Pixar Animation Studios presents The Art of Cars 3, a behind-the-scenes look at the concept art from the latest film in the popular Cars series. Fascinating storyboards, full-color pastels, digital paintings, and more offer a unique perspective into the beloved world of Lightning McQueen and his friends, new and old. With a preface by John Lasseter, foreword by director Brian Fee, and an introduction by production designers Bill Cone and Jay Shuster, The Art of Cars 3 is a scenic road trip through a masterfully animated film.Copyright 2017 Disney Enterprises, Inc. and Pixar. All rights reserved.

Cars 2 is a globetrotting, high-octane ride through the world of Lightning McQueen, his best friend Mater, and an international collection of completely new characters. The Art of Cars 2 follows the development of the second installment in the Cars series, from the first story concepts and the filmmakers' worldwide research to the intricate "e;carified"e; details that make up the unique Cars 2 universe. Featuring the behind-the-scenes concept art that went into the film's creation--including color scripts, storyboards, character studies, environmental art, sculpts, and more--as well as a forward by director and racecar-enthusiast John Lasseter, The Art of Cars 2 celebrates the art and intrigue of this amazing new Pixar film.

Anne Kingsmill was born in April 1661 (an exact date is not known) in Sydmonton, Hampshire.Throughout her life Anne was involved in several Court cases that dragged on for years. These involved both a share of her parents estate for her education and later her and her husband's share of an inheritance.In 1682, Anne became a maid of honour to Mary of Modena (wife of James, Duke of York, later King James II) at St James's Palace.Anne's interest in poetry began at the palace, and she started writing her own verse. The Court however was no place for a woman to display any poetic efforts. Woman were not considered suitable for such literary pursuits.At court, Anne met Colonel Heneage Finch. A courtier as well as a soldier. The couple married on 15th May 1684.

Lucius Annaeus Seneca, more readily known as Seneca the Younger, was born at Cordoba in the Roman province of Baetica in Hispania in approx 4 BC.Seneca attests that he was taken to Rome at a young age and educated in literature, grammar, and rhetoric; the standard education of high-born Romans. He also received philosophical training.Much of his life is not well documented but accounts do lean towards a pattern of ill-health at times. His breathing difficulties are thought to be the result of asthma and during his mid-twenties he contracted tuberculosis.He was sent to Egypt to live with his aunt, whose husband, Gaius Galerius, was Prefect of Egypt. In 31 AD he returned to Rome with her and, with her influence, was elected quaestor and with it the right to sit in the Roman Senate.Seneca's early career as a senator was successful and he was fulsomely praised for his oratory. A story related that emperor Caligula was so offended by Seneca's oratorical success that he ordered him to commit suicide. Seneca's ill-health prevented that.In 41 AD, Claudius became emperor, and Seneca was promptly cited by the new empress Messalina of adultery with Julia Livilla, the sister of Caligula and Agrippina.After trial the Senate pronounced a death sentence, which Claudius then commuted to exile. Seneca was to now spend the next eight years in Corsica. From this period of exile survive two of his earliest works-both consolations.In 49 AD Agrippina married her uncle Claudius, and through her Seneca was recalled to Rome. Agrippina appointed him, as tutor to her son, the future emperor Nero.Nero's early rule, during which he followed the advice of Seneca and Burrus, was competent. However, within a few years both Seneca and Burrus had lost their influence.In 58 AD the senator Publius Suillius Rufus made a series of public attacks on him saying that, Seneca had acquired a personal fortune of three hundred million sestertii. In response, Seneca brought a series of prosecutions for corruption against him. Suillius was dispatched into exile.After Burrus's death in 62 AD, Seneca's influence further declined. He adopted a quiet lifestyle at his country estates, concentrating on his studies and seldom visiting Rome. It was during these final few years that he composed two of his greatest works: 'Naturales Quaestiones'-an encyclopedia of the natural world; and his 'Letters to Lucilius'-which document his philosophical thoughts.In AD 65, Seneca was caught up in the aftermath of the Pisonian plot to kill Nero. Nero ordered him to kill himself. Seneca followed tradition by opening several veins in order to bleed to death. It was a sad conclusion for a man who has been called the first great Western thinker on the complex nature and role of gratitude in human relationships.

