Mai ales inteligena speculativ i iueala fixrii prioritilor n cmpul de idei au facut din Rzvan Voncu un critic de ntmpinare imposibil de ignorat n peisajul literar romnesc.“ (Eugen Negrici)O panoram literar a ultimului deceniu. Istorie literar, evenimente editoriale. Cri de excepie i autori de excepie. Istoria ultimului deceniu de literatur romn semnat de Rzvan Voncu ofer un peisaj exact, descris n cunotin de cauz.

George Gissing est un auteur anglais estimé, dont les livres ont cependant été peu traduits et, souvent, relativement peu vendus, y compris dans sa contrée d'origine. Son ?uvre, comme sa biographie, est restée marginale, comme la plupart des écrivains, dont il a régulièrement décrit l'existence dans ses romans. Pourtant, il entretenait et dans une certaine mesure, en tant que sujet d'études, de recherche, entretient toujours des liens privilégiés avec la France, où il a passé les dernières années de sa vie. Revitrans fait revivre par la traduction en langue fran?aise des auteurs oubliés ou en marge, dont l'oeuvre ne trouve pas sa place dans l'édition classique. Cette brève nouvelle de Gissing, qu'on peut interpréter comme une forme de danse macabre, est sa première expérience, dont les suites dépendront des capacités du traducteur et des éventuelles réactions des lecteurs.

ncercarea de a ptrunde n magmele clocotirilor artistice este o ispitire mai veche a mea. Adncimile au n ele murmur de siren. Sigur a fost semea ncercarea mea i, probabil, neinspirat. Germinarea crii de fa mi pare acum un experiment al bucuriei. Doi preoi i doi slujitori ai literei, totodat doi duhovnici fiecare cu ucenicul su, au vrut s cltoreasc pentru o clip n inefabilul chenozelor, al deertrilor de sine. Nu tiu dac are armonie, mi este greu acum s precizez. Atunci prea c rezonm. Depun doar mrturie i gnd mulumitor c a fost o sear unic. (Preot Niculae Constantin)

La ora la care scriu aceste r?nduri, revista Contemporanul se apropie de aniversarea a 130 de ani de la fondare, si ne ?ntreb?m, cu to?ii, iar??i ?i iar??i, ce schimb?ri s-au produs ?n peisajul cultural, literar, social ?n ultimii 20 de ani? Ce viitor vor avea cultura, literatura rom?n? vie ?n contextul acestor schimb?ri? Cum ??i va reveni din criza actuala, mai grav?, mai dramatic? dec?t criza economic? propriu-zisa fiind, f?r? ?ndoiala, profunda criz? moral? de care este cuprins? societatea rom?neasc?? R?spunsurile formulate de participan?ii la anchet? – precum ?i celelalte articole, eseuri, reportaje etc. – cuprinse ?n acest supliment aniversar vizeaz? ?i aceste aspecte, greu de neglijat, din v?rtejul evenimentelor istorice, din acest dramatic prezent, rezist?nd, spre gloria na?iunii rom?ne, Excelen?a Sa, cultura, literatur? rom?n? vie. (Aura Christi)

Cartea e ca o pies? de teatru alc?tuit? din personaje, parantezele autorului, dialoguri, secven?e, scene, acte, cu leg?tura necesar?, intre acestea. ?n treac?t fie spus, critica poate s? ?ntre?in? longevitatea operei, dac? are destul? vigoare ?i dac? opera e de calitate. Sunt vorbe optimiste la vremea Internetului care, deocamdat?, nu de?ine puterea controlului critic ?i nici nu se ?ntrev?d ?anse de aceast? natur?. Tocmai de aceea pericolul dispari?iei c?rt?ii de h?rtie pare anun?area unui cataclism. Noi mai credem ?n ceva. R?m?ne hot?r?t c? interpretarea critic?, pentru a fi c?t mai aproape de text, trebuie s? se asocieze cu "partea estetic?" a demersului, care e scriitura, citatul, descrierea ?i altele. O "conversa?ie", pe c?t posibil neretoric?.

