Autor: ALEXANDRU BUICAN
Titlu: BRANCUSI – A LEGENDARY LIFE
Gen: BIOGRAFIE
Pagini: 854
Dimensiuni: 17x23 cm
Editura: ACTAEON BOOKS
ISBN 978-606-95775-1-6
Preț: 160.00 Ron ➺                                  …⇅…

Foreword Why isn't there a biography of Brancusi yet? We have asked ourselves this question seventeen years ago and find it as bewildered as it referred to a sculptor of whom it was said: "Next to Shakespeare and Beethoven, there is yet a god: and that is the Romanian Constantin Brancusi"; or "The history of sculpture, in Europe, measures only three landmarks: Phidias—Michelangelo—Brancusi." And soon this bewilderment turned to frustration. We had to admit, then, that such a biographical attempt is not in the least easy. First of all, the one who dares approach such a task should have access to several cultures: Romanian, French, and, although Brancusi lived almost half a century in France, especially American. For most of his life, the sculptor was in a position to live physically in France, but to be financially dependent on his American patrons. And not only that. His recognition came in 1913 at the famous Armory Show in New York. And the extraordinary celebrity that followed was brought to him by the even more famous „Bird trial", known as Brancusi v. United States, which also took place in the US. The enthusiasm with which Brancusi was embraced by the Americans was incredible. Therefore, a very large number of the most important names of American culture wrote about him, leaving to posterity a vast body of memories outside of which Constantin Brancusi's biography cannot be written. Naturally, the attempt should have come from the Romanians, whose interest in such an illustrious representative born amongst them is somewhat greater. But the political context surrounding Romania after the Second World War couldn't have favored the appearance of a Brancusi biographer. The Iron Curtain between Romania and those cultures where Brancusi became renowned cut back the number of people who were allowed to travel and made research almost impossible. And the ideological attacks that transformed the famous sculptor of The Bird, for decades, following his death, into an outcast artist, made the mission extremely difficult from the start. For the researchers outside Romania, the same factors acted in the opposite direction. To them, those formation years and especially that intimate, physical, and psychical environment Brancusi came out of remained impenetrable. 10 BRANCUSI And, foremost, in addition to the many historical difficulties came the greatest difficulty of all: the uniqueness of the subject itself. From the very beginning, we must state that the real motivation behind this biographical attempt lies within the interest that Brancusi's work has stirred within us from the very early times of our lives. The spectacle of Brancusi's art has been a revelation to us, thus imposing itself as truth from the first impact it had on us. (After all, we are writing Brancusi's biography half a century after his disappearance, because he is the one who created The Birds, The Kiss, The Column, and his portraits). But revelation doesn't imply understanding, and upon trying to clarify what the truth of his art resides in, we find ourselves confronted with difficulties. What appears to us as particularly astonishing is the wide variety of exegetic opinions, a variety which is a mere testimony to the fact that we are facing a grand creation. As we believe that his work is best explained by the biographical incident ("It is not hard to do my work, Brancusi used to say, it is hard to put myself in the situation of doing it"), we have first tried to understand that ensemble of soul and thought this grand creation came out of. And then the variety of interpretations of the man appeared to us even more astonishing than those of his work. To the one who reads brancusian literature, it is immediately obvious that Brancusi's personality, through its originality, not to say its "exoticness", appeared to the critics as hard to scrutinize and assemble in one unifying formula. The sculptor's personality has been explained in various manners, the diverse "formulas" given are the most contradictory. He has been successively talked about as a Platonist, a peasant, a saint, an eccentric character, and many more. We have read these "formulas" with great interest (our conscience obliged us, during the conceiving of this book, to read as much as possible of what had been written about him), and thus we came