John Marston was born to John and Maria Marston nee Guarsi, and baptised on October 7th, 1576 at Wardington, Oxfordshire.Marston entered Brasenose College, Oxford in 1592 and earned his BA in 1594. By 1595, he was in London, living in the Middle Temple. His interests were in poetry and play writing, although his father's will of 1599 hopes that he would not further pursue such vanities.His brief career in literature began with the fashionable genres of erotic epyllion and satire; erotic plays for boy actors to be performed before educated young men and members of the inns of court.In 1598, he published 'The Metamorphosis of Pigmalion's Image and Certaine Satyres', a book of poetry. He also published 'The Scourge of Villanie', in 1598. 'Histriomastix' regarded as his first play was produced 1599. It's performance kicked off an episode in literary history known as the War of the Theatres; a literary feud between Marston, Jonson and Dekker that lasted until 1602.However, the playwrights were later reconciled; Marston wrote a prefatory poem for Jonson's 'Sejanus' in 1605 and dedicated 'The Malcontent' to him. Beyond this episode Marston's career continued to gather both strength, assets and followers. In 1603, he became a shareholder in the Children of Blackfriars company. He wrote and produced two plays with the company. The first was 'The Malcontent' in 1603, his most famous play. His second was 'The Dutch Courtesan', a satire on lust and hypocrisy, in 1604-5.In 1605, he worked with George Chapman and Ben Jonson on 'Eastward Ho', a satire of popular taste and the vain imaginings of wealth to be found in the colony of Virginia.Marston took the theatre world by surprise when he gave up writing plays in 1609 at the age of thirty-three. He sold his shares in the company of Blackfriars. His departure from the literary scene may have been because of further offence he gave to the king. The king suspended performances at Blackfriars and had Marston imprisoned.On 24th September 1609 he was made a deacon and them a priest on 24th December 1609. In October 1616, Marston was assigned the living of Christchurch, Hampshire.He died (accounts vary) on either the 24th or 25th June 1634 in London and was buried in the Middle Temple Church.

Thomas Middleton was born in London in April 1580 and baptised on 18th April. Middleton was aged only five when his father died. His mother remarried but this unfortunately fell apart into a fifteen year legal dispute regarding the inheritance due Thomas and his younger sister. By the time he left Oxford, at the turn of the Century, Middleton had and published Microcynicon: Six Snarling Satirese which was denounced by the Archbishop of Canterbury and publicly burned. In the early years of the 17th century, Middleton wrote topical pamphlets. One - Penniless Parliament of Threadbare Poets was reprinted several times and the subject of a parliamentary inquiry. These early years writing plays continued to attract controversy. His writing partnership with Thomas Dekker brought him into conflict with Ben Jonson and George Chapman in the so-called War of the Theatres. His finest work with Dekker was undoubtedly The Roaring Girl, a biography of the notorious Mary Frith. In the 1610s, Middleton began another playwriting partnership, this time with the actor William Rowley, producing another slew of plays including Wit at Several Weapons and A Fair Quarrel. The ever adaptable Middleton seemed at ease working with others or by himself. His solo writing credits include the comic masterpiece, A Chaste Maid in Cheapside, in 1613. In 1620 he was officially appointed as chronologer of the City of London, a post he held until his death. The 1620s saw the production of his and Rowley's tragedy, and continual favourite, The Changeling, and of several other tragicomedies. However in 1624, he reached a peak of notoriety when his dramatic allegory A Game at Chess was staged by the King's Men. Though Middleton's approach was strongly patriotic, the Privy Council silenced the play after only nine performances at the Globe theatre, having received a complaint from the Spanish ambassador. What happened next is a mystery. It is the last play recorded as having being written by Middleton. Thomas Middleton died at his home at Newington Butts in Southwark in the summer of 1627, and was buried on July 4th, in St Mary's churchyard which today survives as a public park in Elephant and Castle.

