Dac? spun un adev?r incomod sunt tratat? ca un trouble-fête. Dac? regret radicalismul sau lipsa de tact de a emite un adev?r nepl?cut, mi se sugereaz? c? sunt la??. Dac? sunt vis?toare sau patetic?, mi se spune c? sunt dep??it?. C?nd sunt trist? ?i m? ascund dup? masca unei veselii debordante, mi se z?mbe?te insidios: ei, ascunde ea ceva. C?nd spun ?n gura mare ceea ce cred, sunt ?fichiuit? cu sarcasme. Iar atunci c?nd abordez teme majore, mi se sugereaz? c? sunt expirat?. Nu, nu exist? nici un fel de comunicare. La mijloc sunt, mai degrab?, ni?te savante mecanisme menite s?-?i deformeze faptele, iar, ?n ultim? instan??, imaginea, ?i s?-?i taie orice elan, pentru ca, ?ntr-un t?rziu, s? te fac? s? alegi, iar??i, singur?tatea – mam? bun?, aspr?, cald? – ?n iadul-raiul de fiecare zi.S? te re?ntorci ?n subterana ta mereu acela?i, mereu altul, tu, cel care e?ti ?i devii ceea ce e?ti. Aici e marea judecat?. ?ntre pere?ii acoperi?i cu c?r?i ?ncepe cunoa?terea. Restul sunt vorbe, fantezii, toane, divaga?ii, ?nt?mpl?ri m?runte, scurse dinspre realitatea de fum, a c?rei amintire e proasp?t? ?i-at?t de vie. Orgoliul, smerenia ?i asprimea ?ndreptat? ?mpotriva ta ??i vor fi sfetnici.Carnea trec?toare a cui sunt, Doamne? (Aura Christi)

De ce fr minotaur Fiindc literatura, din perspectiva mea, este un labirint, iar naintarea n ea, una plin de pericole, topite ns n pura iridiscen. Un labirint, dar unul radios, menit s atrag atenia asupra infinitii de jocuri ascunse n textul literar. Jocuri care te prind (mai bine-zis te seduc), doar ca s te poi elibera, s fii vzut n mijloc, schind un salut triumfator – poate spre nite prieteni nevzui. Cu nimic altceva n jur dect pietre ncinse, ncrustate cu nestemate. Nevoit s mergi mereu nainte, lai averea asta altcuiva, n-o poi lua cu tine – sensul e s iei din labirint cu totul nud (neatins de prejudeci ori de cliee), fr cicatrici literare, literatura s fie pentru tine o poart, nu o temni. Ea poart, ntr-adevr, n sine, aceast imens generozitate. Niciun minotaur care s te sfie, doar picurul de miere al bucuriei lecturii, pe lespezile arse de soare: suntem la amiaz, ateni, vigili (minotaurul ar fi doar creaia noastr). Senzaia de deschidere druit de literatur st deci la originea acestei cri, mai degrab un sinuos autoportret de cititor (nu att narcisiac, ct fidel siei) dect o lucrare sistematic. Un chip caleidoscopic, conturat din capricii reunite, firesc, ca rsplata pentru a fi urmrit cu ncredere traiectoria neregulat a lecturii – sinuozitate nelipsit totui de un sim al unitii, tradus n meditaia continu asupra unor noiuni precum familiaritate i alteritate, a relaiona ori a insolita.“ – Simona Grazia Dima

Lidia Lazu a scris aceste poeme. i pe urm a uitat c le-a scris. Le-a gsit pe marginea unei ferestre, ciugulite de psrile cerului, cu frumuseea pierdut pentru totdeauna – c toate lucrurile sortite s ntrein miracolul existenei. Acesta este mitul n jurul cruia ar putea s se consolideze o ntreag oper poetic. Eu cred c nici unul dintre poeii romni nu a reuit s construiasc o asemenea imagine, care ntr-adevr s ne reprezinte ntr-un asemenea chip i ntr-o asemenea msur. Lidia Lazu scrie din preaplinul firii sale. (...) Ea face parte dintre acei oameni care nu scriu din pricina slbiciunilor lor, ci din pricina prea multelor daruri cu care a fost nzestrat de Dumnezeu.“ – Mircea Ciobanu

