luni, 9 septembrie 2019



Toma George Maiorescu – George Anca – Paul Miclău – Radu Sergiu Ruba – Francois Villon – Șerban Foarță – Adelina Fleva - Vișan Dregoș – Florentin Streche – Norica Isac – Jorj Maria

George  Anca

                   The Nobel Committe for Literature
                   The Swedish Academy
                   P.O. Box 2118
                   SE – 103 13 Stockholm

                   Nomination of the writer Toma George Maiorescu for Nobel Prize in              Literature


         This is to nominate poet, writer, essayist and professor Toma George Maiorescu for Nobel Prize in Literature on 2011.
         The following poem may throw light upon is wandering on path of poetry and philosophy:

The Path

I don't sell and  don't buy
the ashes of Cross on which you've been harangued
but as a witness of that
dramatic crucifying 
I have the moral right to affirm
 that Cross
didn't putrefy in earth
 wasn't cut in talisman-chips

and was never consumed by flames
Immediately after what He
was descended and put in white shroud
the Other was raised on Cross
After the passing  of This
The Cross was taken over by Other
And in each moment by Other
Till the end of time

Therefore I tell you
I don't sell and don't buy
the ashes of Cross
but as witness
of its passing from One to Other
I want to ask you
to agree with the thought
that nobody can be saved
by Golgotha Path