Maria Rybakova’s Gnedich captures the reader’s attention in its first stanzas with a striking allusion to Homeric Greece: “The rage that killed so many/the wretched rage of Achilles/who knew that he would perish/ that he would perish young. This is a novel-in-verse about the first Russian translator of the Iliad, the romantic poet and librarian Nikolai Gnedich (1784-1833). Since Gnedich spent almost his entire life translating Homer’s epic poem, Maria Rybakova has chosen verse as the most appropriate stylistic means in recreating his life. To the English-speaking world, this genre of poetic biography is best exemplified by Ruth Padel’s Darwin – A Life in Poems. Like the Iliad itself, the novel consists of twelve Songs or Cantos, and covers the life of Gnedich from his childhood to his death. It depicts the lives of Gnedich and his best friend, the poet Batyushkov, who is slowly losing his sanity, and incorporates motifs from their poetry, from Homer’s epics, and from Greek mythology, as well as magnificent images of imperial Russia and the Homeric world. The space of the novel covers snowy Russian villages, aristocratic St. Petersburg salons, magnificent Italian landscapes, and the austere Greece of Homer’s heroes. Rybakova conjures a fittingly romantic vision of the dramatic lives of Gnedich and his best friend. A major part of the novel is the moving correspondence between the two poets. Philosophical reflections on the fate of the individual are intertwined with poignant stanzas devoted to the great but unhappy love to the tragic actress Ekaterina Semyonova that consumed Gnedich. The novel culminates in Batyushkov’s final breakdown in the lunatic asylum and Gnedich’s ruminations on Russia’s tragic future fate. The poetic language of Gnedich is refined: it combines the clarity of Rybakova’s syllabic verses and the sophistication of her metaphors with distinct, novelistic depictions of certain landscapes, people, and their interactions. The novel is spectacularly designed: Rybakova’s style resembles a movie projection with stop-cards at the key moments in Gnedich’s life, his long conversations with his friend, and particular striking sceneries. It creates a novelistic effect on the tale about Gnedich’s life, spanning over twenty years. The narrative is often interrupted by streams of consciousness and reminiscence by its main heroes. At the same time, it continues the traditions of Russian classic literature with its attention to detail and the psychology of the characters. A significant part of the novel is dedicated to the description of Gnedich’s friendship with Konstantin Batyushkov, a talented poet of the Pushkin epoch. Gnedich, disfigured by a childhood disease, was a librarian at the Imperial Library in St. Petersburg and became famous through his translation of the Illiad. Batyushkov, an officer of the Russian Imperial court who participated in military campaigns, as well as one of the best poets of the beginning of the 19th century, went through deep crisis and mental illness. The friendship between the two becomes one of the themes within the novel. Rybakova builds the novel-in-verse’s plot around Gnedich’s translation of the Illiad into Russian. The narrative progresses from the adult Gnedich’s recollection of his childhood in a small country estate in Ukraine in the first Song, his illness and discovery of the magnificent Greek epic about the siege of the Troy that changed his life forever, to the completion of his work on his translation as a final victory over his life’s circumstances. The titanic work on the translation continued for almost twenty-two years (1807-29).

A passenger onboard a fast-moving train glimpses a couple of brown horses in an unkempt field. She sees them again the next year, and the year after. She wonders if they are neglected or loved for by their owner. That small field may be the horses' last protection against a one-way trip to the slaughterhouse... * A short but haunting true story by Michèle Laframboise, Canadian multi-award winner author. A list of horse rescue centers, with sketches by the author, completes this 1200-word tale.?

Any mother-to-be has to waddle through a landmine of expectations! The true and humourous account of my valiant efforts at birthgiving… and the mounting guilt after I find out that my body can't produce more children. How did I became infertile? What wrong turn did I take? Could I have avoided the c-section? This short and quirky story will resonate with all the mothers crushed under the pressure of performance, by Michèle Laframboise. With sketches and pictures by the author's hand.

This Housemartin Classics edition includes the full original text as well as an easy to use interactive table of contents.

