Un b?iat pe nume Bobby Zimmerman din Hibbing, statul MinnesotaUn c?nt?re? folk din Greenwich Village ?n anii ‘60Un autor c?ruia i s-a decernat ?n 2016 Premiul Nobel pentru Literatur?Toate cele de mai sus! Afl? mai multe despre adev?ratul Bob Dylan ?n aceast? biografie amuzant? ?i minunat ilustrat?!

Az út, ami hazavisz. Akik túlélték a halál pillanatát, azt mondják, pár másodperc alatt lepereg a szemük el?tt az életük. De csak ott, az utolsó pillanatban kristályosodik ki a lényeg, ám akkor általában már kés?. ?n negyven napot kaptam a sorstól, hogy végignézzem életem filmjét - még id?ben. Mint amikor a s?tétben váratlanul felkapcsolják a villanyt... Megismerhettem a lényeget... Zarándoklatra indultam, fájdalmas vezeklés lett bel?le. Egy olyan ?b?nért", amit nem is tudtam, hogy elk?vettem. Amit itt leírtam, nem a képzelet szüleménye. Legyalogoltam a nyolcszáz kilométert, és átéltem minden pillanatát. Remegtem a d?bbenett?l, amikor kézzel foghatóvá vált a csoda, és sírtam a zavarodottságtól, amikor nem értettem, mi t?rténik velem. Ha más meséli, amit ott átéltem, azt mondom, túl színes a fantáziája.

Homo brucans e o carte interdisciplinar?, multifa?etat?, de ?inut? preponderent hermeneutic?, axat? pe teme legate de interpretarea Vechiului ?i Noului Testament (eseuri pe Decalog, pe personalitatea Sf. Pavel sau pe semnifica?ia mitic? ?i religioas? a cenu?ei), pe R?zboiul Rece, Revolu?ia Rus? ?i Contracultura anilor ‘60 (eseuri despre decantarea mediatic? ?n Rom?nia a revoltelor studen?e?ti din anul 1968, futuri?ti, violen?a lui Lenin sau despre The White Negro al lui Norman Mailer), pe aspecte structurale ale literaturii rom?ne din perioada de dup? Revolu?ia din decembrie 1989 (teme de genul: impactul lui Silviu Brucan asupra mentalit??ii postrevolu?ionare, identitarul rom?nesc difuz pe Internet, dinamica genera?ional? a literaturii rom?ne, rolul dinamizator al lui Marin Mincu ?i Adrian Marino), pe psihoistorie (cu un portret al lui Loyd deMause ?i o radiografie a concep?iilor sale). ?n final, cartea se ?ncheie cu decantarea eseistic? a unei c?l?torii ?n India, prilej de evocare a personalit??ii lui Mircea Eliade.

Volum nominalizat la sec?iunea ?Critic?. Istorie ?i Teorie Literar?“ – Premiile ?Observator cultural“, edi?ia a VI-a, 2012 Lucrarea de fa?? pleac? de la ideea c?, odat? cu sf?r?itul anilor ‘60/?nceputul anilor ‘70, se configureaz?, ?n context rom?nesc, o mi?care poetic? cu caracter experimentalist, care se ?ndep?rteaz? de paradigmele modernismului, urm?nd modelul avangardelor interbelice. Principiul fundamental al unei asemenea poezii trebuie c?utat ?n pragmatica ?tiin?ei contemporane, c?ci ea presupune elaborarea unor ?axiomatici“ (concretizate ?n abord?ri teoretice, programe ?i manifeste artistice), urmat? apoi de investigarea, printr-o mi?care de extensie, a limitelor, de c?utarea obstinat? a noului, care se raporteaz? la propria sa ?axiomatic?“ ?n calitate de diferen??, de ?paralogie“, extinz?ndu-i limitele, dar ?i problematiz?nd-o, printr-un demers care e constructiv ?i deconstructiv totodat?, contestatar ?i autocontestatar ?n acela?i timp.

