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Mircea Milcovitch – Un irréversible journal de retrouvement, by Thiery Jolif (www.unidivers.fr)

October 21st, 2012 · Books, Diaspora, International Media, OPINION, PEOPLE, quotations, Reviews

Thierry Jolif: Mircea Milcovitch – Un irréversible journal de retrouvement

Source: À la une, Culturel et loisirs, Derniers articles nationaux et généraux, Littérature, Spiritualités et Religions
(avec la permission de l’auteur)
http://www.unidivers.fr/mircea-milcovitch-journal/

… il y a peut-être le Pays (perdu, retrouvé, puis perdu de nouveau, puis retrouvé pour un instant) : ou on a en commun un Père et une Mère, où la grande parenté des hommes s’entra’perçoit pour un instant. Et n’est-ce pas à la réapercevoir que tendent en somme tous les arts, et à nulle autre chose ?… Et tout travail d’abord est dur, tout travail difficile, tout travail, toute espèce de travail se fait d’abord contre nous-mêmes et contre Quelqu’un – jusqu’à de rares instants ainsi, par une espèce de renversement, la bénédiction intervienne, il y ait cette collaboration avec Quelqu’un, il y ait cette possibilité de retour, ce retour, ce « retrouvement ».
(C.F. Ramuz, Souvenirs sur Igor Stravinsky, Paris, 1929)

Comment faire d’un chemin d’exil une marche de « retrouvement », de retournement sans retour ?
Si, ainsi qu’aimait le rappeler Claudel, « Dieu écrit droit avec nos lignes courbes », l’écriture pourrait bien alors se révéler être le vecteur de ce ré-embrassement à la fois charnel et spirituel, demeurer étranger à son pays, à son passé et pourtant présent à tout et à tous.

Il aura fallu plus de quarante années de maturation pour que l’artiste Mircea Milcovitch publie son « journal d ’exil ». Un journal qui n’est pas le fait d’un scrutateur de soi, d’un « indiscret observateur » de soi-même mais une toile écrite comme est tissée celle de l’araignée. Les gouttes de rosées qui ici s’irisent à la lumière du soleil de la mémoire sont des souvenirs. Ecrits, ils sont pris dans la toile fine, subtile, prisonniers ils étaient destinés à l’oubli…

Il faut écrire la pensée pour la dérouler. (p. 225)

Sans jamais verser dans le pathos, en évitant toujours un sentimentalisme pataud, Milcovitch retrace d’une manière chaleureuse une part de sa vie, de sa généalogie aussi. Les deux se trouvent entrelacées à l’Histoire complexe de l’Europe de l’Est. Né en Bessarabie, l’artiste va connaître un premier exil, mais par les forces paradoxales de l’histoire statique :

…par la force de l’histoire et sans bouger de place, les Milcovitch ont été Russes jusqu’en 1917 puis Roumains jusqu’en 1940, puis soviétiques de 1940 à 1941 puis à nouveau Roumains mais sous occupation soviétique de 1944 à 1947. Ils sont doublement inquiétés, d’une part en tant que représentant d’une classe sociale suspecte, le père est médecin, d’autre part comme fuyards devant l’armée rouge lorsque celle-ci envahissait la Bessarabie. Néanmoins ils survivent. (p.6 ; préface de Marc Andronikof)

Ils survivent, oui. Il survie. Il aime, il parle, gravit des montagnes, se fond dans une nature qui sait échapper aux thuriféraires du progressisme révolutionnaire…
Mine de rien, par l’amour, par la nature, par l’art, sans en avoir l’air, il s’échappe dans une bienfaisante échappatoire. L’écriture est pleine d’une affection simple et intelligente, une intuition du cœur qui faisait tant défaut à l’époque en France et dont l’indigence n’a eu de cesse de croître les années passant, quoi quelles fussent soit-disant « libératrices »…

Par le jeu d’une écriture en miroir, Mircea Milcovitch en vient à développer des analyses qui apparaissent aujourd’hui de singulières intuitions. Le jeune peintre roumain désire décrire avec franchise ce qui se vit réellement dans les pays de l’Est, mais en 1968 ; un époque où ceux qu’il rencontre (jeunes, étudiants, artistes, intellectuels), à Paris le plus souvent, semblent bien être pris dans un étrange piège dialectique :

«Un vrai malheur s’est abattu sur ces pays de l’Est. Lorsque j’évoque ici les causes du cataclysme, j’ai l’impression de m’attaquer à un tabou, à une véritable croyance occulte (p.59).

Cette « nouvelle jeunesse », cette nouvelle classe qu’il nomme avec une justesse quasi murraysienne la classe protestataire, il met en garde in petto contre son seul objectif :

La vérité et la justice soumises au débat démocratique ne l’intéressent donc pas en tant que telles, elle sera toujours fidèle à ses intérêts, à la protestation d’abord. Je pense que c’est à elle que l’humanité aura à faire dans les prochaines années. ( p. 147)

Cette mise en garde lucide résonne jusqu’à nous aujourd’hui. Les sens aiguisés sans doute par la lutte clandestine qu’il lui fallait mener pour préserver en lui la beauté et la vérité inhérente à la personne, Milcovitch prend conscience que l’art peut aussi devenir une machine de combat idéologique :

De nos jours, le relativisme philosophique aidant, on fait l’apologie du « tout se vaut », donc l’apologie du rien. Le rien artistique sera bien entendu officialisé, enseigné dans les « écoles d’art ». Même s’il se présente comme libérateur de toute contrainte au profit de la pure création, le rien ne s’enseigne pas et la méthode sera forcément absurde, car se sera la transmission d’un non-enseignement. Puisqu’il n’est pas une science, l’art se prêtera aussi bien au brassage incohérent de concepts qu’au délire intellectuel, et les manipulateurs politiques de la modernité le savent. » (p. 143)

Aujourd’hui Mircea Milcovitch est un artiste accompli. D’un pessimisme bienveillant, non nombriliste, non mécontemporain… lucide parce qu’il a conservé cette ineffable saveur de l’irréversible joint à cette intuition d’un quelque chose « d’autre » qui aime. Qui aime supérieurement à toute les bassesses dont l’homme est capable partout, toujours…

Un monde est fini, comme englouti. Il ne reste maintenant que le goût de l’irréversible. (p. 77)


Journal d’exil, Mircea Milcovitch, éditions Amalthée, Nantes, 2011, 296 p. 21,50€
(cet ouvrage s’est vu décerné le prix Contrelittérature 2012)

Les éditions Amalthée situées à Nantes (diffusées par Hachette en librairie) pratiquent l’édition participative

http://www.editions-amalthee.com/Journal-Amalthee-2012.html

EDITOR’s NOTE:

The Editor would like to thank Dr. Nicolas Roberti Docteur ès Philosophie & Sc. religieuses, Rédacteur en chef de www.unidivers.fr. as well as the author of the above article, Monsieur Thiery Joliff, for kindly allowing the above Review to be reproduced in the pages of www.romanianstudies.org for the benefit of our francophone readership.