upon some very interesting interpretations. But as each of these interpretations had a measure of truth in it, so it appeared to us as having a measure of falseness. We have consequently come across a "Brancusi mystery." It has then clearly imposed on us the truth that unraveling the "Brancusi mystery" cannot be done in pieces. Therefore, we have strengthened our belief that the vast variety of suggested "solutions," as well as the disconcerted observable behind these attempts, is to a certain degree the consequence of the absence of the biography. And it is obvious that almost everyone who wrote about Brancusi's works had felt this absence, for they tried to bring to the surface, to some extent, the sculptor's existence, giving either various portraits or more or less precise chronologies. No more than that. Moreover, writing a biography isn't a task for anyone, but a task for the one who heard the inner call of bringing back to life Brancusi, the man. Foreword 11 Therefore the biography did not appear. The writing of this book raised many problems of which I will mention only a few. The reader wants to know from the very beginning which type of biography ours is. It is usually believed that there are two main biographical schools. The first is the "erudite" one, consisting of a series of dates discussed over thoroughly by the authors, usually professors afraid of being accused of "vulgarization" or "popularization." The other one is the "artistic" one, whose representatives want the "hero" to live throughout the pages of the book. These authors are afraid that their work will remain otherwise unknown to the general public. The two schools appear to legitimately exclude one another. On one hand, the "erudite" biographers want to discredit the "artistic" biographies as unscientific, trying to raise in the reader's mind the doubt regarding the thoroughness of the information, accrediting the idea that talent is opposed to academic rigor. In a way, they imply that artistically presenting even the strictest erudition would lower the biography in the abominable domain of "fictionalized lives." (We will not defend the cause of the fictionalized "biographies." Enough has been written against these unworthy inventions for us to insist on. Let us only say that, in our case, such works have not aided us even for orientation, let alone documentation.) On their behalf, the authors of the artistic biographies accuse the “erudite” school adepts of lacking the talent to evoke. The accusation, although justified at times, doesn’t explain everything either. We believe that this "bickering" doesn't reside in a difference of method but a difference of temperament. Accessibility is true to a significant extent a matter of exposing the material. Eliminating from the text the discussion of the sources, referencing them as footnotes, and using the means of composition is sufficient to make even the most "academic" of works accessible to the general public. Why, though, do the "erudite" school adepts not cross this line? The real problem does not consist of the method of exposition. Most of the time, in their efforts to be "academic," by presenting their indiscreet manner of searching through sources, these "erudite" school adepts divulge their intellectual intimidation before the biography. As accused, they end up stopping life (which is the very essence of the biographical genre) from entering their books. Just as false is the doubt shown by the "erudite" school adepts towards the documentary thoroughness of artistic biography, for nothing hinders the latter to be based on the same documents as the "erudite" biography. This contradiction between "erudite" biography and "artistic" biography stroke us as being only an apparent one. Artistic biography is, compared to the 12 BRANCUSI "erudite" one, not different, but "more than less". Lacking the talent to evoke, or rather intimidated when confronted with the subject, the former stopped too soon. The true difference between these two manners (which are, in fact, only different stages) of biography is found within a spiritual dimension of the author who does or does not see "deep", in relief, tri-dimensionally. A biographical writer must have, just as the biography's reader whom he wants to reach, a passion for life. But, most of the time, the latter drops the book dissatisfied. Out of the "thorough" biography, he has just read he may extract many a date whose preciseness he had been convinced not to doubt, from the discussion of the sources. But