deception game | Cultural Observatory

It can be said that the great literary career of Nora Euga began after 1989. The seven volumes of poetry published so far have given her a notoriety that has not gone beyond a small circle of poetry readers; They betrayed the iconoclasm spirit that must not have felt very comfortable in the conditions of the communist regime. In the post-December period, the author’s inspiration was finally able to breathe freely. Now Nora Euga is not only posting some of them
Most representative poetry books: night writer (1996), mannequin hospital (1998), dangerous whims (1998), convex bus (2001), The girl with a thousand wrinklesI (2005), Party in Montrouge (2012), to which was added later wet dog willow (2013), Listen to the tears in brackets (2016), Along the way (2018), but asserts herself, at the same time, as a prose writer of first importance. Show his novels Leopold Bloom Soap (1993), Nationality and youth (2000), swan with two entrances (2003), Harald and the green moon (2014), Let’s steal the watermelon (2015), Racetrack (2020), two magazines, several interview books, plus an astonishing number of translations of German literature. So we can say without fear of error that Nora Euga has been one of the most prolific authors of the past three decades. Becoming very popular, she was the star of literary events countless times, and her fame extended well beyond Romania, where she was translated into several European languages ​​and praised by critics in Germany who named her Mrs. Artaud.

You wonder what else the writer might want after this record. It was perhaps a more correct estimate than the great pontiffs of the Roman critics, who considered her in their history (“critical”) the author of a “dictionary”.

Big trick (Casa de Pariuri Literare, 2021), the latest volume of poems published by Nora Euga, illustrates this poet’s tendency (whatever ninety years old!) to renew her means of expression from book to book, releasing some in direction. One of the most daring experiments. It was the most radical of them two entrance swan, Novel – a poem written according to the style of dictation and located in the area of ​​overlap between poetry and prose, between fictional prose and the diary page, an area that Nora Ioja likes to call “semi-literature”. In the Big trick, the poet’s experiences go in the direction of intertextual games; With complete freedom of spirit, Nora Euga quotes, paraphrases, removes ambiguities or comments, in the record of absurd parodies, famous verses from the history of Roman poetry: / I learned from my father / We have the heart of a king // I watched in the distance how in the seas / I climbed In the sky for a month / Like polenta on probation / Like bread with arvuna / And I searched for the hut / Laughing D – this summer / When you grabbed me by the neck with ease / With a violin string // I also had a studio / On the street zalomit / You know where it came from / In the corner there were hermits / Monks with braids / I dreamed since childhood / A house with three girls / Chased by ants // It was very good / You know Omar Khayyam / He went – I have nine oarsmen / And we have no money ”(On Zalumet Street as you know). The poet’s world is now under the sign of the carnival, and not just because the words are there Big trick I remember by the rhythm and the resonances, and also by the taste of the strange and silly songs, the older “songs” of Nora Ioja from the cycle sweet carnival. As is known, the carnival is a celebration of absolute immorality: during its time one eats and drinks excessively, sexuality appears freely, servants replace masters, and masters end up in the position of serving their servants. For the Nora Euga, the carnival is one of the texts and has a space on the scriptoteca: in the course of it the “aristocratic” verses, which have classic nobility verbs, and are prone to the ridicule of ambiguity, are “humiliated” and get credit for it. The “year” quote from universal or romantic songs, or silly and clumsy verse, that reminds us of children’s folklore: It’s a titanium rape / You know we left ten / On horseback on a Trojan // But the angelic creature / It was as cold as a drizzle / Ice cream and cream In the cup / Let me lick a little // Pass the swan on the water / Come Hai-hui from the Four Lands / And Bakuvia in the woods / I’m looking for a verse from the Four Lands / / Where is your childhood / I sold it to the talc / Who knows Who knows / I think it fell from The beak! “(Sense of humor in the flea market). Imbued with the atmosphere of this carnival, the poems in the volume will be filled with processions in which masked and unmasked people mix, it is no longer known what is a face and what is a mask, and the maximum effect is obtained when the hideous mask is slightly removed. He reveals a cheek disfigured with a smile of fear, and the joy of the past, too ostentatious to believe, turns into anxiety: With patrols or castles / To protect the key / From the third living room / You didn’t want to see me / I was a rose / And now I’m just a bean and news / I can’t stand your cursing / I smell you better // Make me deal with worms / A whirlwind of water / Follow me / I’m coming to drink you / Without my neck tied / I laugh – this summer / So I don’t suck from my stupid lips / The hemlock sleeps / Leave your paw from Time / I walk on my face / Groping behind the curtain / Like a bribery thief” (Come to the real estate exhibition in Obor). So Nura Yoga’s toys turn out to be less innocent and less quiet than they seem at first glance. one in sweet carnival Defining himself as “the miserable petty”, he is, after all, an anxious being, feeling the threat of death very acutely. We must not forget, first of all, that the carnival is a ritual of renewal, originally intended to destroy old age and winter (embodied by the “King of Carnival”, symbolically sacrificed at the end of the feast) and the revival of nature. With this arrangement of ideas, the “carnival” verses of Nora Euga attempt to attribute healing virtues, which would be “songs against death”, explosions of twilight vitality. Unfortunately, the poet no longer believed in magic and rituals. After gaining “a thousand wrinkles” and a lot of other scars, the “little girl” he sometimes likes to appear in has lost her innocence and knows very well that in the end the carnival is nothing but a carnival, that is, a scene with masks and a number of deceptions, deceptions and deceptions. More than the fun of the game (which should not be overlooked in the case of a stage character like Nora Ioga), her latest volumes of poems seem to have arisen from the disillusioned consciousness of a pure soul who fully understands that the shadow part of existence cannot be deceived indefinitely. Cheating is really just a game: a game of deception, which tries to put itself under the tutelage of the unsuspecting “as if”.

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