X<\/p>\n

beau un ceai<\/p>\n

ies la 16 ba la 16 \u015fi 15<\/p>\n

ca \u015fi acum cinci minute, sunt cu X (hm?)<\/p>\n

:vezi doamne, pentru<\/p>\n

seduc\u0163ia zilnic\u0103<\/p>\n

 <\/p>\n

se tot uit\u0103 la mine ca dintr-o bort\u0103 a cerului<\/p>\n

cum umplu paharul cu ap\u0103.\u201d<\/p>\n

 <\/p>\n

Se trece prin capitalism, sunt scanate deprinderi specifice angaja\u0163ilor de tip corporate, cu manualele \u015fi tehnicile lor de comunicare; medii artificiale, propice pentru dezvoltarea ma\u015fin\u0103riei umane, preg\u0103tit\u0103 \u00een sf\u00e2r\u015fit s\u0103 fac\u0103 saltul de la o societate industrial\u0103, la cultura tehno (\u201ca\u015fa c\u0103 ocole\u015fte casa, prin balconul blocului-turn,\/ \u015fi-a\u015fteapt\u0103 \u00een curent, am\u00e2n\u00e2nd rutina nesf\u00e2r\u015fit\u0103,\/ o for\u0163\u0103 a naturii care s-o rup\u0103 \u00een buc\u0103\u0163i\u201d \u2013 Sarcini [<\/em>desp\u0103r\u0163irea<\/em>]<\/em>). Pe l\u00e2ng\u0103 toate astea: preg\u0103tiri pentru, \u015fi party<\/em> terapie, mai mult depresiv (\u201cera din nou trista vineri\/ iar ie\u015firea s-a impus de la sine\/ cu tot cu flec\u0103real\u0103 \u015fi jelanii\u201d \u2013 Sarcini [<\/em>onoarea<\/em>]<\/em>); ie\u015firi din ora\u015f, simul\u00e2nd fericirea, prolegomene la un co\u015fmar dinspre viitor (\u201cpentru toate lucrurile ne\u00eencheiate\/ st\u0103 acum, cu o m\u00e2n\u0103 c\u0103zut\u0103, cealalt\u0103 \u00eendoit\u0103 la spate,\/ dup\u0103 ce \u015fi-a ridicat \u0163\u00e2\u0163ele din \u0163\u0103r\u00e2n\u0103\/ goal\u0103 pu\u015fc\u0103, \u00een spata dintre vale \u015fi soare,\/ \u015fi r\u00e2de \u015fi strig\u0103 \u201cuite, sunt o ruin\u0103\u201d\u201d \u2013 O ruin\u0103<\/em>).<\/p>\n

 <\/p>\n

Umilirea animalelor<\/em>, de val chimic (aka Valentina Chiri\u0163\u0103), apare ca <\/em>un volum construit pe ruinele excesului hiper-modern, f\u0103r\u0103 metafizic\u0103\/ centru, \u00een temporalitatea marginal\u0103 a unui viitor indefinit, al culturii tehnologice alienante, care \u0163i-a intrat pe sub piele, un mix de tehno-alegorism \u015fi underground, condimentat cu nostalgii pop, aduc\u00e2ndu-ne aminte (\u00een special \u00een prima parte) de ma\u015finile dezirante din Anti-Oedip<\/em> (Gilles Deleuze, Felix Guattari): \u201eSe func\u0163ioneaz\u0103 pretutindeni, c\u00e2nd ne\u00eentrerupt, c\u00e2nd discontinuu…Peste tot e vorba de ma\u015fini, \u015fi \u00eenc\u0103 \u00eentr-un mod c\u00e2tu\u015fi de pu\u0163in metaforic: ma\u015fini de ma\u015fini, cu asambl\u0103rile \u015fi conexiunile lor. O ma\u015fin\u0103-organ este bran\u015fat\u0103 la o ma\u015fin\u0103-surs\u0103: una emite un flux pe care cealalt\u0103 \u00eel \u00eentrerupe…\u201d \u015fi \u201cNu exist\u0103 dec\u00e2t dorin\u0163\u0103 \u015fi social, nimic altceva.\u201d Acesta este \u00eenc\u0103 un teritoriu, pe c\u00e2t de actual pentru contemporaneitatea cu fantezii \u201cpost-\u201d (apocaliptic, industrial etc.), pe at\u00e2t de pu\u0163in explorat cu succes \u00een literatura rom\u00e2n\u0103. Din acest punct de vedere, val chimic \u00ee\u015fi redacteaz\u0103 teza de licen\u0163\u0103 poetic\u0103 aleg\u00e2nd o tem\u0103 \u00een care, \u00een multe aspecte ale ei, face lucrare de pionierat, oferindu-ne unul dintre cele mai bune volume de debut al genera\u0163iei post-dou\u0103miiste.<\/p>\n","protected":false},"excerpt":{"rendered":"

[val chimic, umilirea animalelor, ed. Casa de pariuri literare, 2010]   (ca prin oglind\u0103) de Marius-Iulian Stancu   Umilirea animalelor are loc pe parcursul a dou\u0103 capitole ample: zilele cu femeia chimic\u0103, urmat de capitolul care d\u0103 \u015fi titlul volumului.<\/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":[48,8,817],"tags":[30,1113,1157,60,874],"class_list":["post-8461","post","type-post","status-publish","format-standard","hentry","category-ca-prin-oglind","category-critica","category-egophobia-34","tag-ca-prin-oglinda","tag-critica","tag-egophobia-34","tag-marius-iulian-stancu","tag-val-chimic"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2ct","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8461","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=8461"}],"version-history":[{"count":3,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8461\/revisions"}],"predecessor-version":[{"id":8475,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/8461\/revisions\/8475"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8461"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8461"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8461"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}