{"id":9747,"date":"2013-06-25T18:00:19","date_gmt":"2013-06-25T16:00:19","guid":{"rendered":"http:\/\/egophobia.ro\/?p=9747"},"modified":"2013-08-08T19:36:19","modified_gmt":"2013-08-08T17:36:19","slug":"gandacii-nu-pot-sa-vomite","status":"publish","type":"post","link":"https:\/\/egophobia.ro\/?p=9747","title":{"rendered":"G\u00e2ndacii nu pot s\u0103 vomite"},"content":{"rendered":"

Ion Buzu, 3ml de Konfidor<\/i>, Colec\u021bia Opera Prima, Seria Poezie, Casa de pariuri literare, Bucure\u0219ti, 2013<\/b><\/p>\n

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de Petri\u015for Militaru<\/p>\n

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Dup\u0103 fra\u0163ii Vakulovski \u015fi Anatol Grosu, iat\u0103 c\u0103 un nou nume de dincolo de Prut vine s\u0103 re\u00eemprosp\u0103teze aerul destul de previzibil al literaturii rom\u00e2ne tinere. Storyline-ul din volumul de versuri al lui Ion Buzu \u00eencepe cu o secven\u0163\u0103 de savoare a blocajului (prima din poemul Holiday session<\/i>), un fel de prolog la lumea greu digerabil\u0103 care va marca corpul ideatic al \u00eentregii c\u0103r\u0163i de poeme. Fascina\u0163ia realit\u0103\u0163ii virtuale \u00eenmagazinat\u0103 de prezen\u0163a ubicu\u0103 a playstation-ului (\u201eM\u0103 jucam \u00een Legend <\/i>numai duminica, de Cr\u0103ciun, Pa\u0219ti,\/ sau orice zi \u00een care puteam sta 6 ore f\u0103r\u0103 \u00eentrerupere\/ ap\u0103s\u00eend butoanele joystick-ului.\u201d, Holiday session<\/i>) alterneaz\u0103 cu hiperrealismul (\u201eEram undeva la vie, venisem cu bicicleta \u0219i\/ era vreo opt seara c\u00eend \u00eencepu s\u0103 apar\u0103\/ nouri serio\u0219i, nouri nervo\u0219i,\/ nouri ce ar\u0103tau ca ni\u0219te \u0219efi,\/ cu frizur\u0103 scurt\u0103, cefe groase \u0219i ochelari de soare.\u201d, Zeii, g\u0103oaza<\/i>), transfer\u00e2nd for\u0163\u0103 \u015fi autenticitate discursului poetic aparent frust \u015fi descriptiv, dar foarte atent prelucrat \u00een fond.<\/p>\n

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Fiecare din scenariile poetice au pe fundal un eveniment cotidian, ce a l\u0103sat o amprent\u0103 puternic\u0103 asupra eului, cum se \u00eent\u00e2mpl\u0103 \u00een episodul \u00een care, \u00eentr-un mod apocaliptic, g\u00e2ndacii invadeaz\u0103 teritoriul cartofilor: \u201eCartofii au fost invada\u021bi de g\u00eendacii de Colorado \u0219i\/ trebuia s\u0103-i stropesc cu un fel de otrav\u0103, Konfidor,\/ ma\u0219ina de stropit era cr\u0103pat\u0103,\/ \u00eemi curgea amestecul pe spate\/ \u0219i brusc m-a p\u0103lit g\u00eendul\/ c\u0103 \u00een cur\u00eend o s\u0103 mi se fac\u0103 r\u0103u.\u201d (\u00cen cur\u00eend o s\u0103 mi se fac\u0103 r\u0103u \u0219i o s\u0103 vomit<\/i>). Un vizionarism ludic ia \u00een primire urm\u0103toarea secven\u0163\u0103 liric\u0103: \u201eDup\u0103 asta am urcat \u00eentr-un microbuz ce mergea spre Chi\u0219in\u0103u\/ \u0219i o femeie a spus \u0219oferului s\u0103 opreasc\u0103,\/ \u0219i-a luat copilul de m\u00een\u0103\/ \u0219i acesta a vomitat \u00een microbuz,\/ apoi a mai vomitat \u0219i afar\u0103.\u201d Dac\u0103 ini\u0163ial otrava Konfidorului ap\u0103rea ca fiind unica solu\u0163ie a situa\u0163iei de criz\u0103, aici voma<\/i> apare ca singura salvare real\u0103. Psihanalitic vorbind, voma<\/i> \u015fi (in)digestia<\/i> (a se vedea \u00een special poemul Cei slabi s\u0103 pocneasc\u0103<\/i>) sunt cele dou\u0103 procese vitale care definesc universul liric\u00a0 al \u00eentregului volum de versuri. Spre finalul poemului perspectiva se inverseaz\u0103 \u015fi realitatea este privit\u0103 prin prisma copilului: \u201eC\u00eend a intrat \u00eenapoi,\/ copilul s-a uitat \u021bint\u0103 la mine,\/ nu pl\u00eengea, nu avea fa\u021ba \u00eencre\u021bit\u0103 de durere sau grea\u021b\u0103,\/ avea o fa\u021b\u0103 foarte serioas\u0103,\/ fa\u021ba cuiva care \u0219tia ce are de f\u0103cut,\/ \u0219i a f\u0103cut-o,\/ f\u0103r\u0103 \u00eempotrivire,\/ o fa\u021b\u0103 care-mi spunea: tu e\u0219ti urm\u0103torul!\u201d \u00centr-o pornire flaubertian\u0103 eul poetic ar putea m\u0103rturisi discret: \u201eCopilul sunt (tot) eu!\u201d<\/p>\n