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Poetry in Translation (CXXXIII): Paul Valéry, (1871, Sète, – 1945 Paris) – “Les Pas”, “Paşii tăi -”

October 12th, 2012 · OPINION, PEOPLE, Poetry, quotations, Translations

Paul Valéry (1871, Sète, – 1945 Paris)

Poetry in Translation (CXXXIII): Paul Valéry, (1871 – 1945 Sète, France) – “Les Pas”, “Paşii tăi -”

Paul Valéry
(1871, Sète – 1945, Paris)

Les pas

Tes pas, enfants de mon silence,
Saintement, lentement placés,
Vers le lit de ma vigilance
Procèdent muets et glacés.

Personne pure, ombre divine,
Qu’ils sont doux, tes pas retenus !
Dieux !… tous les dons que je devine
Viennent à moi sur ces pieds nus !

Si, de tes lèvres avancées,
Tu prépares pour l’apaiser,
A l’habitant de mes pensées
La nourriture d’un baiser,

Ne hâte pas cet acte tendre,
Douceur d’être et de n’être pas,
Car j’ai vécu de vous attendre,
Et mon coeur n’était que vos pas.

Paul Valéry Dedication

Paul Valéry
(1871, Sète – 1945, Paris)

Paşii tăi

Copii ai sufletului meu,
Sunt paşii tăi, mergând neobosit
Mereu prin ale soartei văi.
Cu trupul îngheţat şi trist.

Tu înger cu priviri divine!
Ce minunat e pasul tău mărunt
Aceste haruri ce ghicesc în tine!
Întreaga fiinţă mi-o pătrund.

Şi dacă zâmbetu-ţi serafic,
Este menit să mă aline
Doar sufletul îmi e ostatec
Sărutului ce se cuvine.

Nu te grăbi, adast-o clipă-n plus –
Fiind, sau poate ne-fiind,
Căci am trăit cu dorul de nespus
Ecoul tău în inimă bătând..

(Rendered in Romanian
by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

Paul Valéry Grave (Sète,, France)

Paul Valery –Biographical Note
abridged from Wikipedia and from poets.org:
Ambroise-Paul-Toussaint-Jules Valéry was a French poet, essayist, and philosopher. Valéry was born to a Corsican father and Genoese-Istrian mother in Sète, a town on the Mediterranean coast of the Hérault, but he was raised in Montpellier.

His interests were sufficiently broad that he can be classified as a polymath. In addition to his poetry and fiction (drama and dialogues) and aphorisms on art, history, letters, music, and current events. In addition to his poetry and fiction (drama and dialogues) and aphorisms on art, history, letters, music, and current events. After his election to the Académie française in 1925, Valéry became a tireless public speaker and intellectual figure in French society, touring Europe and giving lectures on cultural and social issues as well as assuming a number of official positions eagerly offered to him by an admiring French nation. He represented France on cultural matters at the League of Nations, and he served on several of its committees. The Outlook for Intelligence (1989) contains English translations of a dozen essays resulting from these activities. Valéry is currently considered a touchstone for those interested in constructivist epistemology, for instance, in Jean-Louis Le Moigne’s description of constructivist history. Valéry died in Paris in 1945 and was given a state funeral. He is buried in the cemetery of his native town, Sète, the same cemetery celebrated in his famous poem, le Cimetière marin.

Valéry’s technique is quite orthodox in its essentials. His verse rhymes and scans in conventional ways, and it has much in common with the work of Mallarmé. His poem, Palme, inspired James Merrill’s celebrated 1974 poem Lost in Translation, and his cerebral lyricism also influenced the American poet, Edgar Bowers.
In 1931, he founded the Collège International de Cannes, a private institution teaching French language and civilization. The College is still operating today, offering professional courses for native speakers (for educational certification, law and business) as well as courses for foreign students.
He gave the keynote address at the 1932 German national celebration of the 100th anniversary of the death of Johann Wolfgang von Goethe. This was a fitting choice, as Valéry shared Goethe’s fascination with science (specifically, biology and optics).
Along with Paul Verlaine and Stéphane Mallarmé, Valéry is considered one the most important Symbolist writers. His highly self-conscious and philosophical style can also been seen to influence later English-language writers such T. S. Eliot and John Ashbery. As a critic and theorist of language, his work was important to many of the structuralist critics of the 1960s and 1970s.

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Poetry in Translation (CXXXII): Nicanor Parra (n. 1914, Chile) – “I Take Back Everything I’ve Said”, “Reneg tot ce-am spus până acum”

October 11th, 2012 · PEOPLE, Poetry, quotations, Translations

Nicanor PARRA, Chile, Poet (n. 1914)

Poetry in Translation (CXXXII): Nicanor Parra (n. 1914, Chile) – “I Take Back Everything I’ve Said”, “Reneg tot ce-am spus până acum”

Nicanor Parra (September 5, 1914 / Chillán)

I Take Back Everything I’ve Said

Before I go
I’m supposed to get a last wish:
Generous reader
burn this book
It’s not at all what I wanted to say
Though it was written in blood
It’s not what I wanted to say.
No lot could be sadder than mine
I was defeated by my own shadow:
My words took vengeance on me.
Forgive me, reader, good reader
If I cannot leave you
With a warm embrace, I leave you
With a forced
and sad smile.
Maybe that’s all I am
But listen to my last word:
I take back everything I’ve said.
With the greatest bitterness in the world
I take back everything I’ve said.

translated by Miller Williams
Nicanor Parra

“…burn this book
It’s not at all what I wanted to say…”

Reneg tot ce am spus până acum
Nicanor Parra (n. 1914, Chile)

Înainte de a te părăsi
Mai am o ultimă dorinţă:
Iubite cititor,
dă foc acestei cărţi.
Ea nu exprimă deloc ce-am vrut să spun,
Cu toate ca e scrisă, în sânge,
Ea nu exprimă ce am vrut să spun.
Nimeni n-a trăit o soartă mai tristă decât mine.
Am fost învins de propria mea umbră:
Cuvintele mele s-au răzbunat pe mine.
Cititorule, iubite citotitor, iartă-mă
Dacă nu ne putem despărţi
Cu un surâs
Simulat şi trist.
Poate chiar aşa sunt
Dar ia seama la ultima mea dorinţă:
Reneg tot ce am spus până acum,
Cu cea mai mare amărăciune în suflet,
Reneg tot ce am spus. până acum.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

“…With the greatest bitterness in the world
I take back everything I’ve said….”