Nici avangardi?tii cei mai radicali n-au putut ignora total tradi?ia, de?i, la modul teoretic, au pretins c? au aruncat-o la co?ul de gunoi. Un Urmuz a valorificat absurdul care nu lipse?te din folclor, dar nici din Caragiale. ?Constructivi?tii” au sim?it tenta?ia s?-l asimileze pe Br?ncu?i la avangard? etc. Iat? ?ns? c? postmoderni?tii au ajuns la ??n?elepciunea” c? lumea contemporan? ?ncepe doar cu d?n?ii. Am auzit voci spun?nd c? Liviu Rebreanu este at?t de ??nvechit”, ?nc?t nu mai are ce c?uta ?n programele de ?nv???m?nt. Nu mai vorbim de Eminescu. Acesta n-ar fi dec?t un scriitor ?istoricizat”, interesant, cel mult, prin c?teva poeme cu tent? parodic-textualist?, cum sus?ine un eminent istoric literar, care consider? c? locul ?n ?canonul literar” rom?nesc trebuie cedat postmodernistului Mircea C?rt?rescu, cu detronarea ?poetului na?ional”, sintagm? complet ?dep??it?”. Captatio benevolentiae din conferin?a Aurei Crhisti ?ncepe cu o astfel de provocare: ?M-am ?ntrebat nu o dat?, pe ?ntinderea ultimilor ani, ce s-ar ?nt?mpla dac?, ?ntr-o bun? zi, ne-am pomeni fa?? ?n fa?? cu Mihai (sau Mihail, cum ?i spunea Nichita St?nescu) Eminescu, cu Lucian Blaga sau Nicolae Iorga, cu George C?linescu sau Liviu Rebreanu, cu Titu Maiorescu sau cu una dintre marile doamne ale literaturii rom?ne, Hortensia Papadat-Bengescu? S-ar sim?i acas?? Aici, printre noi, scriitorii rom?ni… Aceste ?ntreb?ri ar st?rni, f?r? ?ndoial?, ironiile sau comentariile sarcastice ale multor postmoderni?ti, textuali?ti, dou?mii?ti sau post-post-moderni?ti, care ?i-au ?ntocmit, ?ntr-o grab? suspect?, precipitat?, o ?nou? tabl? de valori acceptate?, fiindc? no?iunea de cultur? e... ?suspect? din punct de vedere politic!? Desigur, ace?ti mari scriitori nu s-ar mai sim?i acas?, ci abandona?i, cu patria lor cu tot, ?n numele alteia, obscur?, fudul?, ?n vulgaritatea ei, hibrid? din punct de vedere nu numai cultural, a?a cum o prevedea, alarmat, Mircea Eliade ?n celebra lui conferin?? din 1953, Destinul culturii rom?ne?ti. (Theodor Codreanu)

eu rd ca s nu gndesc,tu rzi de mutrele mele,de lustra din tavan,de piciorul mesei.sunt att de mic sub tinenct nu m vede nimeni de pe marte.dac big brother triete,pe tine te observ primul.“

Din nord, dup? o experien?? de dasc?l la ?coala din Ieud, Ioan Es. Pop a naufragiat prin ’88, ?n Capital? ca muncitor pe un ?antier, mai apoi, dup? ’89, ca redactor la Luceaf?rul, izbutind s?-?i transforme naufragiul ?n descoperire esen?ial?, precum eroul lui Defoe. Cu migal?, cu entuziasm, cu r?bdare, cu Vineri, Robinson a f?cut din naufragiul s?u o terapeutic? a oric?rei alien?ri, inclusiv a celei de sine ?nsu?i. Cu talent, cu intui?ie, cu imagina?ie, cu nou?zeci?tii, Ioan Es. Pop ?i-a convertit naufragiul ?ntr-o splendid? revocare dramatic-liric? a neantului zilnic, cum numai poe?ilor de tot li se poate ?nt?mpla. Ieudul f?r? ie?ire este expresia plin? de prospe?ime poetic? a cestei convertiri. Lauren?iu Ulici

n total, 26 de tablete, carevaszic, de dou ori 13. De ce de dou ori Fiindc, pe de-o parte, orice, i mai ales norocul i ghinionul, are nevoie s se repete ca s nu fie ntmpltor. Pe de alta, fiindc feele lui Caragiale sunt cel puin dou, Caragiale tatl i fiul sunt dou efigii adesea puse mpreun..