volumul al III-lea dintr-un interviu de un cristian Trilogia lui Ion Cucu este, deopotriv?, o construc?ie editorial? ?i o demonstra?ie personal?. Ion Cucu nu e, cum s-a crezut, doar un fotograf, iar opera lui cap?t? o cu totul alt? dimensiune dac? iese din tiparul unui album oarecare sau al unei expozi?ii, fie ea ?i permanent?. Interviul ?i portretele spun mai mult dec?t povestea unor fotografii – ?mpreun?, acestea dezv?luie talentul, for?a, patimile ?i d?ruirea fotografului celor zece pre?edin?i. Ai Uniunii Scriitorilor. Pentru c? prin aceast? institu?ie s-a legitimat ?i se reg?se?te, ca artist fotograf, scriitorul Ion Cucu. Trilogia s-a sf?r?it, de-acum urmeaz? Istoria. (un cristian)

n doar civa ani, tefan Manasia a devenit una dintre cele mai importante figuri ale poeziei noastre de azi. i nu m refer aici doar la activitatea lui poetic propriu-zis (dac lsm la o parte plachetele underground, autorul a publicat deja trei volume), ci i la prezena pregnant n spaiul public(istic).“ – Alex Golditefan Manasia dispune – i n noul volum se vede cu ochiul liber – de o capacitate enorm de a experimenta. De altfel, poetul este cunoscut nc de la Amazon ca un mptimit al stilisticii glam. Poezia luxuriant, baroc, domolit i mprosptat de o estetic a onestitii discursului definesc, acum la al patrulea volum, anarhismul livresc al autorului.“ – tefan Baghiu

Cartea este rezultatul unor studii aprofundate intreprinse de autoare ?n domeniul stilurilor de via?? contemporane, rom?ne?ti dar ?i din alte p?r?i ale lumii. Cercetarea acestora a fost f?cut? intensiv mai ales ?n ultimii zece ani. La baza acestor texte stau, ?n primul r?nd, interven?iile hebdomadare ale autoarei la emisiunea Tenta?ii culturale de la Radio Rom?nia Cultural. Evident, ?n transformarea unor ?pastile“ radiofonice ?ntr-un volum de eseuri ?nchegate, structurate tematic ?i revizuite stilistic a fost parcurs? o cale lung?. Din bogata tematic? a lucr?rii, men?ion?m: ?ocurile cotidianului; pierderile pe care le implica adaptarea; cum au schimbat telefoanele mobile fa?a lumii; civiliza?ia str?zii (ieri ?i azi); cultura ?n autobuz; la bibliotec?, prin biblioteci; ?n pia??, la coada, la doctor; ?n c?l?torie, din c?l?torii; prin ora?e mari ?i mici; despre comis-voiajori, despre bac?i?; nun?i, botezuri, funeralii... Cartea este scrisa ?ntr-un stil simplu, accesibil ?i ludic. Se adreseaz? speciali?tilor ?n istorie social?, antropologie, psihologie de mas?, reform? social?, dar ?i publicului cultivat, ?n general.

Aceasta lucrare este primul studiu monografic complet despre opera scriitorului roman Geo Dumitrescu, reprezentant important al perioadei comuniste din Rom?nia. Astfel, ?n afar? de poezie, sunt discutate aici traducerile, publicistica ?i ideologia literar? a autorului, ?n scopul cre?rii unui portret c?t mai apropiat de realitate.

Kevesen vagyunk, s még tovább fogyunk, kik h?séggel, népünkért dolgozunk. Sokan kérdik: ?mért vagytok ostobák?” Csak hallgatunk és dolgozunk tovább. Más bíztat: ?Fordulj már végre el e romtemplomtól, és gazdag leszel!” De fog-szorítva tesszük, amit kell, jutalom, megtorlás, nem érdekel. Olyanok leszünk mint a parázsszemek! ?lesztünk tüzet, mely tán már elveszett.