ME RETRACTO DE TODO LO DICHO

Antes de despedirme
Tengo derecho a un último deseo:
Generoso lector
…………………. quema este libro
No representa 1o que quise decir
A pesar de que fue escrito con sangre
No representa lo que quise decir.

Mi situación no puede ser más triste
Fui derrotado por mi propia sombra:
Las palabras se vengaron de mí.

Perdóname lector
Amistoso lector
Que no me pueda despedir de ti
Con un abrazo fiel:
Me despido de ti
con una triste sonrisa forzada.

Puede que yo no sea más que eso
pero oye mi última palabra:
Me retracto de todo lo dicho.
Con la mayor amargura del mundo
Me retracto de todo lo que he dicho.

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Poetry in Translation (CXXXI): Constantine P. Kavafy (1853 – 1933), Poet Grec – “An old man”, “Bătrânul”

October 7th, 2012 · Diaspora, PEOPLE, Poetry, quotations, Translations

“At the back of the noisy café
bent over a table sits an old man;”


Poetry in Translation (CXXXI): Constantine P. Kavafy (1853 – 1933), Poet Grec – “An old man”, “Bătrânul”

An old man
Constantine P. Cavafy (1863 – 1933)

At the back of the noisy café
bent over a table sits an old man;
a newspaper in front of him, without company.

And in the scorn of his miserable old age
he ponders how little he enjoyed the years
when he had strength, and the power of the word, and good looks.

He knows he has aged much; he feels it, he sees it.
And yet the time he was young seems
like yesterday. How short a time, how short a time.

And he ponders how Prudence deceived him;
and how he always trusted her — what a folly! —
that liar who said: “Tomorrow. There is ample time.”

He remembers the impulses he curbed; and how much
joy he sacrificed. Every lost chance
now mocks his senseless wisdom.

…But from so much thinking and remembering
the old man gets dizzy. And falls asleep
bent over the café table.

English version by George Barbanis:
http://users.hol.gr/~barbanis/

Collected Poems

Bătrânul
Constantin P. Cavafy (1863 – 1933),
Poet Grec, născut în Egipt

La masa dela cafenea bătrânul şade îndoit.
E zgomot mult, dar singur e,
în fundul sălii, nevăzut, citind ziarul favorit.

Şi în dispreţul anilor trecuţi, se-ntreabă oare despre tot ce-a fost
cât de puţine vise a trăit
când era tanăr, chipeş şi cu rost.

El îşi dă seama cât a-mbătranit – o simte şi o ştie desluşit.
Şi totuşi vremea pare c-a fost ieri
O tinereţe ce a irosit. Timpu-a trecut, timpu-a trecut.

Se-ntreab-adesea cum de s-a-ntâmplat
Nesocotinţa ce l-a-nvăluit şi cât de mult el a crezut în ea;
Minciuna ce l-a năpădit: “mai este timp, mai este timp.”

Işi aminteşte vise ce-a avut, pe care le-a respins ca de pripas
când soarta i-a surâs, iar el n-a vrut
şi-acuma cu dispreţ îi râde-n nas.

Dar de-aste visuri care-au năvălit în mintea lui
bătrânu-a obosit. Închis-a ochii şi a aţipit
pe masa cafenelei îndoit.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

Constantine Cavafy

BIOGRAPHICAL NOTE:

“I am from Constantinople by descent, but I was born in Alexandria—at a house on Seriph Street; I left very young, and spent much of my childhood in England. Subsequently I visited this country as an adult, but for a short period of time. I have also lived in France. During my adolescence I lived over two years in Constantinople. It has been many years since I last visited Greece. My last employment was as a clerk at a government office under the Ministry of Public Works of Egypt. I know English, French, and a little Italian.”

Constantine Cavafi died of cancer of the larynx on April 29, 1933, his 70th birthday. Since his death, Cavafy’s reputation has grown. He is now considered one of the finest European and modern Greek poets. His poetry is taught at schools in mainland Greece and Cyprus, and across universities around the world.
E.M. Forster knew him personally and wrote a memoir of him, contained in his book Alexandria. Forster, Arnold Toynbee, and T.S. Eliot were among the earliest promoters of Cavafy in the English-speaking world before the Second World War.[citation needed] In 1966, David Hockney made a series of prints to illustrate a selection of Cavafy’s poems, including In the dull village.

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Poetry in Translation (CXXX): Pier-Paolo Pasolini (1922 – 1975), Poet Italian – “Forza del Passato”, ” Sangele Trecutului”, “Force of the Past”

October 6th, 2012 · International Media, PEOPLE, Poetry, quotations, Translations, Uncategorized

Pier – Paolo Pasolini, (1922-1975)

Poetry in Translation (CXXX): Pier-Paolo Pasolini (1922 – 1975), Poet Italian – “Forza del Passato”, ” Sangele Trecutului”, “Force of the Past”

Forza del Passato
Pier-Paolo Pasolini (1922-1975)

Io sono una forza del Passato.
Solo nella tradizione è il mio amore.
Vengo dai ruderi, dalle chiese,
dalle pale d’altare, dai borghi
abbandonati sugli Appennini o le Prealpi,
dove sono vissuti i fratelli.
Giro per la Tuscolana come un pazzo,
per l’Appia come un cane senza padrone.
O guardo i crepuscoli, le mattine
su Roma, sulla Ciociaria, sul mondo,
come i primi atti della Dopostoria,
cui io assisto, per privilegio d’anagrafe,
dall’orlo estremo di qualche età
sepolta. Mostruoso è chi è nato
dalle viscere di una donna morta.
E io, feto adulto, mi aggiro
più moderno di ogni moderno
a cercare fratelli che non sono più.