         Indifferently of artistic expression structure, form or genre in which it crystallized, the literary work of Toma George Maiorescu (over 40 volumes published) grew on a common idea foundation, with a moral and philosophical attitude, being a “Poet of moral meditation, attentive to conflicts hidden under peaceful presentations of life, author of some fables of great gravity of senses” (acad Dan Grigorescu). “... Toma George Maiorescu is an implacable adversary of equality with himself (…) His writing will be, therefore, rapid, suggesting, rich in images and ingenious formulas” (Ion Biberi, writer). “T.G.M. was and is a postmodern avant la letre! (…) The poetry of T.G.M. is deeply anchored in that tradition of European poetry which started off  in poetry of the quotidian, of real, much before English-American poets considered at actual hour as fathers of postmodernism” (prof. univ. dr. Paul Miclau).
         Facets of biologic humanism focusing whole existence not on egocentric anthropomorphism but on life in all its manifestations are found as catalyzing factor and energy creator not only in his philosophy, concentrated in the volume The Taming of Beast in Man or the Ecosophy,  but subtly dissipated in pages of his entire literary creation. “His work is a prolific   starting point for many other fields and at the same time a great success of Romanian thinking and science.” (acad. Nicolae Cajal)
          „TGM is solidly anchored in his age, in his natural space, in his Romanianess and Jewishness. The cultural Romanianess of TGM is present through all top value landmarks, from Cantemir to Iorga, from Eminescu to Enescu, Brancusi, Ionesco, Noica, Ralea, Lupasco... Dear student of Blaga, he consacrates to his venerated professor a full chpter.  / Faithful equally to his Jewinshess, TGM gives an ample space to Judaism, to Jewish mystique. He makes it programatic, in perfect concordance with his 'ecosophy': 'In the context of ideas of fundamental relation MAN-UNIVERSE, it is natural to stop ourseleves at the relation of man with divinity. We will insist upon some fundamental books of mankind such as rolls of Torah, pages of Bible, Talmud or Cabala (Zohar and Sefer Ietsira). Comments to Cabala of some specialists of noble spiritual source like Alexandru Safran or G.G. Sholem will accompany us in incursions in the paradigm of the first monotheism.' Look at him summarizing in style of philosophical poem, the vision of Cabala over knowledge of God: „God is not a subject one woud discover objectively, without being tied by him subjectively. / He is Beingness. Reality. / He is Essence. Interiority / God can not compare but with Himself .”  (Zoltan Turner, writer, Tel Aviv)
         His last anthology (2007) - The metaphor prince at courts of metaphysics – is significant. “The selective volume from poetical work of one of most original creators from between the two centuries, appeared with occasion of anniversary of 80 years of poet's life, becomes a reference work for history of Romanian poetry in convulsions of the second half of XX century and passing into XXI, demonstrating
the capacity of affirmation of true poetical beliefs over political conjunctures of time.” (Corneliu Leu, writer)
         Human sufferance hypostases in societies deformed by liberty limitations but also all-powerful love defeating false limitations of class and race hate, of intolerance, light the pages of his novels and novelettes. The passionate negation of totalitarian experience over man, in Good night, Sagittarius, we will find again under the mask of absurd (in order to pass through censorship Caudine Forks) in the “aleatory and detective auto-novel  in search of idea” - The Killer and the Flower.
         Even his numerous travelogues (board diaries or journey notes) are under sign of  unification and deciphering of humanity in man indifferent of spaces inhabited. Between Sahara and Polar Circle, the writer searches for a model of realization of equilibrium, of harmony between the five fundamental interdependent relations (Man – Man, Man – Social Group, Man – Nature, Man – Universe and Man – His Self). If the unity between the whole and the part means harmonious convergence of the five fundamental relations, it is not less true that the deterioration of a single relation brings about the deterioration of all fundamental relations.  
         In the same idea context are integrated also the two volumes Dialogue with the century and its people, as well as Talks in the twilight. The colloquial encounters with 100 emblematic personalities (for the second half of 20th century), among them being  also numerous Nobel laureates, are intended, as author states in preface, “to find out through the word of some 20th century authentic representatives  the ideas  reshuffle directions and thus to delimit  the sphere of preoccupations of modern spirituality in a twilight of century-millennium”.
         Humanist, ecosophic breath, hope in a more generous and united humanity consequently penetrates the pages of  Toma George Maiorescu. He withers the crime of lese-man and nature assassination, stigmatizing at the same time anything opposed
to harmonious life logic, incommunicability, refusal of dialogue spirit, religious fundamental-isms, intolerance, inciting to violence to extent of repeating of Gulags and Holocaust.
         An essential dimension, a distinct feature of the work of Toma George Maiorescu is the uniqueness of poetical language sphere as a mean to enrich modern expressiveness. Different types of language, the usual one, street orality to extent of  eminently “democratic” slang or folklore, would betroth to hyper-urbanized information explosion language, to last minute products of sciences and philosophy. The daily phenomenology idioms join the abstract lexis of metaphysics in the era of cybernetics and atom disaggregation, in order to generate a new, original and over expressive poetical language.