n aceast carte, scriitorul i jurnalistul timiorean a rspuns ntrebrilor adresate de un cristian, ntrebri despre literatur i lumea literar, despre presa ultimilor 20 de ani, secretele realizrii unui interviu reuit, televiziune i culisele ei, despre copilrie, adolescen, prieteni ori evenimente personale importante. Eu m aprind cam repede, dar nu m ine suprarea, nu se lipete de mine, indiferent despre ce e vorba. Snt un ins senin, mulumesc lui Dumnezeu pentru asta, dar i prinilor care m-au crescut aa, ca pe un om al pcii. Iar dac, totui, aveam ceva care m mcina, care nu-mi ddea tihn, m refugiam n citit. n singurtate. Poate c i asta m-a atras spre literatur: solitudinea de care ai nevoie ca s citeti i s scrii. Din cnd n cnd, mai rar sau mai des, faci pasul napoi din lume i rmi cu crile tale. Am fost i snt biat de gac, om de lume, dar, vorba lui Petre Stoica, doar singurtatea i este fidel. (Robert erban)

Poeta, eseista ?i prozatoarea Aura Christi propune o radiografie a vie?ii literare ?i a celor mai interesante c?r?i ap?rute ?n ultimul deceniu literar. Cartea se adreseaz? elevilor, studen?ilor, precum ?i publicului larg de cititori.

Critic? literar? Editura Allfa inaugureaz? seria de volume ?Eminescu, poem cu poem” care va cuprinde ?ntreaga oper? poetic? antum? a marelui poet analizat? de scriitorul ?i criticul literar Alex. ?tef?nescu. Lucrarea ?Eminescu, poem cu poem. Luceaf?rul” ne dezva?? de toate vechile obiceiuri de interpretare care au prezentat ?n limbaj de lemn poezia eminescian?. Alex. ?tef?nescu ne face din nou cuno?tin??, de data aceasta ?n cuvinte simple ?i idei proaspete, cu cea mai cunoscut? poezie din literatura rom?n?. Analiza sa cuprinde observa?ii fresh ?i referin?e culturale pe gustul elevilor, tinerilor ?i iubitorilor de literatur? care (re)descoper? ast?zi poezia eminescian?. Numai un scriitor de geniu poate crea un personaj care s? ajung? mai cunoscut dec?t el. A?a cum Hamlet egaleaz? celebritatea lui Shakespeare, iar Don Quijote pe cea a lui Cervantes, ?i Eminescu este concurat ca notorietate de unul dintre personajele sale, luceaf?rul. Mai mult dec?t at?t, poetul a fost numit p?n? la sa?ietate ?luceaf?rul poeziei rom?ne?ti”, sintagm? despre care Alex. ?tef?nescu spune c? este considerat? ?n prezent o expresie uzat? din limba de lemn a omagierii lui Eminescu. Renun??nd la limbajul bombastic ?n care a fost prezentat p?n? acum, criticul literar subliniaz? frumuse?ea literar? a straniului love-story dintre luceaf?r ?i C?t?lina. Este o poveste de neuitat, comparabil? cu alte iubiri irealizabile (sau posibile numai prin sacrificiu) ?ntip?rite ?n memoria noastr? cultural?, precum aceea dintre Zeus, st?p?nitorul cerurilor, ?i Europa, prin?esa fenician?, cea a lui Romeo ?i a Julietei, ?i precum povestea dintre riga Crypto ?i lapona Enigel din poemul lui Ion Barbu. Volumul cuprinde poemul ?Luceaf?rul” ?nso?it de textul critic al lui Alex. ?tef?nescu.