Via Apia

Sângele Trecutului
Pier-Paolo Pasolini (1922-1975)

Sunt sângele Trecutului.
Dorul meu e zămislit in tradiţii.
Provin din ruine, biserici,
Altare şi sate…
Uitate la poalele Carpaţilor,
Din munţii strămoşilor mei.
Hălăduiesc, nebun, pe uliţa satului,
Acea Vie Apia, ca un câine fără stăpân.
Privind amurgul şi zorile sclipind
Asupra urbei, satului şi a lumii,
Ca o gestaţie a Post-Istoriei,
Căreia îi sunt martor, pentru cinstea
De a le consemna, dela periferia
Unui trecut îngropat. Slut este fătul
Din trupul mamei moarte.
Iar eu, copil bătrân, preumblu năuc,
Mai modern decât orice om modern,
În căutarea fraţilor pierduţi de-o vesnicie.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

“I wander like a madman, down the Appia like a dog without a master”

Force of the Past
Pier-Paolo Pasolini, (1922-1975)

I am a force of the Past.
My love lies only in tradition.
I come from the ruins, the churches,
the altarpieces, the villages
abandoned in the Appennines or foothills
of the Alps where my brothers once lived.
I wander like a madman down the Tuscolana,
down the Appia like a dog without a master.
Or I see the twilight, the mornings
over Rome, the Ciociaria, the world,
as the first acts of Posthistory
to which I bear witness, for the privilege
of recording them from the outer edge
of some buried age. Monstrous is the man
born of a dead woman’s womb.
And I, a foetus now grown, roam about
more modern than any modern man,
in search of brothers no longer alive.

(English version by Stephen Sartarelli)

The Passion of Pasolini

SHORT BIOGRAPHY NOTE:

I was twenty, not even – eighteen,
nineteen… and I had been alive for a century,
a whole lifetime
consumed by the pain of the fact
that I would never be able to give my love
if not to my hand, or to the grass of ditches
or maybe to the earth of an unguarded tomb…
Twenty and, with its human history and its cycle
of poetry, a life had ended.

(from ‘A Desperate Vitality’, trans. by Pasquale Verdecchio)

In 1937 Pasolini returned to his native city and studied art history and literature at the University of Bologna. He published articles in Architrave, the politico-literary monthly of the students, and began writing poems in Friulian. Pasolini’s first collection of poems, POESIA A CASARSA, which he printed at his own expense, appeared in 1942. It reflected his intense love for ‘maternal tongue’, Friulian landscape, and its peasants. The poems also showed his knowledge of the poetry of Giovanni Pascoli, on whom he later wrote his thesis, and Eugenio Montale. Pasolini’s early Italian poems, L’USIGNOLO DELLA CHIESA CATTOLICA, date from this period but appeared in 1958.

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Poetry in Translation (CXXIX): Pier-Paolo Pasolini (1922 – 1975), Poet Italian de expresie Friula – “Ciant da li ciampanis”, ” Sunet de clopot”, “Song of the Church Bells”

October 5th, 2012 · International Media, PEOPLE, Poetry, quotations, Translations

Pier-Paolo Pasolini, Poet Italian de dialect Friul

Poetry in Translation (CXXIX): Pier-Paolo Pasolini (1922 – 1975), Poet Italian de expresie Friula – “Ciant da li ciampanis”, ” Sunet de clopot”, “Song of the Church Bells”

Ciant da li ciampanis
Pier Paolo Pasolini (1922-1975)

Co la sera a si pièrt ta li fontanis
il me país al colòur smarít.
Jo i soj lontàn, recuardi li so ranis,
la luna, il trist tintinulà dai gris.
A bat Rosari, pai pras al si scunís:
jo i soj muàrt al ciant da li ciampanis.
Forèst, al me dols svualà par il plan,
no ciapà pòura: jo i soj un spirt di amour
che al so país al torna di lontàn.

Italian Shepherd from Friuli

Sunet de clopot
Pier Paolo Pasolini (1922-1975)

Când seara se reflectă în fântână
tot satul se dizolvă-n umbre pale.
Iar broaştele din lac işi cânta corul,
sub clar de lună şi refren de greieri.
Când văile se fac ecou de clopot
tot surd rămân, mereu, la al lor zgomot.
Străine, nu- ţi fii teamă de-al meu pas
căci peste culmi, cu dor mă-ntorc în sat
sătul de viaţa tristă de pripas.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

Friuli Village

Song of the Church Bells
Pier Paolo Pasolini (1922-1975)

When evening dips inside water fountains
my town dissolves among muted hues.
From far away I remember frogs croaking,
the moonlight, the cricket’s sad cries.
The fields devour the Vespers’ church bells
but I am dead to the sound of those bells.
Stranger, don’t fear my tender return
across mountains, I am the spirit of love
coming back home from faraway shores.

NOTE:

It might seem reductive and even shocking, but I am convinced that he will endure only because he wrote his poetry in Friulian. Everything else will become part of literary and artistic history, despite an idolatry that for a long time has stripped him of his truest purposes by focusing on those aspects that appealed to an ideological or prejudicial reading.
In dialect, Pasolini is able to give things to us stark and bare in their purity, with a clear and precise diction, with no ambiguity or vagueness to blur meaning. The poet, as he wrote to De Gironcoli, found the way to enclose “infinity in the subject” and therefore is able to pursue at will any shadow or light that runs through it, also because his language has become an “absolute language, nonexistent in nature.” This is a note that Pasolini wrote in 1954 for the poems of La meglio gioventù, even if he developed an idea already expressed in 1942. It is evident that this is the concept of “language of poetry” which later gave rise to so many discussions and even today finds either acceptance or harsh opposition, often unmotivated.
Pasolini did not embark on the adventure with dialect just out of a whim to go against something or a weariness for poetry in Italian. In a certain sense, he was called to that adventure first of all by the primordial sounds that provided the necessary purity of style to write without dispersing anything that the word had as poetic, historical, and human experience. In his numerous writings on dialect poets, Pasolini also gives some clues to his own choices, for instance “the system of oppositions between instinct and mannerism, which would mark unmistakably” his “literary work.”
It would be very interesting to follow Pasolini in his constant relationship with his writing in dialect. We would realize, for instance, that his insistence on the years of his stay in Friuli is a way of finding at every occasion something of himself immersed in the peasant civilization to which he would have liked to belong, in order to nurse the wounds that instead remained open, as spectator of a world from which he had been essentially excluded. It is true that he entered his “linguistic uterus,” but he would never find a perfect inner harmony, the total and serene union with the “rustic life of the ‘belfry’.” In the final analysis, “the Friulian poems are the result of a creative verbal process applied to his own experiences to make them utterable beyond their obsessive limits.” Even if they do not open the new season of neodialectality, these poems are nonetheless the highest mark of an ethical and literary consciousness that was able to go beyond Decadentism and Pascoli, creating a new semantic level that was to affect other experiences. Pasolini’s dialect poetry was not a local sketch nor was it born to preserve memories, but it came to be in order to decipher the present using the distant past, with the exact aim of avoiding the equivocation of naiveté..
Dante Maffia
Source: http://userhome.brooklyn.cuny.edu/bonaffini/DP/pasolini.htm