something seems to be missing from the book. And most of the time what's missing is life. Wanting to unravel the “Brancusi mystery” we have foremost rejected an a priori cipher and, in order not to reach an arbitrary solution, we have always heeded the documents. We have thus obliged ourselves to an erudition work. But we understood that we were writing this biography at a time when the written word lost its predominance in front of images (film, television) and we changed the optics. We highly prize the notion of "presence" and consequently, we have tried to bring Brancusi back to life by detaching from the multitude of documents all those "flashes" in which the man is raised above void by the written memory of one or another of his contemporaries. So we have given the greatest attention to those evocations which make their authors eyewitnesses. Evoking a Brancusi and Modigliani's escapade to Hale to eat onion soup, ended for Brancusi, because of drunkenness, at the police station, maybe regarded by the "erudite" as an impiety, but just as the arid chronology is the skeleton of the biography, so are those moments its flesh. If we also managed to quantify the abstract chronology of documents in epic categories, corresponding to the incidents of Brancusi's biography, superimposed on the public events of his lifetime ("War," "Americans in Paris"), another purpose of this book was achieved. Another matter appeared as important. To draw out of the past and bring back to the present the long and painful, but also full of joy artist's process of creation, another task had to be undertaken, that of dating the works. The previous chronologies, at a more thorough analysis, have revealed many an error. The dates are controversial and we have consequently decided to take it all from the beginning and put together a chronology by confronting all sorts of documents (especially photographic ones), thus solving an enormous jigsaw. A detective's work. Exciting, but not in the least easy. A common thing for the biographer as well is the fact that one's existence cannot be understood outside its time and place. Brancusi, one of the heroes Foreword 13 of modern art, lived for fifty-three years in Montparnasse, and Montparnasse was the place where almost everything related to this modern art came into being. Thus, nothing is more natural than the attempt to get closer to Brancusi through the indirect manner—circumstantial we can call it—of evoking the time and place where his life unfolds. And, in his case, this evocation appears even more essential. Here, a reason for bewilderment is the fact that, in that incredible Montparnasse, where eccentricity was sought out no matter the cost, Brancusi was regarded as an authentic eccentric character. And, after a while, to whoever begins to slowly understand the essence of the artist's character; it becomes clear that his eccentricity came from his radical way of refusing any eccentricity. The principle of evoking the environment, a justified one to those who adhere to it, is all the more valid to those who define themselves by rejecting it. That is why in our priorities' order evoking the epoch is at the same level as evoking the man. In most biographies, the accent falls till monotony on the main "hero"; the other characters, those playing an active part in the "hero's" life, remain only abstract ones. Consequently, the epoch cannot be called forth, for this implies the collaboration of a great number of people. We wanted to step over this drawback and thus evoked as many times as necessary the lives of those revolving around the sculptor. Brancusi's presence, however episodic, at the banquet held by Picasso in honor of Rousseau-"Le Douanier"; the presence, at the same café table, of Brancusi, Picasso, and Matisse at a Dadaist meeting, meeting degenerated in a monstrous scandal, all these give substance to abstract things, place us in the middle of events, but most of all place our hero within his times. These human interactions explain the climate of ideas. Not mentioning a visit Lehmbruck paid to Brancusi at the time when the latter would present his Prayer at the Saloon, would mean not giving a true picture of the epoch (the lines of The Prayer would later be obsessively found in the German's creation to whom the Romanian's sculpture provoked a "revelation" and gave the very key to his subsequent artistic vision) and even compromising the attempt of evoking Brancusi himself. Therefore, we have bound ourselves to read an impressive number of