William Somerset Maugham was born on 25 January 1874 and was to become a playwright and novelist of staggering talent. Losing both his parents at age 10, he was raised by a paternal uncle. Maugham eventually trained and qualified as a doctor. The first run of his first novel, Liza of Lambeth, published in 1897, sold out so rapidly that Maugham gave up medicine to write full-time. During World War I he was recruited into the British Secret Service. The Moon And Sixpence is one of his greatest works. Told in episodic form it looks into the mind and soul of Charles Strickland, a middle-aged stockbroker who abruptly abandons both wife and children to pursue a career as an artist.

Philip Massinger was baptized at St. Thomas's in Salisbury on November 24th, 1583.Massinger is described in his matriculation entry at St. Alban Hall, Oxford (1602), as the son of a gentleman. His father, who had also been educated there, was a member of parliament, and attached to the household of Henry Herbert, 2nd Earl of Pembroke. The Earl was later seen as a potential patron for Massinger.He left Oxford in 1606 without a degree. His father had died in 1603, and accounts suggest that Massinger was left with no financial support this, together with rumours that he had converted to Catholicism, meant the next stage of his career needed to provide an income.Massinger went to London to make his living as a dramatist, but he is only recorded as author some fifteen years later, when The Virgin Martyr (1621) is given as the work of Massinger and Thomas Dekker.During those early years as a playwright he wrote for the Elizabethan stage entrepreneur, Philip Henslowe. It was a difficult existence. Poverty was always close and there was constant pleading for advance payments on forthcoming works merely to survive.After Henslowe died in 1616 Massinger and John Fletcher began to write primarily for the King's Men and Massinger would write regularly for them until his death.The tone of the dedications in later plays suggests evidence of his continued poverty. In the preface of The Maid of Honour (1632) he wrote, addressing Sir Francis Foljambe and Sir Thomas Bland: "e;I had not to this time subsisted, but that I was supported by your frequent courtesies and favours."e;The prologue to The Guardian (1633) refers to two unsuccessful plays and two years of silence, when the author feared he had lost popular favour although, from the little evidence that survives, it also seems he had involved some of his plays with political characters which would have cast shadows upon England's alliances.Philip Massinger died suddenly at his house near the Globe Theatre on March 17th, 1640. He was buried the next day in the churchyard of St. Saviour's, Southwark, on March 18th, 1640. In the entry in the parish register he is described as a "e;stranger,"e; which, however, implies nothing more than that he belonged to another parish.

Edgar Rice Burroughs was born on September 1, 1875, in Chicago, Illinois. His early career was unremarkable. After failing to enter West Point he enlisted in the 7th Calvary but was discharged after heart problems were diagnosed. A series of short term jobs gave no indication as to a career path but finally, in 1911, married and with two young children, he turned his hand to writing. He aimed his works squarely at the very popular pulp serial magazines. His first effort 'Under The Moons Of Mars' ran in Munsey's Magazine in 1912 under the pseudonym Norman Bean. With its success he began writing full time. A continuing theme of his work was to develop series so that each character had ample opportunities to return in sequels. John Carter was in the Mars series and there was another on Venus and one on Pellucidar among others. But perhaps the best known is Tarzan. Indeed Burroughs wanted so much to capitalise upon the brand that he introduced a syndicated Tarzan comic strip, movies and merchandise. He purchased a large ranch north of Los Angeles, California, which he named "e;Tarzana."e; The surrounding communities outside the ranch voted in 1927 to adopt the name as their own. By 1932 Burroughs set up his own company to print his own books. Here we publish the second in the Tarzan series 'The Return of Tarzan'. Another cultural classic.