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Poetry in Translation (CXXVIII): Vicente Aleixandre (1889 – 1984), Poet Spaniol – “El cuerpo y el alma”, ” Corp si suflet”, “The Body and the Soul”

October 5th, 2012 · International Media, Poetry, quotations, Translations

Poetry in Translation (CXXVIII): Vicente Aleixandre (1889 – 1984), Poet Spaniol – “El cuerpo y el alma”, ” Corp si suflet”, “The Body and the Soul”

Vicente Pío Marcelino Cirilo Aleixandre y Merlo (1889 – 1984)

Alexandre Cabanel, Ophelia

EL CUERPO Y EL ALMA

Pero es más triste todavía, mucho más triste.
Triste como la rama que deja caer su fruto para nadie.
Más triste, más. Como ese vaho
que de la tierra exhala depués la pulpa muerta.
Como esa mano que del cuerpo tendido
se eleva y quiere solamente acariciar las luces,
la sonrisa doliente, la noche aterciopelada y muda.
Luz de la noche sobre el cuerpo tendido sin alma.
Alma fuera, alma fuera del cuerpo, planeando
tan delicadamente sobre la triste forma abandonada.
Alma de niebla dulce, suspendida
sobre su ayer amante, cuerpo inerme
que pálido se enfría con las nocturnas horas
y queda quito, solo, dulcemente vacío.
Alma de amor que vela y se separa
vacilando, y al fin se aleja tiernamente fría.

Corp şi Suflet
Vicente Aleixandre (1889 – 1984)

Dar e trist, mult prea trist.
Trist pentru fructul pierdut, desprins din creangă.
Trist, prea trist, pentru parfumul
fructului uscat, căzut pe pământ.
Ca braţul acestui trup încordat,
ridicat, doar ca să poată tânji spre lumină
surâs dureros, în noaptea catifelată şi mută.
Lumina nopţii învăluind corpul.
Suflet liberat de trup, suflet liber, plutind
atât de delicat deasupra fiinţei abandonate.
Suflet de ceaţă diafană, suspendat
peste corpul fostului iubit, trup nevinovat şi palid
trup răcindu-se în lumina dimineţii,
zăcând singur, liniştit şi gol.
Suflet de iubire ce veghează, despărţindu-se
cu greu, într-un târziu tandru şi rece.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

The Body and the Soul

But it is sadder than that, much, much sadder.
Sad as a branch letting its fruit fall for no one.
Sadder, much sadder. Like the mist
the dead fruit breathes out from the ground.
Like that hand that rises from the corpse lying in state
and merely wants to touch the lamps,
grieving smile, the night speechless and velvet.
Luminous night above the corpse stretched out without its soul.
The soul outside, soul outside the body, swooping
with such delicacy over the shape sad and abandoned.
Soul of soft mist, held floating
above its former lover, the defenseless and pale
body, which grows colder as the night goes on,
it remains silent, alone, empty in a gentle way.
Soul of love that watches and hesitates
to free itself, but finally leaves, gentle and cold.

Dante Gabriel Rossetti – “Dante Dream”

BIOGRAPHY:
Vicente Pío Marcelino Cirilo Aleixandre y Merlo (April 26, 1889 – December 14, 1984) was a Spanish poet who was born in Seville.[1] Aleixandre was a Nobel Prize laureate for Literature in 1977. He was part of the Generation of ’27. He died in Madrid in 1984.
Vicente Aleixandre was born in Sevilla (Spain) on April 26, 1898. He spent his childhood in Malaga and he has lived in Madrid since 1909. Studied law at the University of Madrid and at the Madrid School of Economics. Beginning in 1925 he has completely devoted himself to literature. His first book of poems, Ambit, appeared in 1928. Since that date he has written and published a score of books. In 1933, he received the National Literary Prize for his work Destruction or Love. He spent the Civil War in the Republican zone. He fell ill and remained in Madrid at the end of the conflict, silenced by the new authorities for four years. In 1944, he published The Shadow of Paradise, still maintaining his independence of the established political situation. In 1950, he became a member of the Spanish Academy. His books and anthologies have been published up to the present day. The Swedish Academy awarded him the Nobel Prize for Literature for the totality of his work in 1977.

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Poetry in Translation (CXXVII): Vicente Aleixandre (1889, Sevilla – 1984, Madrid), Poet Spaniol – “No estrella”, ” Stea fără nume”, “No star”

September 30th, 2012 · International Media, Poetry, quotations, Translations

Poetry in Translation (CXXVII): Vicente Aleixandre (1889, Sevilla – 1984, Madrid), Poet Spaniol – “No estrella”, ” Stea fără nume”, “No star”

No estrella
(Vicente Aleixandre, 1889-1984)

¿Quién dijo que ese cuerpo
tallado a besos, brilla
resplandeciente en astro
feliz? ¡Ah, estrella mía,
desciende! Aquí en la hierba
sea cuerpo al fin, sea carne
tu luz. Te tenga al cabo,
latiendo entre los juncos,
estrella derribada
que dé su sangre o brillos
para mi amor. ¡Ah, nunca
inscrita arriba! Humilde,
tangible, aquí en la tierra
te espera. Un hombre que te ama.

STEA FARA NUME
(Vicente Aleixandre, 1889-1984)

Cine a spus, oare, că timpul
sculptat din săruturi, străluceşte
minunat în orbita
fericirii? O, stea, tu care eşti a mea,
coboară! Fie lumina ta
doar carne şi trup, aici,
pe pământ. Putea-voi
să te cuprind, zvâcnind în iarbă,
stea căzută din cer,
care, pentru dragostea mea, vei fi sacrificat
sângele şi strălucirea ta. Nu, niciodată,
tu, fiinţă cerească! Aici, umil
şi tangibil, pământul te ocroteşte.
Aici, un om ţi se închină.

(Rendered in Romanian by Constantin ROMAN, London,
© 2012, Copyright Constantin ROMAN)

* * * * * *

NO STAR

Who said that a body
carved from kisses shines
resplendently, an orb
of happiness? Oh star of mine,
descend! May your light finally
be flesh, be body, here upon
the grass. May I at last
possess you, throbbing in the reeds,
star fallen to the earth,
who for my love would sacrifice
your blood or gleam. No, never,
heavenly one! Here, humble
and tangible, the earth awaits you.
Here, a man loves you.

(English translation by Hugh A. Harter, 1987)

BIOGRAPHICAL NOTE:
Vicente Pío Marcelino Cirilo Aleixandre y Merlo
(1889 – 1984) was a Spanish poet born in Seville, who studied law at the University of Madrid.
and received the Nobel Prize for Literature in 1977. He was part of the Generation of ’27.