books about the times of the first half of the last century's Paris. On one hand, synthesis books about the epoch, and on the other, biographies of those "characters" who gave substance to that epoch, also synthesis works, but let us call them one-dimensional works. The exposition of the material is chronological. Nevertheless, we have alternated the chronological method with the essayistic one. The chronological method pushed too far would have resulted in an absurdity. Much of the information which cannot be dated would have been left out, and others, dated, would have broken the narration. An eloquent example is the visits to Brancusi's studio, extremely numerous and some even very significant. These have been approached with the essayistic method. Otherwise, we should have broken the narration whenever the studio door in Impasse Ronsin opened. We called our book "a biography" and not, pretentiously, "A life of Brancusi." Will other biographies be written? No doubt. Brancusi has posterity on his side. Others, more competent and gifted, will fill the gaps left by this first attempt. But, for the moment, Brancusi needed to be seen (not commented on). Friday, March 10, 2023, Memphis, TN

Autor: ALEXANDRU BUICAN
Titlu: BRÂNCUȘI - O BIOGRAFIE LEGENDARĂ
Gen: NONFICTION
Colecția MEMORII/BIOGRAFII
Pagini: 810
Dimensiuni: 17x23 cm
Editura: ACTAEON BOOKS
ISBN 978-606-95775-2-3
Preț: 150.00 Ron ➺                                  …⇅…

Calendarul — obiectiv — arată că de la apariția celei dintâi ediții a acestei cărți au trecut, nici mai mult, nici mai puțin, decât doisprezece ani! (Când, oare, vor fi trecut! și unde am fost eu în tot acest timp?!). Deși, de atunci, au fost mai multe intervenții să retipăresc lucrarea, am declinat aceste invitații, pline de bunăvoință de altfel. Mai mult: îmi aduc aminte reticența cu care am dat la tipar cartea atunci. Deși lucrasem la ea mai bine de cinci ani (fără nici un fel de pauze), îmi părea că, totuși, nu era „gata”. Deși dezgropasem sute de surse — literalmente —, care nu mai fuseseră niciodată valorificate în legătură cu Brâncuși (la New York frecventasem timp de cinci ani NY Public Library cu o îndârjire de care n-aș mai fi capabil în prezent), eram conștient că anume documente nu fuseseră încă făcute publice, nefiind puse, deci, la dispoziția cercetătorilor. În alt sens însă cartea era — atunci chiar — terminată. În timpul lucrului mai ales o idee m-a urmărit mereu. Confruntat cu marele, foarte marele număr de memorii pe care le-am dezgropat din atâtea și atâtea surse, s-a pus problema lăsării afară a multora din ele. Și atunci m-am întrebat dacă, păstrându-se structura de bază a cărții — cronologia, dar mai ales acele mari categorii conceptuale — „războiul”, „americani la Paris”, „dinner la Brâncuși”, „atelierul”, „din nou războiul” etc. — menite să fixeze în concepte culturale o existență, altminteri haotică precum viața însăși — nu s-ar putea scrie aceeași biografie folosindu-se alte intrări bibliografice decât cele dintr-o primă versiune. Evident, ar fi fost o încercare interesantă. Însă ar fi necesitat și ea vreun an sau doi de muncă, iar interesul ar fi stat mai mult în elucidarea multor probleme legate de arta biografică. Ideea însă m-a ajutat să-mi clarific o altă îndoială. Aceea a gradului de importanță al unor elemente primordiale biografiei. Anume corespondența primită și cea trimisă. Oricât aș fi evitat să folosesc memoriile unora sau altora dintre martorii oculari, împărțindu-le între cele două variante, n-aș fi putut evita reproducerea câtorva corpusuri epistolare fără de care viața lui Brâncuși ar fi devenit neinteligibilă — ori aceste corpusuri sunt unice! De pildă, scrisorile lui John Quinn („patronul” său) către Brâncuși și răspunsurile acestuia din urmă, la care s-ar putea adăuga cele ale altor colecționari și, mai ales, ale celor care i-au organizat expozițiile personale (toate în America!): Edward Steichen, Walter Pach, Marcel Duchamp, Marius de Zayas, Agnes Meyer sau Joseph Brummer (unice și ele, evident). Am înțeles atunci că singurele lucruri care rămăseseră afară (din arhivele ce nu fuseseră făcute publice), erau marginale și adăugarea lor nu mai putea, eventual, decât să aducă câte o precizeze în detalii. Totuși, anumite corpuri de corespondență, neutilizate, lăsau doar schițate unele dintre relațiile sentimentale ale lui Brâncuși. Nu este greu de văzut că bibliografia cărții este în proporție de mai bine de 90%, de proveniență americană și în prefața ediției întâi am arătat de ce. Acolo nu mai era, deci, aproape