Cartea lui Michael Finkenthal ofer o prim, ptrunztoare, lectur critic mai ampl a scrierilor suprarealiste ale lui Dolfi Trost, unul dintre membrii Grupului suprarealist romn – foarte activ ntre anii 1940 i 1947 la Bucureti –, coautor, alturi de Gherasim Luca, al celebrului manifest Dialectique de la dialectique. E o contribuie valoroas, revelatoare pentru suprarealismul frenetic al bucuretenilor angajai ntr-un ndrzne dialog cu micarea european de avangard. Documente inedite rotunjesc profilul unui spirit nonconformist, pe care interpretul su are grij s-l situeze, atent la nuane, n contextul agitat al epocii. O recuperare, aadar, salutar care mbogete substanial imaginea acestei ultime etape a avangardei istorice romneti.“ – Ion Pop

A szerz? a két nem k?z?tti klasszikus konfliktushelyzeteket vázol fel, majd k?nnyedén kivitelezhet? és hatékony megoldásokat kínál a kezelésükre. Ha megfogadjuk tanácsait, vérbeli "férfiszelídít?ként" nem esik majd nehezünkre, hogy k?lcs?n?s megbecsülésre és szerelemre épül? párkapcsolatban éljünk, olyan intim viszonyban, amelyben kulcsszerepet játszik a humor, és amelyben álmaink férfija szívesen és ?nszántából k?vet bennünket, hogy kapcsolatunk boldog és sikeres legyen.

A bájos, v?r?s hajú Répássy Rebeka szereti a magas sarkú cip?ket, a drágak?veket és a bécsi kávét. Nem szereti viszont a tenger gyüm?lcseit, a tolakodó pasikat és a felt?nést. A sors szeszélye folytán mégis egyik pillanatról a másikra az osztrák tévé képerny?jén találja magát, és a Kísérletkastély cím? valóságshow ígéretes szerepl?jeként egy ország kíséri figyelemmel minden mozdulatát. A tét Rebeka számára százezer euró, a hírnév, és váratlan ráadásként a szívfájdítóan jókép? producer, Marcus szerelme. A Bécsben dolgozó magyar lány igyekszik megállni a helyét a kereskedelmi tévék számára ismeretlen világában, ahol semmi sem az, aminek látszik: az ellenfelek barátnak álcázzák magukat, a segítség kerül? utakon jár, és még az igazi szerelem is álruhába bújik. Vajon ki mozgatja a szálakat a háttérben? Mi a szerepe az eseményekben a titokzatos újságírón?nek, Fr?ulein Lemkének? ?s vajon megtartja-e Rebeka kezdeti elhatározását, miszerint nem hajlandó szerelmeskedni a kamerák el?tt? Aki a rokonszenves Rebekához hasonlóan kedveli az osztrák f?várost, a karácsonyi hangulatot és a bécsi kávét, az kül?n?sen élvezni fogja PALOT?S PETRA izgalmakban és fordulatokban nem sz?k?lk?d? regényét.

Dup? treisprezece ani de la prima apari?ie, m?-ntreb unde-a ajuns oare Drumul furnicilor? Strada pe care plou?-ntotdeauna ?i-o fi luat un new look? Josefina, musca dintre ferestre, cum se adapteaz? la termopane? La baie apa continu? s? curg? zi ?i noapte ca un fluviu particular? Colacul de s?rm? ploioas? s-o fi dezr?sucit de tot, l?s?nd moartea pe dinafar?? Vreun paparazzi o fi ob?inut vreo poz? a p?s?rii din pod pe care nimeni n-a z?rit-o? Nu m?-ntreba?i pe mine, eu n-am f?cut altceva dec?t s? bat la ma?in? litere unele dup? altele. Tot ce ?tiu este c? ?i dup? treisprezece ani norii ?i be?ele de chibrit r?m?n cele mai frumoase lucruri de pe lume. (Constantin Ab?lu??, decembrie 2010)

Mihai Eminescu este considerat de cititori ?i de critica literar? mondial? drept cea mai important? voce poetic? din literatura rom?n?. ?Titlul de fata reprezinta cea mai bogata colectie de poezii a poetului Mihai Eminescu. In cele 650 de pagini regasiti titluri celebre precum: Floare albastra * Revedere * Scrisoarea III * Luceafarul * Ce te legeni... * Mai am un singur dor * Sara pe deal