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Letter from Germany – Ein Brief auß Deutschland – Lettre d’Allemagne (II): the Tragedy of Romania

September 29th, 2012 · Diary, Diaspora, OPINION, PEOPLE, quotations, Translations

Letter from Germany – Ein Brief auß Deutschland – Lettre d’Allemagne (II): the Tragedy of Romania

Lieber Mircea,
ich habe versprochen, nach meiner Rückkehr aus Rumänien, dir zu berichten wie es war.
Ich weiß nicht recht womit ich anfangen soll, einerseits war es wunderschön und andererseits auch sehr traurig.
Dieses Land, trotz allen Bemühungen, ist bei weiten nicht dort angekommen wo sie sein möchte.
Es ist auch wahr, dass man alles haben kann. Die Läden sind voll. Der Konsum weicht nicht von unseren westlichen Gewohnheiten ab, aber das ist auch alles.
Die Menschen sind die gleichen geblieben als ob die Zeit sie vergessen hat. Eigentlich sind sie richtig stehen geblieben. Aber sie bedienen sich an die vom Westen gebrachte Annehmlichkeiten als ob das die selbstverständliche Sache der Welt sei.
Du mußt dir vorstellen, ein Haufen Affen die faul an Bäumen baumeln und den ganzen Tag die Bananen genießen, die ihnen vor der Nase hängen.
Und trotzdem, die Lebensbedingungen dieser Menschen sind unbeschreiblich. Ihre einzige Sorge ist gut zu essen, zu trinken und nicht allzuviel tun. Ich habe nirgendwo so viel Schmutz und Dreck an einem Ort gesehen, wo verglichen mit dem Möglichkeiten die sie hätten, viel mehr Ordnung sein müßte.
Alles ist ein Durcheinander, von Luxusgütern gemischt mit anderen Dingen die einen erbärmlichen und von ungeheure schlechten Geschmack zeugen.
Ich habe Bauern gesehen die in Pferdewagen, barfuß und schmutzig waren, die aber mit dem Handy telefonierten. Ich habe Menschen gesehen, die ihre Luxuskarossen in einem verrosteten Laster durch die Gegend spazierenfuhren, um anderen Leuten zu zeigen was sie besitzen. Ich habe hunderte von herrenlosen Hunden gesehen, die mitten auf den Straßen schliefen. Ich habe genau im Stadtkern von Bukarest zerfallene Hütten gesehen, die an zerbrochenen Fenstern, an Stelle von Gardinen, T-Shirts und alte Pyjamas hatten. Ich habe unglaublich luxuriöse Kaufhäuser gesehen, die von Polizisten bewacht waren, während draußen am Straßenrand Bettler mit traurigen Augen saßen.
Ich war auf dem Land, bin durch Staub und Steine gewatet, habe Latrinen gesehen (im wahrsten Sinne des Wortes), die vor 70 Jahren oder mehr aus dem Boden gestampft wurden. Ich habe mit hunderten von Fliegen am einen Tisch gespeist, der so voll mit Essen beladen war, daß ich keinen Hunger mehr verspürte. Ich habe vor Mitleid um die alten Frauen geweint, die abgestumpft vor den Häusern saßen und hätte gerne gewußt woran sie in die Momenten denken, als sie ins Leere starrten. Ich hätte gerne gewußt, was sie abends tun, wenn der Tag mit der Nacht verschmilzt. Ich hätte gerne gewußt was sie am nächsten Tag denken, wenn ihre nicht vorhandenen Perspektiven sich in dem Staub vor den Häusern auflösen.
Ich habe versucht zu helfen so gut ich konnte, habe Waschmaschinen und Kinderkleidung gekauft, habe Nichtigkeiten für den alltäglichen Bedarf besorgt. Aber so wie ich dir schon mal erzählt habe, es ist ein Faß ohne Boden.
Die wenigen, die zu was gebracht haben sind total vom Größenwahn befallen. Es gibt tatsächlich welche, die außerhalb des Landes gutes Geld verdienen und die anschließend nach Hause zurückkehren, mit dem Wunsch, allen zu zeigen, zu was sie es gebracht haben. Und so knallen sie mitten in die idyllischen Landschaften außerhalb von Bukarest, Prunkhäuser die lächerlich aussehen, an Orten wo die verbliebenen Einheimischen noch in ihren mit Viehmist und Lehm gebauten Häusern wohnen. Die niedlichen kleinen Häuser, getüncht mit Kalk, und mit niedrigen Dächern, so daß sie von weiten aussehen wie alte Frauen die miteinander plauschen, werden überschattet.
Die wunderschöne Landschaft ist dadurch verschandelt. Zudem sind auf den Höfen solcher Paläste die sich offensichtlich an solchen Orten nicht wohl fühlen, an den prunkvollem eisernen Zäunen, hier und dort eine magere Kuh die versucht zwischen zerbrochenen Ziegeln und Steinen ein paar Grashalme zu erhaschen.
Lieber Freund, was kann ich dir noch mehr sagen, es war eine Pilgerfahrt in die Vergangenheit durch die Tore der Zukunft. Eine sonderbare Mischung sozialen Standards. Eine Palette voller Farben eines Volkes, das meiner Meinung nach, wegen der riesigen Diskrepanzen niemals die Chance haben wird dort hinzugelangen, wovon sie träumen .
Man kann niemals eine alte Frau zu unserem Jahrhundert konvertieren, wenn sie sich immer noch bekreuzigt und sich in die Bluse spuckt wenn man ihr ein Foto macht und in der nächste Minute auf dem Handy zeigt.
Und gerade deswegen habe ich großes Mitleid und Verständnis für die wenigen, die noch wie vor hundert Jahren leben, und überhaupt kein Verständnis für die vielen, die durch Betrügerein, Lügen und Diebstähle das Land in den Abgrund ziehen.
Leider können wir nichts tun und das zu wissen tut weh.
Ich befinde mich immer noch unter den Einflüssen von dort wie du siehst, träume nachts davon und werde wach mit dem Gefühl das ich noch dort bin. Ich fühle mich zu nichts nutze und frage mich gleichzeitig was ich tun könnte.
Ich hoffe du bist beim Lesen meiner Geschichte nicht müde geworden. Zusammengefaßt; meine kurze Reise nach Rumänien war sehr interessant und vielleicht auch eine Lektion, die ich erhalten sollte nach so vielen Jahren.

