Sophistication with literature. Thirteen – Between retro fiction and the present (I)

The collective size of the stories Thirteen. wonderful prose (Litera Publishing House, Bucharest, 2021) combines covers of 14 authors and 18 texts (preface and 17 fiction) oriented towards breaking out of the prolific dominance of somewhat simulated realism in contemporary Roman epic. Andreea Apostu’s introduction was intended to place this book in the flow of genre books written in Romanian. Roman fantasy and the temptation of irony. I sincerely applaud the reference that Litera is giving to the ‘industry’ of which it is a part, which is a good 10 introductory page for a fiction book, for informing the audience of the historical situation, the neighborhoods and the trends to which they respond. . Or at least that was the purpose of an introduction before the age when the publishing industry, of us and elsewhere, pushed this mixed kind of popularization of the literary sciences only to books in academia, replaced by two pages at most in rhetoric. She was accepted by Head of Marketing, Page Turner.

Ordinarily, a historian shouldn’t welcome the introduction to a book, right? I personally have not written about such a text from the last millennium, since the time when it seemed that the earlier and later facades, from the time of the anthologies that emphasized Roman cyberpunk, Motocentauri on the surface of the world, or the first size for Jean-Lorin Sterian, Balthasar and Serendipity. Then, either there was no fiction accompanying the appearance, or the Regents were just autobiographies with confusion that escaped from the fourth cover. Unfortunately, the introduction to ThirteenAlthough it has the advantage of being present, it doesn’t bring us back to normal. Roman fantasy and the temptation of irony Set them the size Thirteen The need for the long-awaited emergence, in other words, the text of Andrea Apostu begins as a statement, but does not continue as such, nor does it continue as an unambitious introduction, because it does not mark the location of history, does not show neighborhoods or directions, but only lists unalterable general facts. Andrea Aposto links the importance of her publication with the importance of the anthology night trainIt was published by Astra magazine in Braشوفov in 1987. Then he summarizes from Adrian Marino (Dictionary of Literary Ideasand Sergio Pavel Danecool faces) what would be cool; He then applies impressionistically the selections, definitions, and terms obtained from each story Thirteen in part. If we look at the list of authors compiled in the volume, we can not get a weak book, the task of the introduction was simple. By guiding the reader down the wrong paths, historical and theoretical, and affording the advantages that others have so easily obtained, Andreea Apostu’s introduction does serious damage to the following narratives. Let me explain.

  1. Communicate with night train It does not take into account anything that was originally published in our country, with a fictional key, since 1987. I do not mix genres here either, there is a great Roman, published in the last thirty years, which also responds to the theoretical framework chosen by Andrea Aposto. Likewise, regardless of biological or creative generation, as in Thirteen, we have the anthologies published by Michael Holich in Millennium Books, Tritonic, Paralela 45, Vremea. I’m not talking about SF or fantasy here. But the introduction does not even take into account the imagination that is taught through creative writing Thirteen It appears to be a “guided” composition, just like the “Fan Stories” anthology. 1001 nightsUnder the guidance of Ruxandra Cesereanu (Cluj), or building a “phantom” empire, under the guidance of Ruxandra Ivăncescu (Brașov). The author’s volumes, simply named, were clearly not taken into account either great storiesby Mircea Opriță, Michael Haulică, Liviu Radu and others, or by florilegium Anna Blandiana.
  2. The use of Marino-Dan terminology is moderate, but limited, and does not take into account international or Roman studies on the subject. Thus, the ‘urban’ influence of New Stranger (after 2000) and Slithering Current (after 2008) was not used, bringing Anglo-Saxon fiction out of the dominance of fiction, including jargon. The luster of originality from relatively recent Roman PhDs, such as Cosmin Beru’s “Wonderful Interpretation”, has not been used.
  3. According to the text Roman fantasy and the temptation of irony Fits just like the introduction (and statement) wonderful prosesuch as a text at the beginning of an anthology of poetry (post) duo to which it relates Hair is a source of beauty (World of Anthology Florin Șindrilaru, Minerva Publishing House, 1987) Through the exclusive use of Eugen Negrici’s book, poetry methodologies. How good it is that our poetic anthologies are not in danger of having such rulers!

Evidently the modernist present in a certain part of Roman criticism does not apply to Andreea Apostu’s introduction, which is, somewhere, a relief. But if the premise is correct and the thirteen prose books of 2021 were really written as (m as) in 1987?! Is there a “fantasy throwback” in Roman letters? Just read the size Thirteenwithout misdirection and preconceptions will give us the answer.

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