Of all the myths which have come down to us from the East, and of all the creations of Western fancy and belief, the Personality of Evil has had the strongest attraction for the mind of man. The Devil is the greatest enigma that has ever con-fronted the human intelligence. So large a place has Satan taken in our imagination, and we might also say in our heart, that his expulsion therefrom, no matter what philosophy may teach us, must for ever remain an impossibility. As a character in imagi-native literature Lucifer has not his equal in heaven above or on the earth beneath. In contrast to the idea of Good, which is the more exalted in proportion to its freedom from anthropomor-phism, the idea of Evil owes to the presence of this element its chief value as a poetic theme. The discrowned archangel may have been inferior to St. Michael in military tactics, but he cer-tainly is his superior in matters literary. The fair angels—all frankness and goodness—are beyond our comprehension, but the fallen angels, with all their faults and sufferings, are kin to us. There is a legend that the Devil has always had literary aspi-rations. The German theosophist Jacob B?hme relates that when Satan was asked to explain the cause of God’s enmity to him and his consequent downfall, he replied: “I wanted to be an author.” Whether or not the Devil has ever written anything over his own signature, he has certainly helped others compose their greatest works. It is a significant fact that the greatest im-aginations have discerned an attraction in Diabolus. What would the world’s literature be if from it we eliminated Dante’s Divine Comedy, Calderón’s Marvellous Magician, Milton’s Paradise Lost, Goethe’s Faust, Byron’s Cain, Vigny’s Eloa, and Lermon-tov’s Demon? Sorry indeed would have been the plight of litera-ture without a judicious admixture of the Diabolical. Without the Devil there would simply be no literature, because without his intervention there would be no plot, and without a plot the story of the world would lose its interest. Even now, when the belief in the Devil has gone out of fashion, and when the very mention of his name, far from causing men to cross themselves, brings a smile to their faces, Satan has continued to be a puissant personage in the realm of letters. As a matter of fact, Beelzebub has perhaps received his greatest elaboration at the hands of writers who believed in him just as little as Shake-speare did in the ghost of Hamlet’s father.

Graff Angéla és Encsy Eszter élete és sorsa oly szorosan tartozik ?ssze, akár a nappal és az éjszaka – s ?k ketten éppen ennyire ellentétei is egymásnak. Komor korban t?ltik együtt gyermekéveiket, amelynek s?tétségér?l Angéla mit sem tud, s amely ?r?kre feketére festi Eszter lelkét. Angéla gondtalan áhítattal mosolyog a hajnali fénybe, mik?zben széthulló családja életük romjait menekíti, Eszter pedig tehetetlen irigységgel zokog, amiért nem láthatja szenvedni ezt az ártatlan angyalt. ?vekkel kés?bb találkoznak ismét, a kapocs kettejük k?z?tt egy férfi ? férj és szeret?. Eszter ünnepelt színészn?, mégis boldogtalan: a lelkében izzó démoni gy?l?let lassan elpusztít mindent, ami boldoggá tehetné. Angéla ?r?k gyermek, fogalma sincs a k?rül?tte munkáló gyilkos indulatokról, emészt? szenvedélyekr?l. Nem sejti, hogy akiket a legjobban szeret, háta m?g?tt megcsalják, élete f?lforgatására készülnek. Az ?z?egy szerelmi háromsz?g és egy élethosszig tartó, engesztelhetetlen bosszú kegyetlen t?rténete. Szabó Magda magával ragadó, kíméletlen regénye mé.ltán tette egy csapásra híressé és elismertté szerz?jét: t?bb mint húsz nyelvre fordították le, és máig sem veszített elementáris erejéb?l

Nagy élmény ez az éjszaka! Felettem zldell faág és a csillagos ég.” A csndben zek, dámvadak osonnak le a kopolyához”… – írja naplójában tizenévesen a majdani kutató, a nvénybiológia professzora, két teljes napot egyedül eltltve a Nagynyíri erdben. Folytatódik a sor nyári diákmunkaként egész megyéket feltérképez kerékpártúrákkal, ifjúkori nyaralásokkal, majd eljutunk a már felntt férfi, családapa kutatói munkáival sszekapcsolódó utazásaihoz, tanulmányútjaihoz. Egyszer turista számára elérhetetlen oldalát láthatjuk Hollandiának, Japánnak, megtudjuk, hol van Fokhagymaország”, van-e, volt-e rabszolgaság a 20. sz.-ban, mit mond a távolról jtt magyarnak Dél-Amerika… Megismerhetjük más népek szokásait, vallását, gynyrkdhetünk természeti és épített kincseik szépségében. Ismeretekben gazdag leírások, pontos információkkal az adott ország fldrajzi adottságairól, társadalmáról, olykor trténelmérl is – érzékletesen, élményszeren. Nem hagyva ki a korabeli Magyarország külfldi utakkal kapcsolatos hozzáállását sem... Szülfldjérl, Trtelrl indul, és vissza is tér oda. Bár Szegeden él, mégis tevékenyen vesz részt a település mindennapjaiban. E. L. tudósként gondolkodik, de a hétkznapok nyelvén fogalmaz. Visszaemlékezéseit olvasva knnyedén, szinte észrevétlenül gazdagodik tudásunk, emelkedik lelkünk… Szafián Zsuzsanna tanár, író

