André Crocion is a journalist and writer. recently posted Ciaran. The last free man (Polyrum, 2020), The poet’s afterlife (Nimera, 2021), yellow (Parallel 45, 2022). He also has a small publishing house, Editura Zugzwang, where he publishes beginners and also publishes his own story and poetry.
Robert El Sherban: If you publish constantly – not to mention often – literary books, it means that you write a lot. Do you do it daily, on a schedule, meticulously?
Andre Crocion: Here I will allow myself, I hope, dear Robert, to disagree with you. I don’t think I post much, quite the contrary. It seems to me that I am writing/posting less and less, becoming lazy, even risking prosperity (which I am afraid of, which is why I have no possessions and live a vagrant life). I have published four books of poetry in my whole life (and have already reached the last age of poor Eminescu), although everything I have done, in writing and in life, has been poetic.
Or maybe she’s getting older and more demanding, which is undoubtedly a good thing. But I’m a journalist, I’ve learned to write and publish daily and my work is visual. I’ve been practicing this for decades.
On the other hand, it is true that I have an absolute contempt for marketing laws, and am not the type to publish a volume every five years. I don’t have any expectations about my afterlife, so I’d rather enjoy what I’ve done on Earth now.
And if there are also readers who enjoy my literature, that is very good. If not, I’ll try to please one reader anyway: myself. I do not write thinking about how to satisfy the needs of broad and popular audiences, nor do I write to please the masses. For example, my next book will be the publication of my PhD thesis in Political Science: A Political Autobiography of Panait Istrati. It’s not exciting work, but that’s what interests me, and that’s what I really care about.
Other than that, yes, I have experience and I write easily, quickly and not always well of course. In any case, I do not have the luxury of writing only about inspiration, as the Romantic poets do, although I would like to. But I would starve to death if I lived like this. And since I’m dead, I won’t write any more. and so on.
But I didn’t write much literature, not to my standards (just kidding now, I wonder if that’s what they were saying to Picasso: “Neni, you paint so much!”).
But, here I am too, I have quite a few publicity anthologies, that’s right. I ended up with the series barricades to the seventh volume (you can find some of them on www.editurazugzwang.ro, the website of the publishing house that we opened at the beginning of 2022). But that’s because I’ve worked so much and have something to choose, and as Radu Cosașu told me two days ago, when I marvel at how good they are barricades And how no one utters a word about them: “I am not ashamed to live what I have worked for. Do not let this happen to you either.” I do not like that.
I write daily, yes, and when I am not writing I think about what I have written, what I should write, what I will write, and what I should not write. I try to be better like everyone else. On the other hand, writing always comes second to me. I would infinitely like to be a good man. Good writers have seen each other before. Good people – often. But I feel like I’ve said that before.
R. I think those who work in journalism and literature suffer from schizophrenia. That is, they live stuck in reality, in fact, they are attentive to everything that happens around them, but also in the imagination, which is the field of imagination. However, severing ties with everyday life, and jumping into universes shaped by the mind is not exactly an easy sport, especially when it is practiced constantly, and not just during vacations. Do you feel or is it easy for you to reconnect with the imagination, on the one hand, with the show, on the other?
AC: Look at the adults. To Steinbeck, to Hemingway, to Gabriel Garcia Marquez. They all owe a lot to the press, which they practiced to the highest degree, they all loved it.
I also think, like Gabo or Papa Hemingway, that in literature it is enough for one thing to be true for everything to be true. But in journalism, as you know, the opposite is true: it is enough that one thing is not true, that nothing is true anymore. Hence, they are two different worlds. As Steinbeck said, journalism also has great advantages, for it is the first occupation that tyrants seek to suppress, but it is also the mother of their greatest follies.
Two different worlds, I said. But I’m also a traveler and love to move between them. I’m basically a journalist, at least for now. A man who lives between the limits of reality. I am trying, please believe me, to become a writer too. It’s harder and not necessarily nicer. I do not think that a good reporter is in any way inferior to a great writer. On the contrary. A journalist can’t cheat and a writer lives by magic tricks. It’s not the same thing.
R. Do you write lines, phases, and pictures and then melt them into what you write?
AK: Yes, I learned from Tolstoy and Amos Oz how important it is to write with our ears and our eyes. I leave nothing unheard or invisible. Everything around me and in me is raw material for writing. I’m always on the alert, I don’t think I’ve been out of this state for decades. Everything matters to me, because everything can be written. Everything is important. This is why I am so saddened by the success of the word “relevant”. Nothing “relevant”, everything equal, absolutely everything, could be, should be important.
R. You seem to write easily.
AC: Talent is the art of erasure, Chekhov taught us. I delete infinitely more than I write. Which of course doesn’t make me automatically talented. But I also want you to know that I erase easily. It is a pity that the culture has disappeared, as we learn from the book as well civilizationTia from the showBy Llosa, and I just re-read it. Here’s what I wanted to say: much more than I write or delete, I read. I and I want to be a reader mostly.
