Moods & Women & Men & Once Again Moods

Joi, de la ora 17, va avea loc la librăria Open Art din București lansarea antologiei Moods & Women & Men & Once Again Moods, alcătuită și îngrijită de Ruxandra Cesereanu, cu un preambul generos (24 de pagini, un studiu în toată regula) semnat de MARGENTO (Chris Tănăsescu). În ea sunt 50 de poeți români traduși în engleză, cu poeme erotice sau de dragoste; printre ei mă număr și eu, cu două texte (O vietate cu țepi și Imagini de august, ambele din Cobalt) traduse de Raluca Tănăsescu. Mâine, la Open Art, vom fi 10 din cei 50, citind din carte și povestind cu Ruxandra Cesereanu despre ce a implicat alcătuirea ei.

«Claudiu Komartin is the most tireless leader and animator of the Generation 2000, for which he —along with the widely praised Radu Vancu—provided a crucial part of the poetics as well as some of the most vivid arenas for expression—the internationally known magazine Poesis International, as well as Max Blecher Press and the Max Blecher Institute Reading Series.  But as soon as he established himself as a most vocal mouthpiece and awarded representative of his generation, Komartin’s interests and allegiances actually proved much wider, working as editor and publisher with poets from all generations and schools not only in Romania but throughout Europe and beyond (and being by far the most active poet of his generation at festivals and readings abroad).  His poetry itself testifies for such rare openness, only not in a kaleidoscopic or cameleon’s manner, but by borrowing from the many voices he has heard just the notes and nuances he needs in weaving his own obsessive suites.  Labeled by critics as a “miserabilist”/“post-expressionist” he actually has a deeply erotic sense of life to the extent to which, somewhat in keeping with his Italian masters, Quasimodo and Pasolini, eroticism reaches prophecy, now veering into ruthless political sarcasm and then back into sensual confession and lament.  Under a bitter playfulness and (in his more felicitous choices, mock) sentimentality, Komartin hides an oppressive apocalyptic vision, which once in a while blows out into striking “posthistoric” images and disconsolate dirges.» (MARGENTO)