The life of William Shakespeare, arguably the most significant figure in the Western literary canon, is relatively unknown. Shakespeare was born in Stratford-upon-Avon in 1565, possibly on the 23rd April, St. George's Day, and baptised there on 26th April. Little is known of his education and the first firm facts to his life relate to his marriage, aged 18, to Anne Hathaway, who was 26 and from the nearby village of Shottery. Anne gave birth to their first son six months later. Shakespeare's first play, The Comedy of Errors began a procession of real heavyweights that were to emanate from his pen in a career of just over twenty years in which 37 plays were written and his reputation forever established. This early skill was recognised by many and by 1594 the Lord Chamberlain's Men were performing his works. With the advantage of Shakespeare's progressive writing they rapidly became London's leading company of players, affording him more exposure and, following the death of Queen Elizabeth in 1603, a royal patent by the new king, James I, at which point they changed their name to the King's Men. By 1598, and despite efforts to pirate his work, Shakespeare's name was well known and had become a selling point in its own right on title pages. No plays are attributed to Shakespeare after 1613, and the last few plays he wrote before this time were in collaboration with other writers, one of whom is likely to be John Fletcher who succeeded him as the house playwright for the King's Men. William Shakespeare died two months later on April 23rd, 1616, survived by his wife, two daughters and a legacy of writing that none have since yet eclipsed.

Publius Terentius Afer is better known to us as the Roman playwright, Terence.Much of his life, especially the early part, is either unknown or has conflicting sources and accounts.His birth date is said to be either 185 BC or a decade earlier: 195 BC. His place of birth is variously listed as in, or, near Carthage, or, in Greek Italy to a woman taken to Carthage as a slave. It is suggested that he lived in the territory of the Libyan tribe that the Romans called Afri, near Carthage, before being brought to Rome as a slave. Probability suggests that it was there, in North Africa, several decades after the destruction of Carthage by the Romans in 146 BC, at the end of the Punic Wars, that Terence spent his early years.One reliable fact is that he was sold to P. Terentius Lucanus, a Roman senator, who had him educated and, impressed by his literary talents, freed him.These writing talents were to ensure his legacy as a playwright down through the millennia. His comedies, partially adapted from Greek plays of the late phases of Attic Comedy, were performed for the first time around 170-160 BC. All six of the plays he has known to have written have survived.Indeed, thanks to his simple conversational Latin, which was both entertaining and direct, Terence's works were heavily used by monasteries and convents during the Middle Ages and The Renaissance. Scribes often learned Latin through the copious copying of Terence's texts. Priests and nuns often learned to speak Latin through re-enactment of Terence's plays. Although his plays often dealt with pagan material, the quality and distinction of his language promoted the copying and preserving of his text by the church. This preservation enabled his work to influence a wide spectrum of later Western drama.When he was 25 (or 35 depending on which year of birth you ascribe too), Terence travelled to Greece but never returned. It has long been assumed that he died at some point during the journey.Of his own family nothing is known, except that he fathered a daughter and left a small but valuable estate just outside Rome.His most famous quotation reads: "e;Homo sum, humani nihil a me alienum puto"e;, or "e;I am human, and I think nothing human is alien to me."e;

The short story is often viewed as an inferior relation to the Novel. But it is an art in itself. To take a story and distil its essence into fewer pages while keeping character and plot rounded and driven is not an easy task. Many try and many fail. In this series we look at short stories from many of our most accomplished writers. Miniature masterpieces with a lot to say. In this volume we examine some of the short stories of Arthur Conan Doyle. If ever a writer needed an introduction Arthur Conan Doyle would not be considered that man. After all, Sherlock Holmes is perhaps the foremost literary detective of any age. Add to this canon his stories of science fiction and his poems, his historical novels, his political campaigning, his efforts in establishing a Court Of Appeal and there is little room for anything else. Except he was also an exceptional writer of short stories of the horrific and macabre. Something very different from what you might expect. Born in Arthur Conan Doyle was born on 22 May 1859 at 11 Picardy Place, Edinburgh, Scotland. From 1876 - 1881 he studied medicine at the University of Edinburgh following which he was employed as a doctor on the Greenland whaler Hope of Peterhead in 1880 and, after his graduation, as a ship's surgeon on the SS Mayumba during a voyage to the West African coast in 1881. Arriving in Portsmouth in June of that year with less than GBP10 (GBP700 today[13]) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea. The practice was initially not very successful. While waiting for patients, Conan Doyle again began writing stories and composed his first novel The Mystery of Cloomber. Although he continued to study and practice medicine his career was now firmly set as a writer. And thereafter great works continued to pour out of him. Many of these stories are also available as an audiobook from our sister company Word Of Mouth. Many samples are at our youtube channel http://www.youtube.com/user/PortablePoetry?feature=mhee The full volume can be purchased from iTunes, Amazon and other digital stores.