Schöne liebe grüße
magda

Cher Mircea,

J’ai promis de te raconter comment c’était en Roumanie. Je ne sais pas par quoi commencer, c’était aussi bien beau que triste, malgré tous les efforts qu’il dépose, ce pays n’est pas encore arrivé là où il voudrait. Il est vrai qu’on y trouve tout ce que l’on désire, les magasins sont remplis, le niveau de consommation est le même que celui des pays occidentaux, mais c’est tout. Les gens sont restés les mêmes, ils sont d’ailleurs restés sur place en profitant de la civilisation importée, comme si cela allait de soi. Tu dois imaginer de paresseux singes accrochés aux branches, et qui savourent à longueur de journée les bananes qui pendent devant leurs nez.

La manière de vivre des gens est indescriptible, leur seul souci est de bien manger, de boire et ne pas trop travailler. Je n’ai encore jamais vu autant de misère dans des endroits où, par rapport aux moyens existants, il aurait fallu avoir de l’ordre. Tout est un genre de chaos fait d’objets de luxe mélangés aux choses misérables et de mauvais goût. J’ai vu dans des carrioles des paysans sales, pieds nus mais qui parlaient au téléphone portable, j’ai vu des gens qui promenaient leur voiture hissée sur les plateformes d’un genre de camions rouillés pour montrer aux autres ce qu’ils possèdent, j’ai vu de centaines de chiens sans maître dormant au milieu des rues, au centre de Bucarest j’ai vu des baraques qui, à la place des rideaux aux fenêtres avaient des blouses ou des pyjamas suspendues, j’ai vu des magasins luxueux gardés par la police devant lesquels il y avait des mendiants sur le bord de la rue. J’ai été à la campagne et j’ai marché dans la poussière parmi de grosses pierres, j’ai vu des latrines (dans le vrai sens du mot) vieilles de 70 ans, j’ai été assise à table il y avait de centaines de mouches mais il y avait toujours plein de nourriture, à un point que je n’avais plus faim, j’ai pleuré ayant pitié des vieilles femmes assises résignées dans les auvents des maisonnettes et j’aurais beaucoup aimé connaître leurs pensées pendant qu’elles regardaient dans le vide, j’aurais aimé savoir ce qu’elles font le soir lorsque le jour décline, quelles sont leurs pensées le lendemain, lorsque leurs perspectives inexistantes se dispersent dans la poussière de la cour. J’ai essayé d’aider comme j’ai pu, j’ai acheté des machines à laver le linge, des vêtements pour les enfants et autres bricoles nécessaires dans une maison mais, comme je t’ai déjà écrit, c’est un trou sans fond.

La manie pompeuse de ceux qui sont « arrivés », qui se sont enrichi, est inimaginable. Nombreux sont ceux qui travaillent à l’étranger et qui retournent au pays avec de l’argent et le désir d’avoir à tout prix ce que les autres n’ont pas. C’est ainsi qu’ils se payent des villas et maisons horriblement pompeuses en dehors de Bucarest, des maisons qui ont l’air ridicule dans des villages où les autochtones restés, vivent encore dans leurs maisonnettes bâties d’argile et bouse de vache, blanchies à la chaux et avec des toits penchants telles de petites vieilles en train de bavarder. La vue jadis si belle est détruite et le comble est que même dans les cours de ces maisons bien à part, on peut voir, quelque part vers le grillage en fer forgé, une vache à côté d’une carriole essayant de paître parmi les tas de briques cassées.

Que pourrais-je te dire de plus, c’était un pèlerinage dans le passé traversant d’abord le futur, un bizarre mélange d’états sociaux, l’apparence visible d’un peuple qui, selon mon avis, n’aura jamais la chance d’arriver assez loin, exactement à cause des discordances excessives. On ne saura jamais convertir à notre civilisation une petite vieille innocente qui crache dans sa poitrine lorsqu’on la photographie et qu’on lui montre immédiatement l’image, sur le dos d’un appareil numérique. Et c’est exactement là la cause du fait que j’ai une grande pitié et compréhension pour ceux qui sont arriérés d’une centaine d’années, et aucune tolérance pour ceux qui, par des ruses, mensonges et tromperies, essaient de tirer le plus bas possible ce pays. Malheureusement nous n’y pouvons rien faire, mai la sensation demeure douloureuse.

Comme tu vois, je suis toujours sous l’impression de ce que j’ai vu là-bas, je rêve la nuit et me réveille avec la sensation d’y être encore, me sens inutile, sans savoir ce que je pourrais faire. J’espère ne pas t’avoir fatigué avec mes histoires, d’une manière générale mon court retour en Roumanie a été intéressant et peut-être, même une leçon que je devais recevoir après tant d’années.

Bien à toi,

Magda

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Letter from Germany – Scrisoare din Germania (I): the Tragedy of Romania