         Some of his literary works translated into Russian (among translators, Evgheni Yevtushenko), Portuguese, Swedish (Per Olof Ekstrom), English, Greek, French, Bulgarian, Punjabi,  Spanish (Pablo Neruda), Hungarian, Turkish, Ivrit, Esperanto, etc. Among distinctions received are “Lucian Blaga” and “Mihail Sebastian” literary awards.
         “Toma George Maiorescu remained a vanguard-ist, in the sense of just historical vanguard.” (Laurentiu Ulici, former president of Romanian Writers ). “From verses, from images hasty painted, from portraits sketched with finesse, from impressions and soul states confessed with tender irony it is evolved an atmosphere, a restlessness of the world, of thinks apparently anchored in their bottom, but troubled in the depth by melancholic sensible vision of the poet.” (Dana Dumitriu, literay critic). “He becomes  the author of one of most applied fables of Romanian contemporary literature”. (Prof. univ. dr. Roxana Sorescu)
         The nominator is also translator into English of a life anthology of poetry, The metaphor prince at metaphysics' courts  by Toma George Maiorescu, keeping at work the two author's guiding principles of poetical expression universality  :
a) there is no word to  have not its place into poetical vocabulary, which, naturally, is founded with toil and inspiration - the poet's duty being the permanent enlargement of poetical language;
b) indifferent of currents, tendencies or personalities, the poetical expression is universal, through their inner value the poetical forms transcend the history and the space, one can say even that poetry is also trans-linguistic.
         Summing up, the nomination of writer Toma George Maiorescu for Nobel Prize in Literature is sustained by following motivations:
         a) His work has personal, profound and original mark. His poetry and prose are written with innovative means and modes of expression. His poetics belongs mainly to avant-garde and postmodernism even before the later method to be defined and sancyioned by literary theory and critique. Poet's originality is constituted by the means of expression as well as vision, therefore, attitude toward reality.
         “The main poetic-ideative source of Toma George Maiorescu's games seems to be his associative imagination. He invents surprising phantasmal inventories, unusual enigmas. A conquering whistle  is with him. His phantasy is always in ebullition, images and metaphors flow, get outside. (…) He moves with an amazing mobility from a stylistic canon to another. He is now hermetic, surrealist, baroque and mannerist, then futurist, dadaist or letterist. But, mostly, TGM-ist.” (Zoltan Terner, writer).
         b) His alert and tonic writing, playful and at same time elaborated, spreads like from an abundance horn, words, images and new ideas, concepts, metaphors. But, most of all, his literature is a perpetual confrontation with mental automatism, with traps of common place, with feeble obtuseness, with comfortable cliches of thought, with limitations of dogmas, canons and prejudices of intolerance. Toma George Maiorescu carries an open struggle with everything what is rusty, exhausted of vigor, and pleads  for permanent innovation, for dis-bounding of thought and senses from the handcuffs of habitues and cyst isolation, for implementing in ever larger circles a dynamic thinking renewing cordial, generous mentalities, conscious of everybody's grave responsibility for global state of mankind. The vibrant Toma George Maiorescu's message is humanist-ecosophic, putting in center of all projects the life, its conditions on the planet, it is humanism tailored on everybody's measure, adapted through vision and action to mentally assimilated processes from modern physics and biology, from information explosion, from gnoseology  revolution which transforms today the world perceiving.
         c) He enriched and enlarged Romanian poetic vocabulary assimilating with unique mastery in poetic language idioms belonging to street slang, to “democratic” speaking in suburb, to folklore, to words of  “intellectual elite” having as source the physics of elementary particles, bioengineering, internet, etc. The looking after word in order to enrich the fund of poetic language harmonizes with Toma George Maiorescu's conception on expression forms. According to him, the poet is entitled to use in his poetical creation those formal experiences molded on his on poetic personality, intensifying it.
         d) The dictionary of poetic expressions, unprinted as such, but sacredly preserved by poetical memory, gathers together the expressive experience from Homer, Iehuda Halevi, Saadi, to Heine, Apollinaire, Blaga, Maiakovsky, or Whitman. The experiment becomes plenipotentiary. Any innovation or resuscitation of traditional forms is welcome with a condition: to increase poetic expressiveness.
         e) He substantiated, depicted and taught, at university level, Ecosophy, the humanism of the 3rd millennium, discipline of the five fundamental relations. Otherwise, the ecosophic ideas, their message of solidarity inter-conditioned with Holos/Whole penetrate convincingly opera omnia (poetry, prose, essays-tic, philosophy) of this poet-philosopher.  
         By nominating Toma George Maiorescu for Nobel Prize in Literature, we have in mind Nobel's “idealistic” precept, as well as the “unknown master” to be so discovered by larger world than of only one country. Full data follow.
Bucharest, August 2010