The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman poet Virgil and then by Beatrice, the subject of his love and of another of his works, La Vita Nuova. While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and knowledge to appreciate. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" — "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142). "IN the midway of this our mortal life, I found me in a gloomy wood, astray Gone from the path direct: and e'en to tell It were no easy task, how savage wild That forest, how robust and rough its growth, Which to remember only, my dismay Renews, in bitterness not far from death.." (Dante) IN the midway of this our mortal life,I found me in a gloomy wood, astrayGone from the path direct: and e'en to tellIt were no easy task, how savage wildThat forest, how robust and rough its growth,Which to remember only, my dismayRenews, in bitterness not far from death.Yet to discourse of what there good befell,All else will I relate discover'd there.How first I enter'd it I scarce can say,Such sleepy dullness in that instant weigh'dMy senses down, when the true path I left,But when a mountain's foot I reach'd, where clos'dThe valley, that had pierc'd my heart with dread,I look'd aloft, and saw his shoulders broadAlready vested with that planet's beam,Who leads all wanderers safe through every way. Then was a little respite to the fear,That in my heart's recesses deep had lain,All of that night, so pitifully pass'd:And as a man, with difficult short breath,Forespent with toiling, 'scap'd from sea to shore,Turns to the perilous wide waste, and standsAt gaze; e'en so my spirit, that yet fail'dStruggling with terror, turn'd to view the straits,That none hath pass'd and liv'd. My weary frameAfter short pause recomforted, againI journey'd on over that lonely steep,The hinder foot still firmer. Scarce the ascentBegan, when, lo! a panther, nimble, light,And cover'd with a speckled skin, appear'd,Nor, when it saw me, vanish'd, rather stroveTo check my onward going; that ofttimesWith purpose to retrace my steps I turn'd. ? ?About Dante: ? Durante degli Alighieri, simply referred to as Dante (1265–1321), was a major Italian poet of the Middle Ages. His Divine Comedy, originally called La Comedia and later called Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature. In Italy he is known as il Sommo Poeta ("the Supreme Poet") or just il Poeta. He, Petrarch and Boccaccio are also known as "the three fountains" or "the three crowns". Dante is also called the "Father of the Italian language".

The girl had been an orphan from childhood, and Rowland Trowbridge had been almost as a father to her. Avice loved him and watched over him as a daughter; at least, that had been the case until lately. A few weeks since, Mr. Trowbridge had succumbed to the rather florid charms of Mrs. Black, his housekeeper, and told Avice he would marry her in a month. Though greatly surprised and not greatly pleased, Avice had accepted the situation and treated the housekeeper with the same pleasant courtesy she had always shown her. The two “got along” as the phrase is, though their natures were not in many ways congenial. Avice remained at the window till she saw at last Leslie Hoyt’s tall form approaching. She ran to open the door herself. “Oh, Judge Hoyt,” she cried, “Uncle hasn’t come yet! There must be something wrong! What can we do” THE MARK OF CAINBY CAROLYN WELLS AUTHOR OF “A CHAIN OF EVIDENCE,” “THE GOLD BAG,” “THE WHITE ALLEY,” ETC.WITH A FRONTISPIECE IN COLOR BY GAYLE HOSKINS

Nova zbirka poezije ?arka Pai?a otkriva izvanredan autorov poetski svijet u kojem se na najneposredniji i najjasniji na?in spajaju njegova filozofska razmi?ljanja, post-punk poetika i jasna eti?ka komponenta. Poezija ?arka Pai?a ipak prije svega i nadasve progovara o slobodi i ?e?nji za njom, a Pai? u stihovima daje inovativne, sna?ne slike i ?itatelja ostavlja da nad stihovima razmi?lja, da im se vra?a i da ih iznova ?ita i citira.