Az ?kút az elsüllyedt, de soha el nem temetett gyermekkor k?nyve. A titokzatos ókút a Szabó család debreceni otthonának udvarán állt, és a kis Magdának a k?zelébe sem volt szabad mennie.Szabó Magda feln?ttként alászáll emlékei ókútjába, hogy páratlan érzékletességgel idézze meg gyermekkora színtereit, keltse új életre szerepl?it, legf?képpen szüleit. ?Két tündér gyermeke voltam” – mondta egyszer. Tündérvilágban élt, ahol játék, varázslat, látomás és valóság keveredett, s ami egyszerre volt meghitten ismer?s és csupa rejtély, hétk?znapi és kiismerhetetlen, boldogító és félelmetes. Itt mindenki regényh?sként járt-kelt, a boltjában kuksoló ékszerészt rejtélyes bánat gy?t?rte, a koldus elátkozott királyfi volt, a fák lombkoronája égig ért. Az ?kút az életr?l szól: állatokról és képekr?l, hitr?l és m?vészetr?l, háborúról és hazáról, szerelemr?l és halálról. A megejt? bájjal és humorral átsz?tt t?rténetekb?l egy titokzatos és csodálatos múlt sokszín?, eleven képe áll ?ssze, ami egyben kulcs is Szabó Magda életének és m?vészetének megértéséhez.

Sz?cs Iza okos, modern n?, lelkiismeretes orvos – és odaadó gyermek. Mindent megad ?zvegyen maradt anyjának, felk?lt?zteti Budapestre, ahol kényelmes élet várja Sz?csnét. Csak azt nem adja, amire anyjának a legnagyobb szüksége volna: ?nmagát. Nem látja, hogy anyagi javakkal nem lehet kiváltani a t?r?dést, és nem érti, hogy a gondoskodásnak az is része, ha hagyjuk, hogy a másik gondoskodjon rólunk. Férje sírk?vét felállítandó Sz?csné hazatér a városba, ahol egész életét leélte. Egy k?d?s, ?szi estén sétára indul fiatalkori találkáik színhelyére, s a feltétel nélküli szeretet, amely Izából olyannyira hiányzik, végre megmutatja neki az utat. A Pilátus egy anya t?rténete, aki le akarja venni lánya válláról a kellemetlen terhet, amelyet ? maga jelent.

A?Mózes egy, huszonkett???brahám és Izsák ósz?vetségi t?rténetének modern feldolgozása. Az ?brahámok a Horthy-kort, a második világháborút, a Rákosi-érát megélt és megszenvedett ?rettenetes” szül?k, nagyszül?k. Az Izsákok lázadó fiatalok, akik nem kíváncsiak felmen?ik múltjára, akart-akaratlan áldozatvállalásukra, szenvedéseikre, beteljesületlen szerelmeikre-vágyaikra, elrontott életükre. Nem hajlandók áldozatot hozni istenekért-eszmékért, a maguk útját akarják járni. Egy ?szigetre” vágynak, távol a vénekt?l, ahol együtt és maguk lehetnek. Gál Hugi és ?dám, Bartos Márta és Gyuri – a két testvérpár – csontkockán dobják ki, melyik lánynak kell teherbe esnie a ?nemzet mártírjának” fiától, a naivnak és jámbornak t?n? Miklóstól. Mert ? bizonyára kap majd egy lakást az anyjától nászajándékul. A játék azonban komolyra fordul: Hugi beleszeret Miklósba, és elhatározza: új életet kezd vele. Vajon Miklós is így akarja? Mikor újraolvastam a?Mózest, ugyanazt a késztetést éreztem, mint pár éve?Az ajtó?felelevenítésekor. Akkor elzarándokoltam Szabó Magda házához, hogy megbámulhassam azt a bizonyos ajtót, és ácsingózhassak a kerítés el?tt. A?Mózes?megjelenése után fiatalok tucatjai bukkantak fel a szerz?nél, csak hogy néhány szót válthassanak vele. Megrendülten t?prengek rajta, miféle szív és lélek lakozott ebben a t?rékeny testben, micsoda írói tehetség, hogy életb?lcsességét olyan er?vel tudta szavakba ?nteni, amivel embereket repít ki komfortzónájukból ? pusztán, hogy pár pillanatig megmerítkezhessenek valamiben, amir?l maguk sem tudják, mi, de a k?nyv hatására elementáris vágyként jelentkezik bennük. –?Singer Magdolna