Dr. George Anca, member of Romanian Writers' Union,
professor of comparative literature (Delhi University,
Bucharest University), former director of the National
Library of Education, Bucharest (1988 – 2008)
Mail address: Str Izvorul Crisului, 12, D4/34,
Bucharest – 040895
Phone: 021 450 88 68

Paul Miclău

         The poetic debut  of   Toma George Maiorescu (1947) took place in a ill-fated cultural and specially literary epoch: the period of official imposing of  the “socialist realism”, of the “proletkult”. In context, the poet appeared through a new cut, not imbued  by the counterfeit lyricism of the epoch, he being a follower of Whitman or Maiakovsky.
         Only later on, after the ill-fated  period was consumed, it was observed that his verse had a proper generic resort into vocation of an ironical-pamphleteer sarcastic poetry which had as interface a profound moral reflexivity. From aesthetic point of view, he looked like a new-vanguardist. But he was an “experimentalist” of a new-modernism, when Romanian literary modernism was interrupted in its natural evolution by the imposed “proletcultism”.
         It can be said that Toma George Maiorescu had dynamited, initially, the proletcultism from his own ground and with his own weapons.  His main characteristic was the reflexive examination of the Consciousness.
         Gradually, the poetry of Toma George Maiorescu will open more and more toward the surprising of a “visceral” suffering of human history, culminating with  the idea of  an “eternal crucifying” of the eternal man (“Timp rastignit”/ Harangued time, 1969).
         What will offer  the ontological force to this poetry denouncing the evils of  mankind suffering time  will be its intrinsic, halved  implanting, in the implicit   horizon of metaphysics. Never a coming out of the real – but always a transgression of the immediate real into a larger “cosmotic” real, implied and adopted by the poet.
         The sarcastic register detains, in this poetry, large gammas – from sharp acidity to its fine diminishing into grave reflexion, or, other times, at “disguising” into playful or absurd mask. The inner “torture” of Toma George Maiorescu is – as the title of one of his poems: a semantic insomnia.
         The “aleatory” of aspects taken in poetic sight is apparent – because it is commended to the poet by the “poetic object” cut up from zone of the real. This “poetical object” claims the ad-equating to it of lyrical and reflexive ego.
         A poetry in which the lyricism is converted to the lucidity of existential meditation, out of which there are not lacking poetical elements of new-expressionism in which the anxiety belongs to option act operated by “lyrical conscience”. A poetry crossed by a great semantic thrill – having as a singularization profile, a “poetics of semantic-ism”.
         Post-modern(ist) poet through reflexive and existential arch which proposes the axiological cult – Toma George Maiorescu is, in the same time, a very precocious precursory of the postmodernism, through aspects of sarcastic, ironic “de-structuring” of the real incriminated as vicious. The postmodernism makes room in his poetry especially through ad-equation of stylistic means  to the act of “deconstructionist” aesthetics.
         Toma George Maiorescu is a precursor of postmodernism also  through proposition of a inter-reign aesthetics which makes often labile the border between poetry and prose. And, also, through introduction in semantic space assimilated as poetic space, of emotional living - along with profundities of love or essential sentiment of nature -, of an astounding horizon of contemporary science and philosophy.
         Continuous innovation becomes plenipotentiary in the poetic art of Toma George Maiorescu. With a single condition: to increase artistic expression.
        Toma George Maiorescu inaugurates a new series of poetry into a definitive author edition. He takes over direction of modernity, historic vanguard, as it is said.  I underline that his poetry is a discourse, what can not be affirmed of any poetical production. Much poetry scleroses in texts which mum.  At Toma George Maiorescu the poem is dominated by tension, it processes, becomes incandescent, explosive, makes itself, differently saying, discourse. This discourse is, hence, a modern one. Firstly through renunciation to analogy, to mimesis, and in discursive plan to metaphor, in favor of processional metonymy, many times hypothetical or optative.
         Toma George Maioresu is not a simple surrealist; we could place him  on the edge of surrealism as historians use to say currently. He doesn't cultivate Breton's supra-reality became classic, as explosive synthesis between reality and dream, motivated by unconscious inmost depths. The poet cultivates the paradox of the conscious unconscious (and subconscious). The volume, not casually, is divided into  five obsessions, cleared semantically in 'Argument' and subtitles, but treated in heavy, ambiguous and serial symbols which are founded on a scholarly staging of poetical living.
         In the coin reverse, Toma George Maiorescu practices a poetry of ideas, better said of idea makings. But, attention, classic logic doesn't satisfy him any more, for he lives in knowledge of cause the epistemic of our century, marked by Einstein relativism, by complementarity of physics hypotheses, by presser of some new logic assembling or founded on vague, on 'flou'.
         Traveler, author of reports and interviews, Toma George Maiorescu is also the media poet tempted, therefore, by poetry of the real, quotidian, announcing eighties generation. In difference from these, he knows, as a warned journalist, that it doesn't exist a discourse about the  real, but about another discourse. Poet engaged during his gurgling youth, Toma George Maiorescu detached, while the eighties people reengage themselves through brute saying of daily real.
         The poetical discourse of Toma George Maiorescu is modern also through its metalinguistic dimension. But it is not question, at him, about a cheap textualism, but about stirring up of  binder between world and language. With many years ago I wrote about 'the horse as language' to Toma George Maiorescu, with necessary semiotic reflexions. But not metalanguage as such is installed in his poems. I would say rather that it is question about something more profound, a kind of meta-pragmatic, or, better circumscribed, a meta-discourse.
         Many times, the poet leave to reader the task to remade syntactic ties, to intuit the armature of argumentation. The text is voluntarily lacuna, but, at a very profound level, metaphysical, in hyper-modern context. The completion, remaking of arguments, of logic machinery make that reading be profoundly participative, but not at banal, euphoric level, but in heart-rending discomfort; the text defies, provokes, calls us to shaking of the absurd and tragic real. It is realized thus a too vibrant catharsis which marks the passing from classic, Aristotelian vision to that psychoanalytic. Otherwise said, from the effect of purification of passions, including spectators to a dramatic representation, to the effect of liberation of affects driven into the unconscious. The reader is not any more brother, but partner in consummation of  today world drama.
         I can not abstain to make analogies between Toma George Maiorescu and the poet I cultivate since more than thirty years: Guillaume Apollinaire. And it is not question only about the calligrammes of French poet. Analogies with Apollinaire can be made on line of the deep modernity. Let not forget that the French poet has created himself the vocable of surrealism. Toma George Maiorescu resembles with modernism of Apollinare and his creation fills in postfactum a void in our poetry, which passed suddenly from tardy symbolism of Bacovia to vanguard surrealism. Being also a pre-surrealist, Toma George Maiorescu is, therefore, a postmodernist who cultivates formulas from before acute modernism.
         On reflexion line, Toma George Maiorescu is today promoter of ecosophy that he teaches at university level, founding theoretically the ecologist  discourse which he defended, initially, at political level. Re-comforting, isn't so?  He fills in a void in our idea debate and culture as he filled in significantly decisive spaces in the field of Romanian letters.