Benjamin "e;Ben"e; Jonson was born in June, 1572. A contemporary of William Shakespeare, he is best known for his satirical plays; Volpone, The Alchemist, and Bartholomew Fair, and his equally accomplished lyric poems. A man of vast reading and a seemingly insatiable appetite for controversy, including time in jail and a penchant for switching faiths, Jonson had an unparalleled breadth of influence on Jacobean and Caroline playwrights and poets. In 1616 Jonson was appointed by King James I to receive a yearly pension of GBP60 to become what is recognised as the first official Poet Laureate. He died on the 6th of August, 1637 at Westminster and is buried in the north aisle of the nave at Westminster Abbey. A master of both playwriting and poetry his reputation continues to endure and reach a new audience with each succeeding generation.

The short story is often viewed as an inferior relation to the Novel. But it is an art in itself. To take a story and distil its essence into fewer pages while keeping character and plot rounded and driven is not an easy task. Many try and many fail. In this series we look at short stories from many of our most accomplished writers. Miniature masterpieces with a lot to say. In this volume we examine some of the short stories of Arthur Conan Doyle. If ever a writer needed an introduction Arthur Conan Doyle would not be considered that man. After all, Sherlock Holmes is perhaps the foremost literary detective of any age. Add to this canon his stories of science fiction and his poems, his historical novels, his political campaigning, his efforts in establishing a Court Of Appeal and there is little room for anything else. Except he was also an exceptional writer of short stories of the horrific and macabre. Something very different from what you might expect. Born in Arthur Conan Doyle was born on 22 May 1859 at 11 Picardy Place, Edinburgh, Scotland. From 1876 - 1881 he studied medicine at the University of Edinburgh following which he was employed as a doctor on the Greenland whaler Hope of Peterhead in 1880 and, after his graduation, as a ship's surgeon on the SS Mayumba during a voyage to the West African coast in 1881. Arriving in Portsmouth in June of that year with less than GBP10 (GBP700 today[13]) to his name, he set up a medical practice at 1 Bush Villas in Elm Grove, Southsea. The practice was initially not very successful. While waiting for patients, Conan Doyle again began writing stories and composed his first novel The Mystery of Cloomber. Although he continued to study and practice medicine his career was now firmly set as a writer. And thereafter great works continued to pour out of him. Many of these stories are also available as an audiobook from our sister company Word Of Mouth. Many samples are at our youtube channel http://www.youtube.com/user/PortablePoetry?feature=mhee The full volume can be purchased from iTunes, Amazon and other digital stores.

Η Πο?ηση, οι εμπνε?σει? και τα μην?ματα που προσωπικ? και αυθ?ρμητα εκπ?μπονται απ? την ψυχ? του ποιητ? δ?σκολα περιγρ?φονται και αναλ?ονται. Ο Γι?ργο? Σεφ?ρη? δεν ?θελε να μιλ? και να εξηγε? τ?ποτα απολ?τω? για τα ποι?ματ? του. Ο Euros Bowen ?λεγε πω? ?η Πο?ηση δεν ε?ναι λ?ξει?, αλλ? ο χορ?? τη? φωτι???! Την παραλληλ?ζει δε με τη φωτι?, ?χι με την ?ννοια τη? καταστροφ?? και τη? απ?λειψη?, αλλ? με την εξαιρετικ? ?ννοια του καυτηριασμο?, τη? κ?θαρση? και επομ?νω? τη? θεραπε?α?. Κι αυτ? τα στοιχε?α προσφ?ρονται π?ντα... αθ?ρυβα!

Identitatea ?i alteritatea abordate ?n opera unor importan?i autori, ca, de pild?, Eminescu, Blaga, Ionescu ?i Cioran – un subiect pe c?t de dificil, pe at?t de interesant nu numai din punct de vedere al istoriei, teoriei ?i criticii literare.