"Volumul Picaj al Ioanei Miron e de fapt un poem amplu scris parc? sub imperiul aceleia?i st?ri, una a dezordinii interioare, a hausului existen?ial. Poezia ?ncearc? s? pun? ordine ?ntr-o lume dezmembrat? ?i schizoid?. Spa?iile psihice sunt ?n acord cu toate acele lucruri dezlocuite de sens. Cea care a decis s? dep??easc? un oarecare prag existen?ial are nevoie de o propulsare spre altceva cu adev?rat autentic ?i plin de con?inut. De aici, un r?zboi interior, o tenta?ie a punctului zero, un picaj. Cartea nu descrie traiectoria descendent? a unui spirit din ce ?n ce mai lucid. Nu e vorba aici de o probu?ire, dup? cum ar putea sugera titlul. Confruntarea cu limita (suportabilit??ii?) stimuleaz? ?nfiriparea unei dimensiuni material-spiritual?. Materialitatea dur?, abraziv?, t?ioas? poate fi ?n?eleas? ?n dou? feluri: ca nevoie de echilibru, de fixitate ?i, mai plauzibil, ca o ?ngreunare a spiritului dornic de libertate. Dincolo de toate acestea, timpul cunoa?te reprezent?ri clar delimitate:? ?ncet ?ncet ne facem loc aici/ o s? ne aciu?m mai bine/ cine ne spune cu adev?rat cine suntem cine o s? ne descopere/ de ce s? taci ?ine-m? bine minte/ ?mpreun? am scotocit prin d?rm?turi/ ?i cu toate astea n-ai dat impresia de nesiguran??/ s?-mi poveste?ti ce ?i c?nd/ cum ?i de ce se ?nt?mpl? s? mai ?i uit?m/ ?n lipsa concentr?rii aerul devine ?ngust/ & str?zile cu tot restul/ bitimul cald ?mp?ienjenit privirile ?ntinse/ un loc sigur ?n care te infiltrezi”." (?erban Axinte) "Poezia Ioanei Miron face chiar lucrurile pe care teoriile literare au ?ncercat mereu f?r? succes s? le explice. Alege diferite scenarii existen?iale ?i decupeaz? secven?ele relevante pentru circula?ia unei energii speciale. Face acest lucru chiar ?i atunci c?nd reformuleaz? mizele t?cerii: "am ?nv??at s? mim?m t?cerea/ despre noi ?i despre al?ii am ?nv??at/ s? fim o singur? gur? din care iese orice imbold orice/ striden??". Arta Ioanei Miron ?ine mai ales de injectarea cu for?? a unor expresii al c?ror sunet pare str?in de ceea ce ?tim deja c? este poezie ?i totul se ?nt?mpl? contur?nd circuite controlate poetic. Dintre variantele de titlu pe care Ioana Miron mi le-a ar?tat, "Blocaje tactile" era sintagma care mie mi se p?rea c? sugereaz? linia investiga?iei poetice din acest volum: "schimb?ri comune gesturi banale/ facem corp comun cu obiectele/ am stat pe iarb? important e s? fim ?n locuri cunoscute ?i/ sigur te-a? convinge/ s? ne ?nt?lnim la ?nt?mplare s? ?nlocuim/ aerul cu sufl?rile tale tactile/". S-ar putea s? m? fi ?n?elat, ?ns? picajul este numai cadrul acestui demers ?n care se ?nc?p???neaz? Ioana Miron, ?n ciuda tuturor celor care ?in s? rezume poezia la fluctua?iile ipocriziei militante." (R?zvan ?upa)

