The poet and death

● Bogdan Crito, Nishita. The poet as well as the soldierPolirum Publishing House, 2022.

I don’t know if in the case of fictional biographies (the label “romance” sounds blatantly pejorative to me) we shouldn’t look at perspectives. Let’s look, that is, at the autobiographical story itself (on its subject, in this case), but also at other volumes of the author’s prose who wrote it. It is possible to note the similarities between the imaginative, thematic, and narrative paths, and the tone and rhythm of the phrasing. No matter how close you are to the Documents, it is difficult, as an established writer, to coach the life of (another) writer, perhaps from a canon, without maintaining your own style of reference and obsessions. And this fact should be noted either to prove that in the end, even if you write about someone else, you are still writing about yourself.

This is what I think happened for the first time Nishita. The poet as well as the soldierBogdan Crito’s book dedicated to the life of an author 11 epitaphs. It helps me a lot here to remember rhino horn, a novel 2021 by the same Bogdan Crito, invoking the critical obsession of immortality and death written in the thematic trilogy, around which the epic fate of the character is organized by Dino Zornescu, writer, respected university and wise erotic experimenter. Nor can I refrain, for the present topic, from repeating a relevant passage from there: “This is art. It also makes us remain human, aware that we are unique, that we have a purpose. On one condition: that you experience it not only on a discursive level, as a hobby, as a craft, but in a form Private on an existential level. Let us write our own lives before writing books. Let us turn to intimacy All that our world has lost: There, let us carry things to the end, There let us live the great drama, private horror, revolutions for personal use, There let us consume our cowardice and our courage, Our fears and our happiness. Let us live everything in complete agreement with ourselves, let us rediscover ourselves as whole beings. That’s it, this should be literature.” The main goal of the protagonist was to compile a concrete existential archive, from which it was possible to extract texts that would save him forever. It seems to me that the same trilogy was repeated in a book on Nichita Stănescu, in an equally fluent, persuasive and fascinating way.

It must be said, first of all, that the “poet of words” is not viewed in chronological order, and his life is not reconstructed step by step, in all its great stages, on the contrary. The author himself admits that he wrote an antibiotic, that he tried to look at the world from inside the character of the approaching writer, and that he tried to “breathe with his lungs.” After consulting a rich bibliography (magazines, interviews, memoirs, articles, memoirs, photos), Bogdan Crito boastfully followed the opposite path of the so-called “new biography”, that is, it did not start from the real man “who was” to the statue. the hero of the story. He intended to make the enigmatic figure who was actually Nichita Stănescu a believable and energetic figure at the same time, honest and exemplary, but to do so without betraying the documents except within the limits permitted by the vulgar devices. Stanescu remains a character, of course, and it is a matter of imagination, after all, but he is a character of a different intellectual and physical thickness than that of which the Canarias are devoted to the subject. With a life that is more than open, it is known, Nichita Stănescu’s biography has been distributed in many situations, depending on those who knew him or met him, it is very difficult to create a clear and well-suited picture of reality. Girlfriends, friends, and relatives are transparently “blurred” (they appear only by first name or profession), and the scenes and dialogues are taken straight from the documents, but they are all processed and remixed narratively in light of the trilogy we talked about above. “I invented Nishita, trying not to fake it. But he’s the character
Mine (to me). From this book mean. Closer or far from the character of his life, to the character that the poet has always known how to make, in an unusual role-playing game. ”

Then, the second obsession with Bogdan Krit intertwined, beyond resemblance to Nishita’s poems and sayings, with an ancient passion for him. This may have strengthened this (redundant) relationship between the approach suggested by the publishing house’s genre chain and its final treatment, and this interconnection between writing and life, poetry and death. Subtitle of the book (the poet as a soldier) Excerpts from the famous Nichitastanisyan verse with a universal meaning, identifying the most important representative of the generation of the sixties. The three parts of Bogdan Krito’s book – all laid out under the heavy mantra one verse at a time – put the hero in the last days of his life, through everything Nishita says or does, he is always near the end. There is no exact chronological milestone other than the intimate relationship between him and her, in which his last partner is called Dora, who is much younger than him. About this sacred event of death accumulates in flashThrough a kind of traumatic antecedent, important biographies of Nishita’s existence, names, events, dialogues, objects, combinations, feelings, reflections. Constant companions are alcohol, jealousy, friends, cohabitation, girlfriends, disease, dictatorship, literature, and sometimes his pathetic attacks on a secular saint. The dominance of the indirect free style is a necessary addition to this practice of imaginative reconstruction of a well-known figure in Roman culture: “He fled from nowhere. From a house of love. He was also fleeing from himself when he thought he was opposing himself. The self struggles with the self. Who wins? How was he running Simple, he had to get down as low as possible. Like Marmeladov who charmed him in his youth. He talked about back-to-back nights with his friends. Perhaps it was a call from his Russian blood. He was fleeing through dematerialization. Some believed he was working On his destruction. But for him it was a completion of work. His body methodically collapsed, leaving only room for hair. There is nothing incomprehensible, in the end books and bones will remain in it. His hair will continue to live on the surface, and his bones will turn yellow underground. So He will stay here.”

Bogdan Crito wrote not a book about the life of Nichita Stonescu, but a book about a great poet and his imminent death. For those bitten by salvation through literature, it’s an intense book that reads with great sympathy.

Adrian C. rumella

Writer and literary critic. Latest book: delayed influence of youthful emotions, Junimea Publishing House, 2020.

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