“No one carried his surname so proudly on the dusty streets of the village as my grandfather.”

The decline, or rather the alienation and abandonment of Roman village traditions, which has continued throughout the family’s life for three generations, is the topic of the book that Journalul proposed this week. The stories of Tobârlanlilor – the nickname given to members of a family of Arge – transport us through the special charms of a Roman village from the times of the Legionaries, communists, and “capitalists”. Author Ion Thoma Ionescu confesses to us that he wrote this book with all his heart.

What is the story of Tabarlani? who are they? And what do they want? Ion Toma Ionescu, one of Tabarlani and author of the book, enlightens us: “In the village of Merishani de Arges, my childhood home, my grandfather did not bear his name, and probably wanted to protect him from his title. In seven villages or seventies, this approach extended – no place and no one, I do not know that He bore his nickname very proudly, in the dusty streets of the beginning and almost to the end of the last century. Tabarlan. Oh God, what a strong name, what pride and rebellion, but also at the same time bewilderment for us grandchildren, who were later named, “from Tabarlan. ‘, without our real names, uttered only when the tutors and professors read them in the catalog, to be fully known by someone in the local community.

Not the decay of the village, but the alienation, the separation of traditions, and the concepts established as fixed temporal norms. But the book deals mainly with the real characters, the people of Tabarlan, and their lives, revealing their winding labyrinths, the ability or inability to synchronize with the historical stages they go through, but above all it is the exercise of the author’s self-knowledge. Through experiences in direct or imaginary contact with his characters.

How many real and how many fiction? The scale is impossible to determine as long as Grandfather Toparlan, a somewhat mythical figure, when he ascends to Heaven negotiates with God to bring him cover and land from the meadow, surrounded by a river. And to gather all nations to the island without interfering in its affairs.

How much truth and how much fiction in the love story with Maria, fictional or not, always different and always the same! It accompanies the author everywhere with impenetrable mystery. Do not look for incest relationship with the stone cross in heaven! Read carefully, it does not exist! … As for Gussets, as the book was called in the first two editions, we have nothing to do if its symbolism is not understood, even now that we have added clues! … . “.

From Dacia to Prose and Poetry. How do you reconcile the world of the author? Ion Toma Ionescu explains: “The factory is another world. We can be given at least two parallel worlds in life. That’s what I tried to describe in the blue file. The Piteşti phenomenon of 1971. A book that will follow me as long as I have to live and maybe after that, more habitually than safe before 1989.” The Factory – I was sentenced as punishment in an overt operation to disguise a mask as the enemy of the people, rather than prison – to re-educate me. In the 1970s it was a different level than in the 1950s, and it was much more complex. As written in the briefing file I studied at CNSAS, in a screenplay Securitates (fictional and poorly prepared), I was part of a literary group called the Securitates also called Blues, after the name Blue we wanted to give a group of young Betsty a penchant to write for our own magazine, which I started with my youthful enthusiasm. I hated the system, and listened to Radio Free Europe , and wrote pessimistic and absurd prose or poetry, and praised the Western way of life.It is in fact the only connection with the book’s second title, the 1971 Piteşti phenomenon that often causes confusion.

I’ve worked in the factory in product quality service, in the Gearbox division, for 40 years, and I knew one step earlier that no matter what happened, you had to stay in people’s service. I work to the best of my ability to undermine the phrase ‘it goes on like this’ which I found unrelated at the beginning of my ‘re-education’ and which, without denying it, I tried to undermine, and to some extent succeeded myself for this activity under the banner of expression so familiar in those years, I produce, I control, I answer, and I put aside for a long time the literary preoccupations that had just begun, backed by the right that was taken from me to publish in literary journals.

December 1989 came, then the French came to the factory, and I still stayed there, this time with the western way of working. I resumed my literary activity, starting belatedly with a volume of poems, Pasărea ceţii (1995), after which things settled down, recovering nearly 20 books published in the library: poetry, prose, and essay.

I mentioned here about the two main books for me, Tabarlani – which are now appearing in a prestigious series by Hoffmann Publishing with Ziarul Jurnalul and Dosarul Albaştrii, and I hope it will be a future project. Enjoy reading! “

Writer Stefan Mitroy, a good friend of the author Ion Toma Ionescu, urges us in his style to read the book: “Rarely is the heart of a writer who can understand his story and his lover at the same time. Indeed, for Ion Toma Ionescu, story and lover are one and the same. Touch his words With the edge of your heart, you will be convinced.”

Do not miss, starting today, the magazine and book “Tabarlani”, reading the soul for those who passed and lived in the magic of the Roman village.

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