Primul meu interviu cu Florian Lungu s-a consumat la sf?r?itul anului 1994, ?n c?m?ru?a sa de la cap?tul etajului IV din Radio, acolo unde cutiile cu benzile de magnetofon st?teau mai s? cad? peste el, printre ness-uri ?i ?ig?ri. Ideea era s? apar? ?n revista ?Panoramic Radio-TV” ?n jur de 5 ianuarie, c?nd e n?scut. ?i aceast? carte trebuia s? apar? pe 5 ianuarie 2016, dar n-a fost s? fie; ?ns? mai bine mai t?rziu… ?n fine, au trecut peste 20 de ani, eu am avut privilegiul – ca redactor TVR – s?-l intervievez ?nc? de multe ori, s? realizez chiar o emisiune la TVR Cultural, vreo doi ani, numit? ?Jazz Restitutio”, ?ntr-un studiou improvizat la Mo?u acas? – el antama invitatul, ?l aducea acolo, noi filmam dialogul dintre cei doi ?i ad?ugam imaginile de ilustra?ie, deopotriv? arhiv? ?i evenimente recente. Am tr?it momente inedite al?turi de candidul ?i glume?ul jazzman ?i jazzolog (de?i de c?nd se ?tie a luat aceast? muzic? ?n serios c?t i-a stat lui ?n putin??, ba ?i ?n exces, ceea ce i-a afectat s?n?tatea grav ?n mai multe r?nduri). Nu se pot uita bancurile lui Mo?u de la G?r?na, spuse pe marea scen?, ca ?i modul ?n care prezint? el sponsorii festivalului, martori sunt spectatorii (cu zecile de mii) de la fiecare edi?ie. ?n particular, eu p?strez mai multe amintiri: o tab?r? de jazz de la Jup?ne?ti, primul interviu filmat ?n care mi-a vorbit de Richard Oschanitzky, prima lui ?nt?lnire cu Alexander B?l?nescu (aranjat? de noi la un hotel, atunci c?nd muzicianul a lansat ?n concert discul ?Maria T”), dialogul s?u cu Johnny R?ducanu filmat ?n Club A pentru emisiunea ?Remix”, ori acela cu marele pianist Jancy Korossy, acas? la Mo?u, pentru ?Jazz Restitutio”… (Doru Ionescu)

Far out in the ocean the water is as blue as the petals of the loveliest cornflower, and as clear as the purest glass. But it is very deep too. It goes down deeper than any anchor rope will go, and many, many steeples would have to be stacked one on top of another to reach from the bottom to the surface of the sea. It is down there that the sea folk live. Now don't suppose that there are only bare white sands at the bottom of the sea. No indeed! The most marvelous trees and flowers grow down there, with such pliant stalks and leaves that the least stir in the water makes them move about as though they were alive. All sorts of fish, large and small, dart among the branches, just as birds flit through the trees up here. From the deepest spot in the ocean rises the palace of the sea king. Its walls are made of coral and its high pointed windows of the clearest amber, but the roof is made of mussel shells that open and shut with the tide. This is a wonderful sight to see, for every shell holds glistening pearls, any one of which would be the pride of a queen's crown.

Vladimir Dr?ghia ni se confeseaz? cu toat? sinceritatea ?ntr-un volum de poeme care c?nt?re?te exact 21 de grame, ?n care dulcea cucut? ??i des?v?r?e?te efectele ?n simbioz? cu cele mai ale noastre cuvinte. Sunt ni?te note t?rzii din b?t?i de inimi vii, prin care autorul creioneaz? convingerea absolut? care, de altfel, d? titlul c?r?ii.?Omul ?sta cu p?tr??ele pe burtic? are ?nc? for?a unui copil ne?lefuit. Aia pe care noi to?i am pierdut-o acum mult? vreme. Sper ca placheta asta de versuri s? ?ncap? pe m?inile unui editor de treab?. S-o fac? mic?-mic?, s?-ncap? ?n buzunarul de la piept. Acolo, ?n dreptul inimii. Whatever. Po?i s-o bagi ?i-n buzunarul de la blugi. Pe buca st?ng?. S-o mai sco?i din c?nd ?n c?nd ?i s?-?i speli ochii de praf cu o lacrima stupid?.“ – Florin Piersic Junior