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Impresia general\u0103 este c\u0103 avem \u00een fa\u0163\u0103 poeme ale cruzimii<\/i>, uneori artaudiene, dar de cele mai multe ori buzuiene. Exist\u0103 o fatalitate asumat\u0103 ce fierbe sub coaja umorului liric ca atunci c\u00e2nd eul se identific\u0103 cu un cartof \u015fi realitatea devine sufocant\u0103: \u201eEu accept treaba murdar\u0103,\/ \u00een sac mi se pare ok ;\/ \u00een sac te afli ca un mail \u00een spam,\/ \u00een sac e\u0219ti \u00een love quarantine,\/ \u00een sac treci foarte u\u0219or dincolo de starea rigor mortis,\/ \u00een sac \u00ee\u021bi vezi trupul \u00eent\u0103rit \u0219i \u00eenmuiat \u00eenapoi,\/ sacul e legat bine la gur\u0103,\/ e umflat de la gazele eliminate \u00een procesul descompunerii,\/ \u00een sac nu mai respiri, nu te mai dor mu\u0219chii, \u00ee\u021bi pui bra\u021bul sub cap \u0219i te\/ odihne\u0219ti,\/ \u00een sac po\u021bi face un cenaclu al t\u0103u,\/ \u00een sac e\u0219ti \u021binut \u00een bra\u021be,\/ acesta se tot rostogole\u0219te p\u00een\u0103 se opre\u0219te \u00eentr-un ciot,\/ \u00een sac auzi c\u00eeinii l\u0103tr\u00eend,\/ \u00eei auzi tot mai aproape.\u201d (Mail \u00een spam \u2013 o treab\u0103 murdar\u0103<\/i>). Prin prisma acestei metafizici a cartofului realitatea este cheap<\/i> (vezi poemul Sacii peste mine ca ni\u0219te animale moarte<\/i>), iar Neo nu pare s\u0103 \u00ee\u015fi fac\u0103 iluzii referitoare la o posibil\u0103 ie\u015fire din Matrix<\/i>. Din contr\u0103, el se autotransfigureaz\u0103 \u00een ipostaza copilului ascult\u0103tor: \u201eVoi transpira cel mai mult.\/ Prefer s\u0103 fiu cineva t\u0103cut,\/ care merge, se apleac\u0103, rupe, desface, arunc\u0103, \u00eenchide ochii, \u00eei deschide \u2013\/ m-am n\u0103scut cu \u021beava pistolului lipit\u0103 de ceaf\u0103.\u201d (Copilul obedient<\/i>). \u00centr-adev\u0103r exist\u0103 o con\u015ftiin\u0163\u0103 de sine puternic\u0103 ce se ascunde \u00een spatele acestor evoc\u0103ri venite, de cele mai multe ori, din experien\u0163e tr\u0103ite prea devreme, care au drept consecin\u0163\u0103 o maturizare for\u0163at\u0103, involuntar\u0103, dur\u0103.<\/p>\n