Prin acest volum, se continu? publicarea jurnalelor lui Rainer Maria Rilke, redactate ?n tinere?ea lui.Jurnalul florentin este cea mai timpurie ?nsemnare autobiografica a poetului, prilejuit? de un voiaj ?n ora?ul lui Dante, a?ternut? pe h?rtie la pu?in dup? 20 de ani. Valoarea lui nu const? doar ?n impresiile, st?rile suflete?ti ori tr?irile autorului, ci ?i ?n faptul c? el dezv?luie c?teva dintre conceptele fundamentale, pe care se va sprijini ?ntreaga lui crea?ie ulterioar?. El dezv?luie obsesia durabil? a autorului cu privire la destinul s?u artistic: ?Deseori m? cuprinde o imens? nostalgie dupa mine ?nsumi. ?tiu prea bine, drumul e ?nc? lung.“ Jurnalul de la Westerwede, de?i evoc? doar un an din existen?a lui Rilke, dezv?luie o intret?iere de experien?e ?i de evenimente, precum debutul c?sniciei cu Clara Westhoff, dar ?i lupta cotidiana pentru existen?? ?n sensul cel mai propriu al cuv?ntului. Lipsit de ajutorul financiar patern, el se vede nevoit s?-?i c??tige p?inea printr-o salahoreal? istovitoare ?i deloc artistic m?gulitoare la diverse ziare ?i reviste. Nu lipsesc, desigur, reflec?iile despre art?, v?zute ca un modus vivendi: ?Arta este un mijloc al indivizilor, al ?nsigura?ilor de a se ?mplini pe sine“.

Ce e un manechin? Un om-p?pu??, unu’ care se las? ?mbr?cat ?i dezbr?cat ?n v?zul lumii, o f?ptur? derutant?, un fel de paralitic ?ntr-un spital; nu mi?c?, nu vorbe?te dec?t ?nl?untrul s?u, ca ?ntr-un joc de-a v-a?i ascunselea: ?observi cum ??i fur vorbele cum ??i mut patul c?nd eram t?n?r? m? ?ndr?gosteam ?n mai acum m? ?ndr?gostesc ?n octombrie soarele meu bostanul meu doldora de semin?e orice ascunz?toare e o m?rturisire“. (Nora Iuga, iulie 2010)

Da. E despre mine. E despre tine. E despre noi. Din toate p?r?ile ?i toate direc?iile. Despre falimentul moral ?i trezirea spiritului. Despre cum e s? ui?i ?i c?t de bine e s? ??i reaminte?ti. (Beatrice, activist) Un volum de poezii despre poezia ?i nepoezia vie?ii. Mai degrab? despre ce omoar? poezia vie?ii. De citit dac? sunte?i odihni?i ?i cu chef de introspec?ie. Aten?ie, poate s? doar?. (Mihaela, manager) Am frunz?rit-o cu trufia c? nu e despre mine. Am citit-o cu teama c? ar putea fi despre mine. Am recitit-o cu ambi?ia s? nu devin? despre mine. (Ioana, manager formare) Am deschis cartea, am r?sfoit, am citit. Apoi am ?nchis Outlook-ul ?i m-am g?ndit la lucruri simple: prieteni, muzic?, sine. (Andrei, copywriter) Am avut permanent senza?ia c? navighez pe valuri, fel de fel de valuri, valuri peste valuri de via??, valuri cu gloata mijlocie, prins? ?n caden?a asta a noastr?, modern? ?i golit? de rost personal. (Carmen, strategic planner) O oglind? care reflect? ?n cuvinte propria via?? – care via??? – multiplicat? ?n mii de alte trupuri, care tr?iesc aceea?i nesf?r?it? ?zi a c?rti?ei“. (Sylvia, marketing manager) Mi-a transmis impresia de oper? rock, sau, m? rog, cum s-ar putea numi a?a ceva pe muzic? de Parov Stelar, Nicholas Jarr ?i al?ii mai de acum. (?tefan, student) ?Auzi, de ce nu scrie nimeni poezie despre corporati?ti?“ m-a ?ntrebat un prieten acum vreo cinci ani. La vremea aceea am pufnit ?n r?s de mi-a dat ?pri?ul pe nas, dar, anul trecut, mi-am dat seama c? se poate. Tocmai terminasem Saga – bilete la clasa din mijloc, un poem epic, ironic ?i ?ntins pe vreo 30 de pagini. Despre iubirea dintre doi corporati?ti, desp?r?i?i ?n adolescen?? ?i reg?si?i la disperare, pe la 30 de ani ?i ceva, cu ocazia unui infarct. L-am rugat pe Paul Hitter, ale c?rui desene cu miz? social? ?i tu?e cinice m? atr?geau demult, s? ilustreze c?teva scene din istoria celor doi eroi ai poemului. Au ie?it 7 desene care nu doar ajut? textul, ci duc povestea mai departe, o cresc ?i o dezvolt?. Din vagonul de accelerat Timi?oara-Bucure?ti p?n? pe malul m?rii, Paul a transcris vizual o hart? a nelini?tilor, fricilor, la?it??ilor ?i speran?elor unei genera?ii care a ?mb?tr?nit ?nainte de vreme, dar care ?nc? sper? la evadare. Saga – bilete la clasa din mijloc este o carte-album despre noi ?i despre voi, despre cei ce umplu sta?ia Pipera la 7 diminea?? ?i despre cei care r?d de ei ?ntorc?ndu-se din club, despre cei adu?i la nebunie de creditul ipotecar ?i cei ?ntor?i victorio?i ?i ar?i din Goa sau de la festivaluri. Este poezie pentru c? sunte?i poezie, este scris? pentru c? trebuia scris? ?i este desenat? ca s? nu mai existe niciun dubiu.“ (T?u?ance)