nimic de adăugat. Chestiunea nu stătea la fel în privința arhivelor franceze. De atunci însă, cercetători de la Muzeul de Artă Modernă din Paris au împlinit această lacună cu câteva publicații pe care le-am putut folosi, spre câștigul cititorilor. Astfel pot asigura pe cei care vor fi intere¬sați de această carte că, de astă dată, nimic cu adevărat important nu a mai fost trecut cu vederea sau, cum spun americanii, că nici o piatră nu a rămas neîntoarsă. Cred că acum, când închei această a doua ediție a unei cărți pe care am gândit-o și scris-o într-un interval de șaptesprezece ani, îi pot spune adio omului genial în atelierul căruia am trăit o mare parte din viața mea, nu numai alături de el, dar și de cohorte de vizitatori care mi-au impus, vrând nevrând, să-i cunosc (și chiar bine!). București, mai 2019 ALEXANDRU BUICAN

Autor: ALEXANDRU BUICAN
Titlu: THE IMPALER. A BIOGRAPHY OF VLAD III DRACULA
Gen: BIOGRAPHY
Colecția MEMORII/ BIOGRAFII
Pagini: 384
Dimensiuni: 15x23 cm
Editura: ACTAEON BOOKS
ISBN 978-606-94948-7-5
Preț: 115.00 Ron ➺                                  …⇅…

Many people know the myth of Dracula, but very few know that he was in fact a real person, an fifteenth century ruler of the Romanian people. Still, less people realize that the books they read about the subject are mostly the product of the imagination of the authors. In The Impaler: A Biography of Vlad III Dracula, author Alexandru Buican aims to limit strictly to historical sources Romanians, Hungarians, Turkish, Latin letting them speak for themselves, intending no less then to give the book on the historical Dracula. However uncomfortable may be for the modern reader, the facts about real Dracula’s life are presented with no exaggeration, without any attempt to avoid the psychological fact that made the fifteenth century scholar Mihail Beheim, a contemporary, no refer to the bluntly: „From all the madmen and all the/ tyrants I have ever heard of/ in this world/ and under these skies,/ within living memory,/ no other has been more cruel. It is hard to find, during the Middle Ages, a more controversial personality for posterity than Vlad III Dracula. Firstly, because of the nature of the documents historians could use in their attempt to reconstruct his character. A relatively small number of legends complete an equally restricted number of historical documents, gathered in two collections of texts belonging to medieval literature; they originated in Russia and Germany and described the appalling atrocities of the ruler. The Romanian historiography, definitely concerned with the personality of Vlad III, grasped the issue of the relation between these two types of sources from the very beginning. The method chosen by the historian Ioan Bogdan, about a century ago, became traditional in the Romanian historiography. Bogdan divided the documents into two sections: the former included political and diplomatic sources, the latter, literary narratives. This division has been scrupulously kept by Romanian historians to this day. But it requires a choice. The historian is called to decide between using the legends, Russian and German, and leaving them to philologists. This is not possible, because, in the process of reconstructing Vlad III’s individuality, sources cannot be separated. The attitude is not only a matter of method, it has deeper implications. As, it is obvious that the Romanian historiography handles with difficulty the material (the legends) attesting the sadism of the Prince. Despite the fame Vlad III is “enjoying” in the West, based on the legend of his terrifying ferocity, the Romanians feel that he was a rather positive figure of their national history. The rejection of this dichotomic two-headed human being by the Romanian consciousness, as sources bestow, is due, apparently, to a national sensitivity. Nevertheless, in most cases, the authors of monographs about Vlad III have been mainly driven by his celebrity! And his celebrity is not conferred primarily by strictly historical facts (to be found in documents), but just by the legend! The loss, occurring as a result of any refusal of accepting, relies in the fact that the character of Vlad III, complex, but highly uncommon, even for his time, and which cannot be understood at a unilateral reading, remains obscure. With such preconceptions, it goes without saying that you cannot restore that particular psychology (twice), that of an epoch and a (apparently) bizarre man. If we investigate the legend on his behavior, we find out that his