         After an edition, almost integral, definitive of his poetical work, T.G.M. offers to us one more, surprising, volume. With a spiritual energy  which comes with an unexpected force and sap, T.G.M. confirms with brio the constant of his poetical creation, which wasn't yet put well in light: T.G.M. was and is a postmodern avant la letre! He wrote the poetry of quotidian when our eighties postmodernists were still kids playing in dust. The poetry of T.G.M. is deeply anchored in that tradition of European poetry which started off  in poetry of the quotidian, of real, much before English-American poets considered at actual hour as fathers of postmodernism.
         A feature of this important book of actual literature ('Post-definitive') is its joining to the last hour modernity through a new sap of textualism, the poet using new poetical valences, concepts of metalanguage as phoneme, semantic etc.  At the same time the book is anchored in an ironic verve which doesn't manifest only as referential thought but also as irony of language, joining in happy mode the hard lexis with a very re-comforting, at actual hour, expression of popular and familiar nature.
         In Post-definitive exists also a more profound semantic, an implicit metaphysics in poetical thought. (So present also in the syntheses of chapter 'Synapses'.) Characteristic for this book, face to others, is not only the ecosophic substrate of poetical thought (the ecosophy being the philosophical discipline created and masterly illustrated in Romania by T.G.M.), but, this time, the Post-definitive include in artistic creation, evidencing a new direction, the spiritual dimension, poetical ecumenism.
         The    essential humanism of Toma George Maiorescu is revealed also in his prose, which, although doesn't edify, as to other authors, an epic “style”, it finds the axiologic binding  just through diversity of its formulas. More exactly, this means that his author holds the talent to modify his “aesthetic formula” of the writing as act of  molding on living episode, provocative through its special, particular nature, of the  reality.
         Thus, the novel “Noapte buna sagetatorule”/ Good night Sagittarius, with a novel structure, is crossed – beyond the central theme, of love -  on the obsession of “cabala” mystery of number. In this manner, it is obtained an interference between psychological characters, and mysterious, esoteric-metaphysical commandments.
         It is a novel in which the border between exterior reality and interior “dream” or hallucination is permanently labile. The novel is, in fact, the “series” at first person, narrated by the masculine character, of a chain of surprising meetings, in his life, of “ideal woman”.Meetings” of which social context doesn't permit realization of the “perfect couple” , but separation – immediate and with unhealed nostalgia. It is a philosophy of “sanguine Time”, which can not stand stone-still into “ideal states”, and which “advances” through disparity. The travel through an almost hallucinating exterior geography becomes epiphany of an unforeseeable inner travel.
         It exists, in this novel, an almost tragic fascination, a flashing  probability which can not embody itself as reality. It is a prose which interlaces the destiny-anti-destiny  “mystery” with a dense coloratura of concrete detail, because “the dream” subordinates to acuity of the real. From luxuriant descriptions of geographic mediums to the passages of applied erudition regarding architecture, decorative art, etc., it is perpetuated a dialogue between “Ego” and “Sight”, which confirms to us “artistically” the integral-ist profession of faith of existential plans, which Toma George Maiorescu articulated with strong theoretical arguments in his ecosophic work, unique in Romania.
         In this novel  it is defined a powerful phenomenology of transfer between perception of natural elements and inner space. The descriptions pass into own epicallity through compositional gradation of this act of phenomenological transfer.
         “Ucigasul si floarea” / The killer and the flower, “aleatory and thriller novel in pursuit of idea”, apparently a playful fantasy, is integrated by the author into a “Time of expiation”. That is of a historical, totalitarian penitence, disfiguring up to grotesque and absurd. Actually, the absurd will figure like a passport which will permit to anti-totalitarian ideas to pass through Caudine Forks of censorship.
         It is question about skidding into illogical of the historical time we lived. Postmodernist type of “de-structuring” becomes acid in the back of ultra-caricature playfulness. The main character is a sort of Charlot, declasse into caricature's caricature.
         To the same “Time of expiation”  belongs also “Priveghiul”/ The wake, novella of a pure tragic, related to quotas of an ancient tragedy. Innocent characters – mother and son – are doomed by a double instance: of the men and of destiny. The psychologies are abyssal, although differentiated also typologically as a relation between nature and culture.
         A great charge of emotional lucid living defines the memorial prose of Toma George Maiorescu – considered by him a “Time of return”. The evocations in “Fum amar in cerul gurii“/Bitter smoke in in the roof of mouth” are dramatically connected with puberty epoch, time before war with perverting fresh consciousnesses of friends until then, of (separating) influence of Nazi ideology. The soul wound of the child in transformation outrages strongly the human fiber in him.
         The prose of Toma George Maiorescu interferes, as well as the poetry – from axiological point of view, the historical reality with its metaphysical projection. From psychological point of view it interferes  sensibility to the “painful” and lucidity exam.
         There are principles referring to integrability between man and nature, to aphoristic certitude expressed in one of his synapses: “the sense of life is life itself”.
         A constant preoccupation, perseveringly pursued   in the last decades of the XX century is the constitution of a coherent picture of the forces lines of possible tendencies  and syntheses in an end of century-millennium. Toma George Maiorescu probes. Where is the humanity going?
         And he depicts through talks with personalities representative for modern spirituality , the mode of understanding, questions and expectations of the epoch. More than 100 personalities of intellectual elite (artistic, literary, scientific, many of them Nobel laureates) participate to the colloquium included in the volumes “Dialog cu secolul si oamenii lui”/Dialogue with the century and its people, vol. I, and “Unde se intorc cosmonautii”/Where the cosmonauts return, vol. II. Among interviewed are: Werner Heisenberg, Lucian Blaga, Jean Louis Barault, Galina Ulanova and M. Sadoveanu, Gleen Seaborg, M. Solohov and Jacques Ives Cousteau, Adolf Butenand, T. Arghezi, Kaneto Shinda, Go-Mo-Jo, C.M. de Jesus, Oskar Niemeyer, Iannis Ritsos, Makarios, Alfred Kastler, etc.
         To same preoccupation for “state of mankind” at change of century-millennium there are  added his books of travels, reports, notes of route and board diaries (voyages as sailor). The writer's participative curiosity and thirst for knowledge cross large geographical spaces between equator and Arctic, between Sahara and countries of the black continent and Middle Est, from “finistera” up to Urals and farther on. The writer searches, probes opinions, describes geographical and human  landscapes, psychological variety. He reveals and outlines “state of mankind” (Volumes: “Zeii desculti”/ The barefoot gods, “Calatorie prin vreme”/ Journey through time, “Hoinar pe meridiane”/Wanderer on meridians, “Sub 50 de stele”/Under 50 stars, “Intre km. 2000 and Golgota”/Between km 2000 and Golgotha.)