Volumul cuprinde poeme semnate de 34 de autori, pe care Alexandru Petria, realizatorul antologiei, le consider? reprezentative pentru anul 2013 ?i care au fost publicate ?n reviste, ?n format tip?rit sau online, ori pe diverse site-uri literare. Singurul criteriu de selec?ie este, a?a cum afirm? antologatorul, valoarea materialelor, ?i nu apartenen?a autorilor la anumite grup?ri literare. Dintre autorii textelor, ?i amintim pe: Adrian Suciu, Andrei Mocu?a, Andrei Zb?rnea, Aura Christi, Doina Uricariu, Dorin Tudoran, George G. Asztalos, Gheorghe Grigurcu, Leo Butnaru, Liviu Antonesei, Liviu Ioan Stoiciu, Menu? Maximinian, Mihail Vakulovski, Nicolae Coande, Petronela Rotar, ?tefan Doru D?ncu?.

Nu cred c trebuie s interpretm altfel referirile lui Clinescu la vechimea poporului romn dect ca o proiecie mitic a unor date istorice i, mai ales, a unor intuiii i ambiii personale. Dar chiar i aa, aceste idei meritau s fie formulate i ncarnate n imagini, aceste pagini meritau s fie scrise, fie i numai pentru clipele de reverie istoric i de mobilizare afectiv pe care ni le produc, pentru ficiunile verosimile pe care ni le propun cu atta trie i n care suntem liberi s credem cu propria noastr trie ca ntr-un alt posibil destin.“ – Mircea Martin

Coresponden?? primit? de Geo Bogza de la Stephan Roll, Sa?a Pan?, Mary-Ange Pan?, Victor Brauner, Ilarie Voronca, Colomba Voronca, grupul ?Alge“ ??n Epistolarul avangardist, care con?ine coresponden?a pe care Geo Bogza a primit-o de la reprezentan?ii grupului Alge, este ?i o poveste con?inut? aici, ?n aceste scrisori, o poveste de via??, de supravie?uire, de construire, de fapt, a unei poetici de grup ?i a unei ac?iuni culturale rom?ne.“ – Carmen Mu?at ?Pe mine cel mai mult m-a emo?ionat Epistolarul. Au fost ni?te lucruri de care nu ?tiam ?i pe care le-am citit cu foarte mult? emo?ie, ceea ce m-a f?cut s? mai r?scolesc ?i s? m? uit cu mai mult? aten?ie. Erau scrisori de la mama, am ?nceput s? m? uit ?i ?n jurnalul ei ?i am descoperit o serie de lucruri extraordinare. O s? continui s? cercetez.“ – Vladimir Pan?

C?t?lin Ghi?? este unul dintre cei mai serio?i, mai informa?i ?i mai inspira?i cercet?tori care se afirm? ?n comparatistica literar? ?i cultural? de la noi. Neotematismul s?u este unul atent la diferen?e – ?i ?n primul r?nd la diferen?a estetic? –, reticent fa?? de exploatarea ideologizant? a literaturii. Cartea de fa?? ??i acoper? tema cu mare grij?, cu acribie filologic? ?i teoretic?, dar o ?i dep??e?te uneori prin implica?ii nea?teptate ?i prin considera?ii de ansamblu. ?mi place ?n mod deosebit luciditatea autocritic? a autorului, ?n care v?d reflexul moral al modestiei ?i, ?n acela?i timp, orgoliul justificat al competen?ei profesionale“. – Mircea Martin

Prin u?ile l?sate vrai?teDe cei ce nu se mai ?ntorcPrin pere?ii pe care i?i zg?riar?ViseleD? buzna glasul mul?imiiCare se zbateDeja prins? ?ntre fireleIscusitei urzeli a paianjenilorPoliticiThrough the wide-open doorsBy those who never returnThrough the walls on which they’d scratchedTheir dreamsThe voice barges through from a crowdWhich is strugglingAlreadz trappedIn the skillfullz/woven webOf the spiders of politics

Sonetul contondentCelor doi / poe?i de mare soi...(Istrate ?i Murgeanu)Visam c? Marea-?i p?r?sea ghioculCu-al s?u tumult de valuri euxine?i, h?t-departe-n zonele alpine,Ca-n Cretaceu, ??i reg?sise locul...Priveam de-acuma fascinat la joculDe valuri ?n?esate de jivineDin vremuri disp?rute, care-n fine,??i ?ncercau, o dat?-n plus, norocul.Sim?eam o dulce binecuv?ntareC?-n groapa euxinic? ad?nc?O Mare Neagr? nu exist? ?nc?,Nici Casa Scriitorilor la mare;Nici doi poe?i cu barb?, bur?i ?i plete,S?-n?ire contondentele sonete.