barbarism is not very far above that age, an argument strongly invoked by Romanian historians! What then? Did contemporaries try, by insisting on cruel facts and on the bloody nature of the Romanian ruler, to really express their bewilderment when confronted with an entity beyond their understanding? That particular psychology, imposed to his contemporaries, is the aim of the present book to try to explain first and foremost. We are not afraid to admit Vlad III’s cruelty and it is not our intention to add another work which exonerates him of the legend, we intend to reveal and understand the inner complex of the voivode. Moreover, trying to present his civil status, besides the “heroic” data about the historic figure, and even more intimate details, we have sought to delineate an inner portrait of the famous and frightful man. In investigating Vlad III’s identity, we have decided to solve the dilemma of the sources, considering the legends as documentary material, both factual and psychological, and use them integrated into the narrative epic. Another feature of the Romanian monographs is that they are devoid of large quotations from documents. But this is exactly the essence of the historical evocation. No matter the authority (or talent!?) of an author, a mere narration of facts does not convince. In the long run, the narrative gives way to stories and arouses mistrust. History is not made up of statements, but of evidence. Narratives with no documentary base are not authoritative. Any document carrying energies of 14th century human wills shakes the soul. Therefore, abundantly quoting the sources means leaving the documents (historical and literary) “speak” by themselves, in our opinion the most honest way to elucidating the “psychological mystery of Vlad III Dracula (the Impaler).” Last, but not least, our intention is to put this translation of a corpus of documents, hardly accessible in any other language, except Romanian, at the disposal of those interested in Vlad III’s singularity.

Autor: SITAR-TĂUT
Titlu: ÎN DIRECT
Gen: MEMORII/BIOGRAFII
Colecția DOCUMENT
Pagini: 275
Dimensiuni: 15x23 cm
Editura: ACTAEON BOOKS
ISBN 978-606-94705-3-4
Preț: 27.75 Ron ➺                                  …⇅…

Intitulat simplu, În direct, volumul reuneşte materialele publicate în perioada 2011-2018 în paginile unor ziare şi reviste precum Europa (Serbia), Polemici (București/ Memphis, TN, US), Poesis, Nord Literar, Atitudini, Limba română şi se doreşte un pandant al activităţii de cronicar literar al autoarei care în perioada 2010-2014 a funcţionat ca lector de limba română la Universitatea Comenius din Bratislava. Pentru majoritatea celor prezenți în volum, aceste interviuri au constituit o oportunitate de a preciza lucruri pe care nu le-au spus în operă sau le-au exprimat insuficient anterior, dezvoltând probleme legate de etnicitate, românism, cultura română.

Autor: SĂLUC HORVAT
Titlu: INTERVIURI
Gen: MEMORII/BIOGRAFII
Colecția DOCUMENT
Pagini: 176
Dimensiuni: 13x20 cm
Editura: ACTAEON BOOKS
ISBN 978-606-94705-5-8
Preț: 17.00 Ron ➺                                  …⇅…

Trei sunt palierele pe care se construieşte edificiul confesiv al acestui volum: activitatea de bibliograf a lui Săluc Horvat, reflectată atât în plan didactic, de pionier al institutului băimărean, cât şi prin calitatea de director al Bibliotecii universitare a acestuia, cea de eminescolog şi rebrenolog, de critic şi istoric literar şi, nu în ultimul rând, cea de director executiv şi membru fondator al revistei de cultură „Nord Literarˮ, alături statutul de preşedinte al Asociaţiei Scriitorilor din Baia Mare. Săluc Horvat ştie să păstreze dreapta măsură în afirmaţii, calibrându-şi cu decenţă intervenţiile. Nu plonjează în proiecţii gonflabile, nici nu este un destructor al predecesorilor. Brodura dialogală se încheagă firesc, uneori prea cuminte când se referă la piedicile întâmpinate în tipărirea Dicţionarului Eminescu sau la intervenţiile ignobile ale unor confraţi în vederea anihilării recent apărutei reviste de cultură. Contrazicând o constituţie fizică aparent fragilă, Săluc Horvat este, de o jumătate de secol, liderul incontestabil al condeierilor maramureşeni, fiind privit cu reverenţă chiar şi de cei mai rebeli dintre aceştia. Prezent la mai toate manifestările culturale, în primul rând, nelipsit din fotografiile de grup de la reuniunile literare, veşnic de gardă la şedinţele consiliului judeţean pentru-a-şi păzi ca o leoaică revista-copil, Săluc Horvat dă o bizară senzaţie de omniprezenţă, de păstorire.