S?nge albastru nu mai exist? pe pia?a de carte de zeci de ani. De fapt, de la debut, din 1969. C?nd scriu aceste r?nduri, ?nc? nu mi-am rev?zut ?i recitit cartea. Aproape c? pot spune c? nu am habar ce am scris ?n S?nge albastru. ?i nici nu cred c? a? putea fi obiectiv? fa?? de valoarea estetic? a c?r?ilor mele de ?nceput. Nu-mi amintesc s? fi scris cineva, vreun critic, c?t ar fi fost el de neverosimil, despre carte. E?ecul a fost total. To?i colegii de v?rsta mea debutaser? deja, cu brio. Pentru ei ?ncepuser? vremurile recunoa?terii ?i ale privilegiilor. Eu s?pam, ca o c?rti?? kafkian?, bolnav? ?i oarb?, prin p?m?ntul poeziei din capul meu. ?tiu, doar, c? n-am putut dintr-o pudoare (ne)verosimil? s?-mi exhib sentimentele legate de boala care nu m? l?sa s? respir. Aveam tuberculoz? pulmonar? sever?. Am fost inocent?. S?nt ?i acum, dar altfel. A venit Alex Goldi?, un t?nar critic de aproximativ treizeci de ani, care a readus ?n scen? S?nge albastru, un gest exorbitant ?i riscant din partea lui, pentru care ?i mul?umesc. (Angela Marinescu)De peste patru decenii, Angela Marinescu a r?mas una dintre cele mai excentrice figuri ale poeziei rom?ne?ti, de ne?ncadrat ?n nici o poetic? genera?ionist?. ?n S?nge albastru, excelentul volum de debut din 1969 (care m? face s? m? ?ntreb unde s?nt str?lucitele debuturi de alt?dat?), t?n?ra poet? r?sturna abstractismul panteist ?i livresc à la Nichita St?nescu sau Ana Blandiana ?ntr-un imaginar dens ?i grav, ?nc?rcat de fantasme sexuale ?i funerare. Simbolurile ascensiunii, ale tinere?ii ?i ale purit??ii, tipic ?aizeciste, f?ceau loc unui con?inut poetic ponderabil ?i impudic. Ce ?mp?rt??ea poezia Angelei Marinescu cu versurile colegilor de genera?ie era, poate, doar o anumit? calofilie barbian? a formei, la care va renun?a pe parcurs. Cu optzeci?tii are autoarea Blindajului final ?i mai pu?ine lucruri ?n comun, c?ci formula ei poetic? e tot ce poate fi mai str?in ?nscen?rilor textuale. E explicabil, a?adar, faptul c? tocmai postura de outsider o recomand? pe Angela Marinescu drept mam? absolut? a autenticismului rom?nesc. (Alex Goldi?)