September 28th, 2012 · Diary, OPINION, PEOPLE

Letter from Germany – Scrisoare din Germania: the Tragedy of Romania

Dear Mircea,
I promised to relate my Romanian experience, yet I would not know where to start: on one hand it was pleasant, yet on the other it was quite sad. In spite of all the effort aimed at reaching the projected goal, the country has not attained the intended standard. True enough, one can find everything one desires, the shops are bursting with goods and it looks as if the standard of living is comparable to that in the West, but this is as far as it goes – the people have not changed an iota, in fact they have stagnated, taking advantage of a civilization somehow offered on a silver plate, out of the blue, as if it was normal. It is not unlike a bunch of lazy monkeys, perched on trees, in the jungle, spending the whole day eating all bananas within their reach. Describing the manner in which these people live is beyond belief, as their sole (existentialist) concern boils down to eating well, drinking well and above all not exerting themselves with too much work.
I have never ever seen so much misery in a place where, given the resources at hand, there ought to be good order. Wherever you look there are luxury goods mixed with paraphernalia of poor taste, miserable goods. I have seen bare-feet, unwashed peasant farmers, in their horse-drawn wooden carts, busy talking on their cell phone; I have seen rural folk, who were exhibiting to all and sundry their newly- acquired luxury car, displayed on the back of a rusty lorry, which they were conveying, just to show off to the rest of the world to marvel at… I have seen hundreds of stray dogs curled up, asleep in the middle of the highway… In downtown Bucharest, I had seen hovels whose windows were covered with hanging tee shirts, or pyjamas, for lack of curtains… I have seen top-notch luxury malls with their ubiquitous uniformed security guards, only to discover, round the corner, people begging in the street.
In the countryside, I walked the main streets of villages covered in thick dust and boulders… I have seen sanitary installations, which were at least seventy-years old… I sat at dining tables laden with foodstuff, yet covered in shoals of flies, which cut my appetite… I cried my eyes out seeing the destitute elderly villagers, seated in the doorways of their rural homes, looking forlorn as the world went bye… I would have liked so much to fathom out what thoughts were visiting their vacuous faces… as the darkness enveloped their cottage, I would have liked to find out what they were doing in the evening, what were they thinking of, the next morning, as immediate prospects were fading fast, biting the dust of their farmyard… I tried to help as much as I could, I bought washing machines, clothes for the children and sundry goods needed in every household, but, as I said, it felt like a bottomless pit.
By contrast, the grandomania of the nouveau-rich, of those who made it overnight, was quite unbelievable. There are so many Romanians who work abroad only to return home playing a game of one-upmanship. In the outskirts of Bucharest they build for themselves some horrible, if pompous villas, which are completely out of kilter with the traditional rural abodes of their neighbours, living in cottages built of clay mixed with horse manure and straw, with whitewashed walls under a tilted roof, not unlike some old people seated on a bench, for a natter. The once bucolic rural atmosphere is completely ruined, yet to cap it all, in some of these farmyards, where such villas look out of place, one could discover, by looking through the iron fence, a wooden cart next to a malnourished cow, trying to graze next to a pile of broken bricks.
The overall impression I got is one of a journey into the past, yet one intermingled with the future, an odd mixture of social scales, a motley palette of a nation, which, in my opinion, will never have a chance of getting very far, at all, just because the discrepancies are too great to smooth over. How could one convert some innocent old woman to the benefits of a new century, when she crosses herself to chase away the evil eye, each time you take her picture and show it to her on the screen of your cell phone?
Yet it is for this very reason that I understand and feel compassionate for those who live in a world of their own, a hundred years ago, as opposed to the present-day wheeler-dealers, replete with underhand, dirty tricks, trying to put this country on the rack. Unfortunately one feels hopeless attempting to do anything to forestall this contrast, a failure which gives overall a painful sensation.
As you can see, after returning home to Germany, I am still haunted by the Romanian realities left behind. Yet, as I wake up, in the middle of the night, thinking that I was still there, I feel absolutely hopeless, unable to find a solution…
I trust I have not bored you stiff with my story, as, on the whole, my re-immersion in the Romanian reality, as it is, was worthwhile and perhaps long-overdue, after all these years.
Love,

Magda

Draga Mircea,
Ti-am promis sa-ti povestesc cum a fost in Romania. Nu stiu cu ce sa incep, a fost pe de o parte frumos dar pe de alta parte trist, tara asta cu toate sfortarile pe care le depune nu a ajuns inca acolo unde ar vrea sa fie. Este adevarat ca gasesti orice doresti, magazinele sunt pline, nivelul de consum este la fel ca cel din tarile occidentale dar asta este totul. Oamenii au ramas aceiasi, de fapt ei au stat pe loc profitind de civilizatia adusa ca si cum este de la sine inteles. Trebuie sa-ti inchipui niste maimute lenese agatate de crengi, si care savureaza toate ziua bananele care le stau sub nas.
Felul de a trai al oamenilor este de nedescris, singura lor grija este sa manince bine, sa bea si sa nu faca prea mult. Nu am vazut nicaieri atita mizerie intr-un loc unde comparativ cu mijloacele pe care le au ar trebui sa fie ordine. Totul este o invalmaseala de lucruri de lux amestecate cu lucruri mizerabile si de prost gust. Am vazut tarani in caruta in picioarele goale si murdari dar care vorbeau la celular, am vazut oameni care isi purtau masina la plimbare intr-un fel de camioane ruginite ca sa vada lumea ce au, am vazut sute de ciini fara stapin care dormeau in mijlocul strazilor, am vazut in centrul Bucurestiului cocioabe care in loc de perdele la ferestrele sparte aveau tricouri sau pijamale,am vazut magazine luxoase pazite de politie iar afara stateau cersetori la marginea strazii. Am fost la tara si am mers prin praf si bolovani, am vazut closete(in adevaratul sens al cuvintului) care existau acum 70 de ani, am stat la masa cu sute de muste dar masa era intotdeauna plina de mincare incit imi trecea foamea, am plins de mila batrinelor care stateau resemnate pe prispa si tare as fi vrut sa aflu ce gindesc in momentele cind priveau in gol, as fi vrut sa stiu ce fac seara cind ziua se stinge, ce gindesc a doua zi cind perspectivele lor inexistente se topesc in praful din curte. Am incercat sa ajut cit am putut, am cumparat masini de spalat, haine pentru copii si maruntisuri necesare unei gospodarii dar dupa cum ti-am mai scris, este un sac fara fund…
Grandomania celor care « au ajuns », care s-au îmbogatit, este de neinchipuit. Sunt foarte multi cei care lucreaza dincolo de granitele tarii si care se intorc cu bani si cu dorinta de a avea ceva ce altii nu au. In felul acesta isi trintesc vile si case oribil de pompoase in afara Bucurestiului, case care arata ridicol intr-un sat unde bastinasii ramasi traiesc inca in casutele lor construite din lut si balegar, vopsite cu var si cu acoperisurile aplecate ca niste babute la taifas. Privelistea altadata atit de frumoasa este distrusa iar culmea este ca si in aceste curti unde casele se simt stinghere, vezi la gardul din fier forjat o caruta linga o vaca slaba care incearca sa pasca printre mormanele de caramizi sparte. Ce-ti pot spune mai mult, a fost un pelegrinaj in trecut trecind prin viitor, un ciudat amestec de stari sociale, o coloratura a unui popor care dupa parerea mea nu va avea niciodata sansa sa ajunga prea departe tocmai din cauza ca discrepantele sunt prea mari. Nu poti nicicind sa convertezi o babuta nevinovata la civilizatia secolului nostru, cind ea isi scuipa inca in sin cind ii faci o poza pe care imediat dupa aceea i-o arati pe celular. Si exact din acest motiv am mare mila si intelegere pentru cei care inca sunt cu o suta de ani inapoi si cea mai putina intelegere pentru cei care prin smecherii, minciuni si inselatorii incearca sa duca aceasta tara cit mai jos. Din pacate nu putem face nimic dar senzatia este dureroasa.
Sunt inca sub impresiile de acolo dupa cum observi, visez noaptea si ma scol cu senzatia ca mai sunt acolo, ma simt nefolositoare dar nu stiu ce as putea face… Sper ca nu te-am obosit cu povestile mele, in general întoarcerea mea scurta in Romania a fost interesanta si poate si o lectie pe care trebuia sa o iau dupa atitia ani…
Cu drag,
Magda

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