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\u00cen poemul 3ml de Konfidor<\/i> asist\u0103m la refacerea cuplului primordial \u00een varianta Buzu: \u201eAndru\u0219a \u0219i cu mine stropim cartofii.[\u2026] Mie \u0219i lui Andru\u0219a ne curge otrava pe spate,\/ nenorocitele de ma\u0219ini de stropit s\u00eent cr\u0103pate.\u201d Armonia cuplului pare s\u0103 anihileze cumva otrava<\/i> acestei lumi, iar eul creator \u00een loc s\u0103 se identifice cu Demiurgul ce produce otrava la suprapre\u0163, vrea s\u0103 cread\u0103 c\u0103 g\u00e2ndacii suntem noi<\/i>. Condi\u0163ia kafkian\u0103 a fiin\u0163ei umane este surprins\u0103 \u00een toat\u0103 micimea ei. Compara\u0163ia lui Ion Buzu se refer\u0103, \u00een fond, la incapacitatea fiin\u0163ei umane de a exterioriza grea\u0163a existen\u0163ial\u0103, detaliu ce nu \u0163ine de structura anatomic\u0103 a corpului uman, ci de un blocaj profund psihologic: \u201e\u00een cur\u00eend g\u00eendacii vor c\u0103dea, unul c\u00eete unul,\/ doar trei ore \u0219i g\u00eendacilor li se va face r\u0103u \u0219i vor muri;\/ ei nu pot vomita c\u00eend li se face r\u0103u.\u201d C\u00e2mpul de cartofi \u015fi de g\u00e2ndaci contrasteaz\u0103 superb cu perfec\u0163iunea cartofilor de la McDonalds unde ne-am putea imagina c\u0103 vor ajunge. \u015ei dac\u0103 \u0163inem neap\u0103rat s\u0103 nu uit\u0103m c\u0103 ne afl\u0103m \u00een poezie vom spune c\u0103 la nivelul viziunii artistice suntem martorii unui ermetism dec\u0103zut, \u00een care ceea ce este jos este \u015fi sus<\/i>: \u201eAuzi Andru\u0219a, nu \u021bi-a trecut prin cap\/ c\u0103 acolo sus cineva \u00eencearc\u0103 s\u0103 ne extermine la fel cum noi facem cu ace\u0219ti\/ g\u00eendaci,\/ s\u0103 ne stropeasc\u0103 \u0219i el cu un fel de otrav\u0103,\/ nu chiar Konfidor,\/ dar ceva cu efect \u00eendelungat,\/ s\u0103 ni se fac\u0103 r\u0103u de tot, dar s\u0103 nu murim \u00eendat\u0103,\/ \u0219i la r\u00eendul lui s\u0103-i fie cr\u0103pat\u0103 ma\u0219ina sa de stropit,\/ s\u0103-i curg\u0103 \u0219i lui otrava pe spate.\u201d (3ml de Konfidor<\/i>). Este o analogie a c\u0103rei direc\u0163ie este inversat\u0103, dar ea corespunde st\u0103rii actuale, a ceea ce \u00een filosofia indian\u0103 se nume\u015fte Kali Yuga. Sentimentul care domin\u0103 aceast\u0103 v\u00e2rst\u0103 mitic\u0103 este acela de efort permanent, \u00eens\u0103 f\u0103r\u0103 o motiva\u0163ie anume (\u00cen mine cre\u0219te ceva str\u0103in<\/i>), dublat de senza\u0163ia c\u0103 voma<\/i> este unica form\u0103 de respingere a ap\u0103s\u0103rii ce marcheaz\u0103 suprapunerea lumii interioare peste cea exterioar\u0103: \u201eStau culcat \u00een pat \u0219i \u00eemi vine s\u0103 vomit,\/ \u00een jum\u0103tate de or\u0103 trebuie s\u0103 fiu la serviciu, \u00eencerc s\u0103 m\u0103 ridic,\/ la \u0219coala de vizavi\/ copiii strig\u0103 \u00een cor,\/ a\u0219teapt\u0103 s\u0103-mi amor\u021beasc\u0103 limba \u0219i\/ c\u00eent\u0103, se h\u00eerjonesc printre copaci,\/ probabil au descoperit un joc nou, sunt bucuro\u0219i c\u0103 au ajuns s\u0103-mi controleze voma,\/ tot \u00eencearc\u0103 asta de c\u00eeteva s\u0103pt\u0103m\u00eeni,\/ m\u0103 \u00eentind dup\u0103 telefon s\u0103-mi anun\u021b absen\u021ba la birou,\/ stomacul se \u00eencordeaz\u0103,\/ gura mi se umple,\/ copiii \u021bip\u0103 : hai, ie\u0219i! ie\u0219i! ie\u0219i!\u201d (Mi<\/i>–<\/i>am petrecut diminea\u021ba cur\u0103\u021bindu<\/i>–<\/i>mi geaca de vom\u0103<\/i>). Umorul de situa\u0163ie \u015fi atitudinea ludic\u0103 a eului poetic detensioneaz\u0103 \u00eenc\u0103rc\u0103tura emo\u0163ional\u0103 care \u00eenso\u0163e\u015fte momentele de criz\u0103 descrise \u00een poeme, iar efectul este \u00eentotdeauna comico-tragic, exact ca \u00een poemul Sperietoarea<\/i>: \u201eAveam 10 ani \u0219i m-au pus s\u0103 me\u0219teresc o sperietoare\/ pentru cire\u0219ul din curte.\/ Am luat o c\u0103ma\u0219\u0103 de-a mea\/ \u0219i am f\u0103cut sperietoarea aia la repezeal\u0103.\/ \u00cen 2 zile, graurii au ras tot copacul de cire\u0219e,\/ nu au cru\u021bat nici m\u0103car frunzele,\/ era o priveli\u0219te trist\u0103 \u2013 copacul ferfeni\u021b\u0103, numai bun de dobor\u00eet la p\u0103m\u00eent.\u201d Poate c\u0103 poemele candide \u015fi pu\u0163in optimiste ale lui Ion Buzu vor putea fi studiate \u00een manualele din viitor la capitolul despre copil\u0103rie al\u0103turi de textele celebrului humul\u015ftean. Cel pu\u0163in la nivel stilistic ambii transmit ceva esen\u0163ial din farmecul acestei v\u00e2rste. Dincolo de aceast\u0103 observa\u0163ie, am putea spune c\u0103 Ion Buzu \u015fi-a imaginat cum ar fi scris Kafka versuri cu umor, vizit\u00e2nd realitatea postmodern\u0103 a unui operator de sondaje, copywriter, software tester, web manager, culeg\u0103tor de cartofi etc. de origine basarabean\u0103. Sau cum am spune \u00een limbajul noii critici franceze: Buzu rules!<\/i><\/p>\n