         Completing.  Not in the last turn, Opera Omnia. We must mention his passing from president-founder of the first ecologist party in Romania (Miscarea ecologista din Romania/The ecologist movement from Romania), strict political function, to a function eminently educative: the university chair of ecosophy. The ecosophy is a discipline founded by Toma George Maiorescu in Romania, the discipline of the five fundamental relations: 1) I – the other, 2) I – the social group, 3) I – the Nature, 4) I – the Universe, 5) I – the self (Volumes: “Introducere in Ecosofie”/ Introduction in Ecosophy, “Ecosofia” - university course, “Imblanzirea fiarei din om sau Ecosofia”/ The taming of beast in man or the Ecosophy” - in four editions).
         Opera Omnia Toma George Maiorescu includes circa 40 volumes of poems, prose, philosophy, and publshing. Translated in over 20 languages by well-known writers-translators: David Samoilov, Kirill Kovadji and Evghenii Yevtushenko into  Russian, Geir Campos into  Portuguese, George Anca into  English, Per Olof Ekstrom into  Swedish, Menelaos Ludenis and Dimos Rendis into  Greek, Andree Fleury and Paul Miclau into  French, S. Stamboliev into  Bulgarian, Prabhjot Kaur into  Hindi, Pablo Neruda and Omar Lara into  Spanish, Oskar Pastior into  German, Franyo Zoltan and Balogh Josph into  Hungarian, Melike Roman into  Turkish, Slomo David into  Ivrit, O. Gurijan into  Esperanto, etc.
         The proposal for awarding Nobel Prize for Literature has in view:
         the literary work of Toma George Maiorescu carries an unmistakable  stylistic imprint. Opera omnia presents a large opening toward universality, a humanist-ecosophic vision putting the life in the ontological center. “Sense of life is life itself” writes T.G.M. in one of his synapses.
         T.G.M. literature is an open permanent  polemical confrontation with the comfortable cliches of thought, with mental automatism, with common place and path much walked.
         With the limitations of dogmas and with obtuse of prejudices, his writing, indifferent of genre, is defined through  a constant and ingenious battle for imposing of means of innovative expression, for release of thought from chains of obscure habits, for serene horizon of a generous, bio-centric, ecosophic and ecumenical (of reciprocal respect and harmony between religions) humanism. A cordial humanism, conscious of responsibility for global state of mankind and of life conditions on planet. A humanist message of thought cut on individual measures of everybody and of mankind as a whole, adapted through its vision and action at the quota of technical-scientific and philosophical progress of Millennium III.
         Otherwise, the ideas and ecosophic humanist message penetrate profoundly  and holistic Opera Omnia – Toma George Maiorescu.
         Appropriating entire universal dictionary of artistic expression (from Homer until today), the creation of Toma George Maiorescu  uses without inhibitions those means of expression and forms which release his proper personality. Stylistically he will put emphasis especially on search of conspicuousness of an innovative expression. Thus T.G.M. will be “postmodern” still before of defining and officialness of aesthetic current by literary theory and criticism.
         To the specificity of T.G.M.-ist writing belongs also the permanent  tendency of enriching and enlargement of sphere of poetical language. From the democratic street slang to concepts of intellectual elite modeled by cybernetics, quantum physics, philosophy or internet, the writer integrates, with a rare mastery, organic, in his poetic art, the freshness of new and strong semantic springs.    
University Professor Dr. Paul MICLAU,
Former Dean of the Faculty of Foreign
Languages and Literature
Mail address: Bucharest, Sector V, code 050579
Str. Dimitrie Draghicescu, No.16
Radu Sergiu Ruba