Ceea ce surprinde i fascineaz din capul locului n Ppdia electric este naturaleea cu care erban Axinte i transcrie viziunile. Discursul su nu are nimic contrafcut, strident, literar; din contr, poetul las impresia c nu face dect s repertorieze ct mai neutru, cu o precizie de grefier, o lume care i se ofer de-a gata i care, n ultim instan, l cuprinde. E drept c asemenea fotograme, care nu pot fi captate dect n stri liminale, precum visul, hipnoza, beia sau demena, au un aspect halucinant i misterios, de underworld rsrit parc din aburii alcoolului ori cufundat ntr-o memorie lichefiat. Numai c acest efect nu provine din anularea, ci tocmai din dilatarea percepiei comune, din celulele surescitate ale retinei care descoper nu att o irealitate imediat, ct o realitate remixat, n care lucrurile pot fi i aa, i altminteri. N-a putea bga mna-n foc c lumea i-a mai ieit i de aceast dat lui erban Axinte aa cum a vrut. Poezia, ns – cu siguran.“ – Andrei Terianerban Axinte este, dup cum tie toat lumea, unul dintre cele mai bune produse ale criticii literare din ultimul deceniu. Cronicar la Observator cultural, el este i autorul uneia dintre cele mai ambiioase sinteze recente – Definiiile romanului. De la Dimitrie Cantemir la G. Clinescu, o morfologie istoric a romanului romnesc care merit cu prisosin o receptare en fanfare.ns, pe de alt parte, taman faptul c toat lumea tie cine e criticul literar erban Axinte nu-i face un PR prea grozav poetului erban Axinte, cu toate c cel din urm e egalul absolut n drepturi al celui dinti. Lucrul s-a vzut i la precedenta sa carte de poezie, Lumea i-a ieit cum ai vrut (Vinea, 2006) – recomandat de prefaa empatic a lui Doris Mironescu, volumul n-a avut totui receptarea pe care ar fi meritat-o. Iar acum, dup cum se vede, scriu la rndul meu o prefa empatic, spernd din toat inima c Ppdia electric va fi o carte mai norocoas.(...)Ppdia electric e construit din trei cicluri (ca i Lumea i-a ieit aa cum ai vrut, de altfel – ceea ce poate s sugereze un anumit pattern arhitectural urmrit cu schepsis), intitulate decoct, bulb i acele electrice; ei bine, poemele tuturor acestor trei cicluri sunt inervate de imagini remarcabile, deseori de-a dreptul memorabile – citez aproape la ntmplare: s ni se ridice din inim o lumin att de puternic nct custura lumilor s nu se mai vad (acele electrice), ceva crete acum din mine, / cineva sufl asupra mea / cu miliarde de fotoni. // aura / nflorete din bulbul cretetului meu / ntr-o uria ppdie electric (ppdia electric), de ce i este fric, atta timp ct stai acolo, / nimic nu te poate atinge. // ce vd n tine, ce vd n tine, // un cimitir n care toi dumnezeii pmntului / i-au lsat morii s nfloreasc (de ce i este fric) .a.m.d. Sunt, toate, imagini de o mare frumusee, cu care empatizezi instantaneu i te fac s stabileti cu textul de sub ochi acel contract de ncredere despre care vorbea cndva Borges ca de o condiie sine qua non a lecturii de poezie.(...) Aadar, dac inem s-l etichetm generaionist pe erban Axinte, nu putem dect conchide c e cel mai atipic doumiist. Cu excepia obsesiei pentru hapax-ul existenial, nimic nu-l leag de generaia sa: nici poetica, nici maniera, nici tehnica. O atipie profund transpare din tot scrisul lui poetic; or, dup cum se tie, atipicii sunt ntotdeauna ctigtori pe termen lung.“ – Radu Vancu