Dino Pilate’s novels

Whoever wants to know more about himself and those around him than he can discover by researching his own life has an inexhaustible treasure: literature. In moments of peace or extreme turmoil, aesthetic joy strengthens and clears the soul. As in any specialized field, there is a danger of building doors and windows in the realm of law. Literature, more than other arts, opens it and lets the light in. The order of freedom and security, to which the right belongs, cannot exist without this light. Daily practice of reading is essential especially for lawyers. In one way or another, directly or indirectly, it affects the lives of others. It is normal for them to be asked to understand before deciding what is right and what is wrong. A good opportunity for such an exercise in reading is offered by the novels of Dino Pilate, which were republished at the end of last year, in one volume, by Humanitas Publishing.

Monica Pilate outlines, in a closely related critical form, the thematic matrix of the three novels: Strange Youth, Daily Death, and Waiting for the Last Hour. In a paraphrase of the title of a novel by Zaharia Stanko, two principles that make up this thematic matrix, the game with death, are identified in the epilogue. The first principle, which gradually guides the epic revelation, begins from the premise that identity is constructed over time, meaning the sum of the actions and personal reactions of an individual who “becomes”. The second principle, which gives a reactionary direction to the narrative as it appeals to biblical memory, is based on the belief that man “becomes what he is” by resorting to the Genesis text, where the Creator shapes man in his book. Image and likeness, and the tragedy of the Passion and Resurrection of Jesus, followed by the ghost of Revelation. In Dino Pilate’s prose, the two principles enter into controversy, as the characters engage in a captivating game with death. “This objective matrix, transcended by higher existential tensions, cannot continue without a strong artistic identity.

The Steps of This Identity, Dino Pilate’s novels, Psychology and Ideas, written between 1943-1955, traces the prose of Mihail Sebastian (Two thousand years and how I became a troublemaker) and anticipates the prose of some of the novelists who will be remembered in the following decades: Alexandru Evciuk, Augustin Bozora and Bogor Nedelkovici. However, the thematic and stylistic affiliation among these authors cannot be observed in time because Dino Pilate’s most valuable novel, Waiting for the Last Hour, was published more than half a century after its completion.

The first novel, Strange Youth, published in its first edition in 1943, although little more than a vulgar apprenticeship laboratory, does not yet have its own stylistic brand. Crossing the narrow and dangerous bridge between pervasive adolescence and the time of research and difficult choices that make up a character’s bed, the characters of the novel are reminded of those of Ionel Teodoriano, the writer Dino Pilate was close to in the first. The theater. An absolute mirage, with its juxtapositions of full-blown gestures, including seduction and the process of suicide or murder, lacks the complexity and credibility that would be gained in a novel Waiting for the Last Hour.

Between these two novels, in which the end of life is presented in extreme proportions, Suicide and Murder, lies The Daily Death, first published in 1946. As the title suggests, the gross gestures were replaced by a complex twist, consisting gradually, phrase-accompanied by phrase, of small, repetitive gestures , in a masterful unit of time, with three sequences: day, night, another day; Later, Georg Bilgic would build his best novel, The World in Two Days, in a similar time frame. Aspirations fade and ideals deteriorate in the daily life of the family, in a diabolical rhythm, as moral perspective is abandoned and prospects for existence darkened. Justin Ionesco, a professor of French literature, gradually lost his aspirations. His pedagogical career once turned into a routine that took him away from his students, communication with his wife Anna, son Sandu and disabled brother, Hippolyte faded away, remaining at the level of simple household rituals. “Everyone lived alone. In parallel silence, the sense of community became an illusion. For a long time now, no one was able to communicate with the other, except for the stereotypical phrases of the usual mores.” The specter of failure lurks on Sandu, who is increasingly exposed to the allure of alcohol. Ex-president Hippolyte, who had both legs amputated, does not have the courage to face her tragic condition, letting herself be dominated by sexual obsessions and lustful temptations. Only Anna has the dignity to bear the senile burden of the three founders – husband, son and son-in-law – and to retain the power of love, without being lost in suffering. Everyday Death, written at the age of less than 25, is dedicated to a talented prose writer, already mastering his own means of artistic expression, including his subtle sense of observation, through which the author discovers, through the lens of a microscope, the relevant thing. Details and rearrangement in a drawing of the essential meanings.

Waiting for the Last Hour is the novel that fulfills and tragically ends Dino Pilate’s fate as a prose writer. The caricature of Movement Legion, depicted by J. constitutional movement. In Dino Pilate’s vision, demonic faces, of Dostoevsky’s nature, are set against the backdrop of a failed utopia in a ruinous dystopia, as happens when politics wears the robe of secular religion. The vague enthusiasm for false idols, the missionary advocacy, the desperation in the face of reality that refuses to enter into patterns of social engineering, the complicity with security structures, the magic of the immemorial absolute for whom the miracle of life is sacrificed, and contempt for individual and collective apology are elements that give consistent personalities – where they can Learn about interwar prototypes – and the aesthetic scope of the plot from Dino Pilate’s latest novels. From this novel will be revealed the thread that the communist oppressive structures used to weave the cloth of the prison in which the author will be arrested from the spring of 1959 to 1964. Thus Dino Pilate himself became the character of a novel in which leftist despotism is the image. In the mirror of right-wing totalitarianism. The boundary between fantasy and reality has faded into the space of the boundless absurd – a nagging warning to those who would be seduced by the sinister power of a dystopian fail.

Valerio Stoica Lawyer and Professor of Civil Law, Faculty of Law, University of Bucharest.

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