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Ion Buzu, 3ml de Konfidor, Colec\u021bia Opera Prima, Seria Poezie, Casa de pariuri literare, Bucure\u0219ti, 2013 de Petri\u015for Militaru Dup\u0103 fra\u0163ii Vakulovski \u015fi Anatol Grosu, iat\u0103 c\u0103 un nou nume de dincolo de Prut vine s\u0103 re\u00eemprosp\u0103teze aerul destul de previzibil al literaturii rom\u00e2ne tinere. Storyline-ul din volumul de versuri al lui Ion Buzu \u00eencepe […]<\/p>\n","protected":false},"author":5,"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":[46,986,125],"tags":[1164,1129,360,293],"class_list":["post-9747","post","type-post","status-publish","format-standard","hentry","category-sectiuni","category-egophobia-38","category-invitat","tag-egophobia-38","tag-invitat","tag-ion-buzu","tag-petrisor-militaru"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p6DakB-2xd","_links":{"self":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9747","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\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9747"}],"version-history":[{"count":10,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9747\/revisions"}],"predecessor-version":[{"id":9974,"href":"https:\/\/egophobia.ro\/index.php?rest_route=\/wp\/v2\/posts\/9747\/revisions\/9974"}],"wp:attachment":[{"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9747"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9747"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/egophobia.ro\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9747"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}