Înainte de toate, viaţă frumoasă tuturor Mariilor, numele să le ocrotească, fiindcă măcar acesta e sfânt în ceea ce ele sînt.
Dar azi am auzit, chiar şi la posturi de radio onorabile, prostia pe cale de generalizare prin care li se adresează urări celor cu numele de Marin. Marin nu are cum să vină de la Maria, iar Maria, apărut ca atare în greacă şi latină, nu a existat înainte de creştinismul cât de cât răspândit. În limbile semitice, cel puţin în ebraică şi în aramaică numele este Miriam. Marin, de la adjectivul marinus, e un determinant latin comun pentru Mediterana, adică adjectivul marin, ceea ce e legat de mare. Din poreclă, dintr-un indicativ topodependent necesar în comunicare, a devenit nume propriu, asemenea lui Montanus, Urbanus, Paganus. Marinus a existat la romani şi înainte de creştinism, deci, înainte de Maria.
Situaţia numelui de Marian-a e ceva mai încurcată datorită culturii creştine. Marianus la romani este fiul lui Marius, iar Mariana este fiica aceluiaşi tată, aşa cum Lucianus este fiul lui Lucius, Emilianus al lui Emilius, Marcellinus al lui Marcellus, Valentinus al lui Valens. Dar Marian, spre deosebire de celelalte identităţi dezvoltate din numele tatălui, a beneficiat, în lumea creştină, în special în cea mai şcolită, în cultura creştină, de suprapunerea unui determinant în conexiune cu Maria peste numele fiului lui Marius, recte, Marianus: cultul marian, de exemplu, în Bisericile Catolică şi Ortodoxă, iconografia mariană în aceleaşi biserici. Cu acest pogorământ, Marian poate fi asimilat, via culturalis, numelor celebrate sub puternica radiaţie mariană.

In sfarsit, iată-mă eliberat din carcera in care m-au trimis niste delatori vulgari, din cel mai tipic șeptel ideologic stalinist. O luna intreaga am stat, mi-am vazut de treaba si, evident , m-am odihnit, asistând totodata, blocat, la mărețul linșaj public la care am fost supus fara posibilitatea de a schița nici măcar un gest elementar de protejare a zonelor vitale. Cu toate acestea, ii anunț oficial pe turnatorii la noua inchizitie a corectitunii politice ca am supraviețuit fara daune si ca, slava domnului, sunt cu toate funcțiile fizice, intelectuale si cognitive intregi. Din cate am inteles, chiar din bocetele sfâșietoare ale delatorilor, a trebuit sa se trimita jalba taman la fb mamă, acolo, la Zuckerberg, fiindcă aici, la nivel national, nu mi s-a gasit nicio culpă demna de reținut. Asadar, prima mea observație privește faptul semnificativ ca Zuckerberg este mult mai nuantat in problemele care privesc lexicul limbii romane si ca frumoasa mea sintagma ,,pizde defecte" l-a oripilat si l-a atins incomparabil mai profund decât pe judecatorii autohtoni, ăia cu dex-ul nativ. Dar cum orice rău este spre bine, trebuie sa recunosc ca am marea satisfacție de a fi lansat in spatiul public nu doar o sintagma cu potential satanic, asa cum a fost ea calificată, ci și un revelator infailibil; deși nu a fost adresată nimanui in mod direct, minunata mea expresie a generat sute de autoindentificari, deopotrivă feministe si fameniste, de la anonimi fara niciun contur si pana la intelectuali vegani și la poeti clorotici sau isterici. Așadar, unul dintre scopuri a fost atins: toti cei care au stat ascunsi, ca niște cârtițe bine camuflate in subteranele umede ale confortului egoist si ale degrevarii de minima calitate umana a empatiei, au sarit ca arși, conform ancestralului efect al pipăirii muștei de pe propria căciulă. Deocamdata atat, doar un salut de revenire! Dar adevarata revenire se va produce atunci cand o sa ma ocup mai îndeaproape de meandrele concretului, vorba unui clasic in viață al socialismului biruitor, ala de la care mi se trage și recenta execuție