R. Is writing prose easier or writing poetry easier?
Anwar: The only boundary I know and respect is the boundary between journalism and literature. But in literature, I know no bounds, I pass without a passport between poetry and prose. To live, to live, as I said, poetically, among other things, I always left and left. And with text, I’m more interested in style, not structure (or story), so perhaps the poet is struggling to be born in me. I am more interested in the smoothness of writing, rhythm, tone and music. If that brings me closer to hair, so be it. If not – no.
R. Do you write by hand or on a computer?
AC: I write by hand a lot less than I should. It would be good if we all wrote by hand, and wrote less and maybe better. I’m not a huge fan of the technological revolution, although it has undoubtedly changed our lives and even made progress in some places. But I wanted to live longer before that happened. Technology will end up erasing humanity from people, and eventually will make most of us irreversibly stupid. It’s better offline.
R. How do you stimulate your appetite for writing?
AC: I never lost it. I always write something nice. I have so many ideas running through my head, like lottery balls, the hardest thing is to let go of some of them. But I have to, and I’ve also learned to let go of the texts I write that don’t come alive. I also learned this from Amos Oz, from something he said about him from what is fChoose an apple. Whoever reads can find out.
R. Book your verses Concepts Or collections of poems written over a period of time?
AC: Rather the first option. One of my favorite poets is Edgar Lee Masters spoon river extracts It works with an interesting concept. I would have given myself, like this painter, if I had written this book.
R. What do you dislike about contemporary Roman literature?
AK: I’m not a big reader of contemporary Roman literature and I’ll tell you why: I don’t like gangs, I don’t like tribalism, I don’t like the Balkans, low-cultural scum, and I hate kometri. Here the hierarchies seem to me to be forged in the “friendships” train.
I don’t really read literary magazines and I’m not interested in ‘The Chronicles’, because I don’t believe in their truth at all (there are also exceptions, like Mr. It is not a literary magazine.
Even the winners are bypassed in principle. And if the book becomes a bestseller, I am prepared to wait twenty years, for it to be out of fashion, before I open it.
There are so few honest people in the world of Roman literature and so many narcissists and even fools, that I choose to stay away, even at the risk of losing something important.
Obviously, I am not part of any group. I stay as far as possible, literally, from the turbulence of this universe, which seems to me to have delusions of grandeur. We’re at Băicoi, but we think we’re the navel of the galaxy.
I don’t get around the country much either, and when I do, I don’t stay long. Look, I also have a magazine: Revista Zugzwang (www.revistazugzwang.ro), I read those who post here. And I also read www.coddepoveste.ro, the website created by Bogdan Răileanu (I read it). I also wrote a piece of prose there and readers voted what they liked. Several texts have appeared in the meantime and my little work is still my first, so my readers chose, though I didn’t tell anyone to vote for me. I think that might say something as well. I think that’s what I say in the reader who is left alone.
If you look at the somewhat “official” hierarchy in Roman literature, I do not exist, which cannot be said to bother me. I just notice. I have always loved the marginalized, plus I love exile. I think I have already said that among the Roman poets, my favorite poets are Cioglia, Tonegaro, Stelaro, and Baki. And if it wasn’t very expensive, I wouldn’t have any trouble even giving up my Romanian citizenship. This, as a side.
On the other hand, even if I publish in another language at some point, I will not completely abandon the Romanian language. Everything we Romanians have is the most beautiful. Well, if I were Bulgarian (I’m only partial), then it might have seemed to me that Bulgarian was the best. Who do you know?
Other than that, dear Robert, I’ve read quite a bit of contemporary Roman literature, but from what I’ve read I’ve met authors I liked very much. Among poets for example, you know, I’ve loved you since I read it Cinema in my houseThat is why I am answering you now, because I have not forgotten what I felt when reading this book. I loved Vancu and Diniș, for example. Among the prose writers, I read Philip Florian’s books with great pleasure.
But I’m not a path forward, I’m by no means a role model. I’m not a huge consumer of Romanian literature, for the same reason I don’t watch the Romanian football tournament very often: I don’t feel it is ‘my’ in any way.
R. What books/authors have you read recently and would you recommend without hesitation?
Artes: I have a little kibbutz on the Internet, a kind of school among friends, where we read and learn together, and here also I do some courses, let’s say, about twelve writers (life and work). So I’m stuck reading from the twelve: Chekhov, Carragil, Gabo, Cioran, Oz, Sabato, Hemingway, Estrate, Capote, Hrabal, Saramago, Flaubert. I recommend them to you too.
R. Take writing lessons. Did you get a difficult lesson from an apprentice?
AK: I learn more from them than they do from me, of course. She set up Zugzwang Publishing, with a student (Rodica Badiu), to publish students as well. I had two debuts in the novel: Raluca Buenaro (The silent story of my worldsand Sebastian Bergocolors of truth). I think it’s not too bad for a few months out of existence.
R. You always seem to be on the road, in or out of the country. Looking for something specific?
AC: Of course. great beauty.