E poate ciudat s spun despre o carte ca asta c e o plcere, dar e o plcere. E cu boala i da, e cu moartea, i nu-i vine s-o citeti pn cnd ncepi s-o citeti i ncep s te prind sarcasmele, luciditatea, melancolia tioas, simul luptei i profesionismul poetului; iadul organelor i-a ascuit lui Geacr instinctele i toat energia i s-a strns n minte ca un pumn care lovete, i nu numai s se apere, s atace.Din fericire, cartea e nu numai iad, e i revenirea printre cei vii; doar c ei n-au nicio idee ce nseamn s trieti: cafeaua de diminea/ dup atta timp/ e ca solveig (peer gynt).“ – Dan Sociu

13 interviuri de: Alexandru Vakulovski / deschide.md Dumitru Crudu / Europa Liber? Veronica D. Niculescu / zilesinopti.ro Diana Iepure / revistalaplic.md Sorin-Mihai Grad & Ormeny Francisc / EgoPhobia Ioana Vighi / hyperliteratura.ro Andra Rotaru / luceafarul.ro Amelia St?nescu / Zona Literar? Jovi Ene / filme-carti.ro Nicolae Baldovin / muzaholic.ro Aurelia Borzin / Ziarul Na?ional C?t?lin Stanciu / Merg ?n Bra?ov un cristian / Observator cultural Nu mai ?in minte care a fost primul interviu publicat, dar ?tiu sigur c? primul interviu nescris a fost jucat cu tata, adic? el se juca cu noi, ?nv???ndu-ne ce e o poezie, poveste, proz?, ce e un interviu. (Mihail Vakulovski)

This book is merely a personal narrative, and not a pretentious history or a philosophical dissertation. It is a record of several years of variegated vagabondizing, and its object is rather to help the resting reader while away an idle hour than afflict him with metaphysics, or goad him with science. Still, there is information in the volume; information concerning an interesting episode in the history of the Far West, about which no books have been written by persons who were on the ground in person, and saw the happenings of the time with their own eyes. I allude to the rise, growth and culmination of the silver-mining fever in Nevada -a curious episode, in some respects; the only one, of its peculiar kind, that has occurred in the land; and the only one, indeed, that is likely to occur in it.Yes, take it all around, there is quite a good deal of information in the book. I regret this very much; but really it could not be helped: information appears to stew out of me naturally, like the precious ottar of roses out of the otter. Sometimes it has seemed to me that I would give worlds if I could retain my facts; but it cannot be. The more I calk up the sources, and the tighter I get, the more I leak wisdom. Therefore, I can only claim indulgence at the hands of the reader, not justification. THE AUTHOR."My brother had just been appointed Secretary of Nevada Territory--?an office of such majesty that it concentrated in itself the duties and dignities of Treasurer, Comptroller, Secretary of State, and Acting Governor in the Governor's absence. A salary of eighteen hundred dollars a year and the title of "Mr. Secretary," gave to the great position an air of wild and imposing grandeur. I was young and ignorant, and I envied my brother. I coveted his distinction and his financial splendor, but particularly and especially the long, strange journey he was going to make, and the curious new world he was going to explore. He was going to travel! I never had been away from home, and that word "travel" had a seductive charm for me. Pretty soon he would be hundreds and hundreds of miles away on the great plains and deserts, and among the mountains of the Far West, and would see buffaloes and Indians, and prairie dogs, and antelopes, and have all kinds of adventures, and may be get hanged or scalped, and have ever such a fine time, and write home and tell us all about it, and be a hero. And he would see the gold mines and the silver mines, and maybe go about of an afternoon when his work was done, and pick up two or three pailfuls of shining slugs, and nuggets of gold and silver on the hillside. And by and by he would become very rich, and return home by sea, and be able to talk as calmly about San Francisco and the ocean, and "the isthmus" as if it was nothing of any consequence to have seen those marvels face to face. What I suffered in contemplating his happiness, pen cannot describe. And so, when he offered me, in cold blood, the sublime position of private secretary under him, it appeared to me that the heavens and the earth passed away, and the firmament was rolled together as a scroll! I had nothing more to desire. My contentment was complete.At the end of an hour or two I was ready for the journey. Not much packing up was necessary, because we were going in the overland stage from the Missouri frontier to Nevada, and passengers were only allowed a small quantity of baggage apiece. There was no Pacific railroad in those fine times of ten or twelve years ago--?not a single rail of it. I only proposed to stay in Nevada three months--?I had no thought of staying longer than that. I meant to see all I could that was new and strange, and then hurry home to business. I little thought that I would not see the end of that three-month pleasure excursion for six or seven uncommonly long years!