Regină-n Ceruri, pre Pământ regină,
Regină peste bahnele din Iad,
Primeşte-o între-ai tăi pe o creştină
Nevrednică să-i faci spre tine vad, –
Şi care-s eu, ce în genunchi îţi cad.
Prea mare-i, când păcatele dau peste,
Stăpână, mila-ţi, făr’ de care este
Cu neputinţă, dincolo de nor,
În Rai să urci. Ce-ţi spun, nu e poveste:
În crezul ăsta vieţui şi-am sa mor.
Ci roagă-ţi Fiul, Maică,-n veci Virgină,
Să-mi ierte vini, în care nu recad,
Să-mi ia, cum Egipţiecei, orice vină
Au cum lui Theophil, – scutit de Iad
La ruga-ţi caldă ca un gros plocad,
Chit că-i slujise Nàgodei. – De-aceste
Mă apără, tu, vrednică de-o Veste
Ce ţi-o aduse-Arhanghelul, – în cor,
Slăvită de copii, bărbaţi, neveste.
În crezul ăsta vieţui şi-am sa mor.
Sărmană îs, pe oase-am prins rugină,
Şi, vârstnică, mă-mpuţinez şi scad;
Nu ştiu ceti, dar văd şi eu, Regină,-n
Biserică, pe muri, şi Rai, şi Iad;
Într-ăsta fierb în smoală ăi de cad,
Întâiu-i plin de trâmbiţe celeste, –
Mă bucură, precât de groază-mi este
De cestălalt. Fă-mi parte, căci mi-e dor,
De toate bucuriile aceste.
În crezul ăsta vieţui şi-am sa mor.
Vergură, ce-ai născut pre Cel ce este
În veci; care păcatul lumii-aceste
L-a luat asupră-i, carele, de peste
Lumină şi, de dincolo de nor,
Om s-a făcut, – prin jertfa-i dând de veste
Nou ev, în care Domnul, El, ne este.
În crezul ăsta vieţui şi-am sa mor.
[Traducere – în amintirea MARIEI-MIA, – de Ş. F.]

mi-e sufletul
mi-e sufletul de-acum drumeţ pribeag
privirea mi s-a încleiat pe-un ram
iar corbii cu sutanele macabre
îmi croncăne prohodul pe la geam
şi Doamne ce duhoare se desprinde
din trupul care zace în sicriu
acum că sunt o mână de ţărână
mi-e dor de învelişul Tău cel viu
aş vrea să ţip buchete de proteste
şi glas de valuri sparte mă îngână
mi-e dor de-agapa Ta pe trup şi plete
dar peste ele viermii stau pe-o rână

Vişan Dragoş



Deschide-mi dinții
cerul gurii înnegrit
poarta strategiei închiderii țipătului
dă-n ei cu târnăcopul să se descleșteze
într-un pat de lut din fosta vale Carasu
eu sunt deținutul ajuns doar piele și os
acum fantoma legată cu sârmă
ce se mai arată înspre Valea Seacă noaptea
în zeghea intelectualilor condamnați
pe care tu neiubită patrie "populară"
de fapt slujnică stalinistă
l-ai împușcat tam-nesam pe când
te înjura de stea roșie la un sisific iad și Canal
fiindcă pe vipie la început de septembrie 1949
nu-i dădeai o ultimă gamelă
cu apă limpede rece de la dereaua
pe care tocmai o sfărâma și astupa
Izvorul tuturor răutăților
o să-i ajungă pe fiii tăi
peste șaptezeci de ani
și hogea Nastratin
nu se va mai ivi
pe-o Dunăre Veche
cu caicul la mal

Luna, bat-o vina! - Beth Hart
"Ea isi aminteste clipa cand s-au vazut,
pana la cel din urma minutar,
viata ei n-a fost vreodat' la fel.
Da, insingurata in intuneric,
cu ochii aprinsi pe ploaie,
viata ei nu a fost vreodat' la fel,
ea varsa lacrimi, este o taina,
si nimeni n-a vazut ce durere imi provoaca,
este magie neagra, este vremea Vrajitoarei!
Luna, bat-o vina, da,
luna, bat-o vina!....
Da, este o taina
si nimeni n-a vazut ce durere imi provoaca,
este magie neagra, este vremea Vrajitoarei!
Ti-am zis ca-i luna, bat-o vina,
luna, bat-o vina, da,
luna, bat-o vina!"

bărbați în alb-negru
Norica Isac (M.G.)
acei bărbați din albume
în acele fotografii alb-negru
surprinsi între două mutații:
-de veac și (inter)belice-
mult mai înalți cu pălarii pe cap
mult mai subțiri în pardesie lungi
mult mai umblați cu pantofi lustruiți
în spatele lor
o stradă cu automobil
un colț de cafenea
cu afiș music hall
și dantela unei rochii cu jupon
la o masă
un trandafir
vândut la colț de stradă
toate acestea
în ochii
acelor bărbați din albume
zâmbind în fața
mașinilor de fotografiat
între două fleshuri:
-de timp și de foc-

Jorj Maria
mi-am jupuit rânduri de piele
până fața s-a urâțit într-atât
încât doar câinele meu surd
mă recunoaște
doar el mai descifrează
semnele muțeniei mele
mi-am jupuit rânduri de piele
dar poezia mea nu s-a schimbat
sunt creația cuvintelor
care nu oferă nimic în schimb
sunt fanatica iconografului Rubliov
care s-a împuținat văzând cu ochii
mi-am jupuit rânduri de piele
pentru ca moartea să fie mai ușoară
simt gustul de fum al toamnei
se ard lucrurile
se așează bruma în fața cerului
nimic nu-mi amintește să fi avut
o altă viață
pielea cuvintelor este albă
este neagră
lucioasă ca o rășină care plânge.

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