Sonete n-ai s? sco?i b?t?nd pe taste?i complet?nd trei strofe ?i jumateCu vorbe-plevi, cu furca adunatePe aria rom?nei limbi prea vaste;Nu-?i ies nici cu ?epu?a pus?-n coaste,Nici cu-nghiontiri ?n prip?, pe la spate,Cum nu aduni senten?e, pe-nserateDin tigva celor ce-au tr?it la Oaste...C? ies din taste doar voroave proasteS?-mproa?te broa?te din b?ltoace-opace,Cum in?i peltici ?i babe prost?nace?ngaim? t?lcuri, cum c? via?a iaste...Nu ies sonetele lovind ?n clape.Sub ele Inefabilul nu-ncape.

Discursul acesta ?ndr?gostit este structurat din termeni care apar?in filosofiei sau esteticii, fiind grefat pe structura de discurs a celui mai prestigios mit al poeziei: mitul lui Orfeu ?i Euridice. Acest mit reprezint? cadrul unei fenomenologii a c?ut?rii ?i cunoa?terii Fiin?ei, care arunc? o lumin? ?n ad?ncul fenomenologiei Operei. Autorul porne?te de la premiza c? sensul unei opere nu poate fi c?utat ?i cunoscut dec?t ?n orizontul Fiin?ei. Poezia liric? la care se restr?nge demersul teoretic ?i critic al lucr?rii poate vorbi nu numai despre prezen??, ci ?i despre absen?a Fiin?ei, altfel spus, at?t despre ce este, c?t ?i despre ce nu este Fiin?a. Orice fenomenologie devine, ?n cele din urm?, ontologie. Periplurile hermeneutice sunt f?cute prin opera unor poe?i ca, bun?oar?, Eminescu, Barbu, Arghezi, Nichita.

Ninge ?n martieNinge ?ntr-un hornDin care iese fumNinge tot mai densCople?itor?i ?ntoarce fumul din drum?l preseaz? ?n horn ca-ntr-un teasc?l ?ndeas? la loc ?n c?rbuniAstup? flac?raRea?az? focul ?nMiezul ?nsu?i al P?m?ntului.

Chipul cotropit pe partea dreapt de urmrile unei intervenii chirurgicale pstreaz, n mare, farmecul i drzenia. Prul strns n cretet i barba abundent te-ar trimite cu gndul la marii pontifi hiperboreeni sau la preoii taoiti, dac vioiciunea i gesticulaia nu te-ar opri la timp. tie multe, dar mrturisete puine. Viaa l-a fcut prudent. Cine i va dezvlui spiritul profund Poetul i savantul nu au fcut niciodat concesii. Nici omul nu are pe contiin fapte grandilocvent-regretabile, dei a stat sub vremi, iar ideologia marxist i-a fcut pe muli s-i ascund spiritul critic.“ – Gheorghe Postelnicu

gata! Mito? Micleu?anu (n. 1972), pictor, scriitor, muzician. Cofondator al proiectului ?Planeta Moldova“.

„Mai devreme decât niciodat?“, cum scriam într-un vers de tinere?e, ajunge la tipar materia înjum?t??it?, v?muit? a jurnalului meu de scriitor din perioada 1979-1989; cel din anii anteriori s-a pierdut, nu mai are rost s? explic în ce fel. Iar materia jurnalelor mele din perioada de dup? 1989, structurat? în dou? volume: Lamenta?iile uitucului ?i Gândirea înceat?, î?i a?teapt? editorul. ?i, implicit, cititorii…