Proza rural“ ajunsese s nsemne, n percepia obteasc, o proz conservatoare, desuet, presupus simplist, schematic, dnd seam cu mijloace artistice modeste de o realitate uman mai degrab rudimentar, lipsit de rafinament, subtilitate ori profunzime sufleteasc. I se opunea, ntr-o viziune cvasi-maniheist, proz urban, presupus a fi n mod automat purttoarea complexitii, a nnoirii i rafinamentului, a valorii. n practic, ns, respectiva prejudecat a fost, de fapt, tot mai viguros contrazis de ivirea unor opere de proz rural“ nzestrate cu caracteristicile literaturii moderne de calitate. Acest studiu caut s depisteze, s reliefeze i expliciteze succint trei dintre etapele semnificative ale afirmrii unei proze efectiv moderne, cu tematic rural“, survenite de-a lungul ultimelor dou treimi ale secolului trecut i marcate de contribuia a trei scriitori reprezentativi: Pavel Dan, Marin Preda i Sorin Titel.

Planeta Rilke. Planeta uria?ului Rilke. Totul irumpe ?nl?untru cu for?e neb?nuite, ?mplinindu-se sub semnul ?noii fiin?e“, al unui ?nceput formidabil de puternic, sugestiv, inspirat, ?n raza presim?irii unei ?noi mari str?luciri, care d? for?? ?i o abunden?? de imagini limbii mele“, a?a ?nc?t ?ma surprind c?teodat? c?t de mult ?mi sunt mie ?nsumi receptiv ?i c?t de mult ?nv??, ?ntr-o uimitoare venera?ie, din propriile mele dialoguri. R?sun? ceva ?n ad?ncul meu, ce vrea s? ajung? la oameni, trec?nd peste aceste pagini, peste dragele mele c?ntece ?i peste toate planurile de viitoare fapte“.?nsemn?rile jubilatorii se transform?, sub ochii no?tri, ?n prelungirea ?ncinselor lecturi de sine, ?n exces de for??, deci, ?ntr-o iubire at?t de plin? ?i de puternic?, ?nc?t elibereaz? numaidec?t din grelele lan?uri ale fricii, devenind o laud? fiin?ei, o laud? f?cut? ?mplinirii ?i viului con?inut ?n exces: ?M? simt de parc? ar trebui s? vorbesc acum, ?n clipe de for?? ?i claritate, c?nd din mine vorbe?te mai mult dec?t eu ?nsumi: sufletul meu. M? simt de parc? ar trebui s?-i convertesc pe to?i cei care ezit? ?i care se ?ndoiesc; c?ci am mai mult? putere ?n mine dec?t pot re?ine ?n cuvinte ?i vreau s? o folosesc pentru a elibera oamenii de str?ina fric?, din care eu ?nsumi am venit“.