Autor: DANIELA SITAR-TĂUT
Titlu: JURNAL CU PAUL GOMA
Gen: MEMORII/BIOGRAFII
Colecția DOCUMENT
Pagini: 237
Dimensiuni: 15x23 cm
Editura: ACTAEON BOOKS
ISBN 978-606-94948-8-2
Preț: 30.00 Ron ➺                                  …⇅…

Prezenta carte se vrea un modest omagiu adus celui mai important scriitor postbelic român, Paul Goma, dar şi concretizarea unei promisiuni ne pe deplin realizate. Din 25 martie 2020 începe procesul receptării postume. Volumul trebuia să reflecte cumva aceste preocupări legate de literatura diasporei şi a disidenţei. Să fie autentică, reală. S-a alternat, aşadar, dialogul electronic al Danielei Sitar-Tăut cu Paul Goma, cu cronicile sau lucrările de conferinţă redactate în acei ani şi trimise autorului, între anii 2009-2015. „Un episod, semnalat, de altfel, în Jurnalul lui electronic a fost conferinţa pe tema exilului organizată de Institutul Cultural din Praga şi Universitatea Comenius din Bratislava la care funcţionam din toamna acelui an ca lector de limba română în septembrie 2010, la puţin timp după instalarea în capitala slovacă. Exceptând lucrarea mea despre Arta refugii şi universul tematic al scriitorului, numele lui Paul Goma n-a fost amintit. Şi nici nu apărea pe site-ul Institutului Cultural Român la secţiunea Luptători anticomunişti. Era omis voluntar. Era, cum zicea el însuşi, tăcut - la mai bine de douăzeci de ani de la căderea Zidului Berlinului şi instalarea, la noi, a unei democraţii originale în care Paul Goma era „interzisˮ, aplicându-i-se „conspirația tăcerii” de astă dată. Amintindu-le de el, după momentul iniţial de tăcere (nu ştiam atunci că nu era pe lista scriitorilor agreaţi de Institutul Cultural Român), am întâlnit reacţii retractile, de plecare a capului, de tăcere sau consideraţii debarasante, de tipul „Paul Goma şi-a distrus propriul mitˮ. În anii următori ai lectoratului meu bratislăvean, 2010-2013 i-am mai trimis câteva lucrări-cronici, prezentate la conferinţe şi valorificate apoi în revista băimăreană de cultură Nord Literar. La unele scrisori mi-a răspuns, alteori a inserat pur şi simplu textele în jurnalul lui electronic. Ultima epistolă primită datează din 2015, când pregăteam pentru tipar analiza Amneziei la români. I-am expediat constant numerele revistei Polemici, în care era amintit mereu, între anii 2016-2017.ˮ (Daniela Sitar-Tăut)

Autor: DANIELA SITAR-TĂUT
Titlu: DIALOGURI MARAMUREȘENE
Gen: MEMORII/BIOGRAFII
Colecția DOCUMENT
Pagini: 237
Dimensiuni: 15x23 cm
Editura: ACTAEON BOOKS
ISBN 978-973-0-21540-3
Preț: 22.00 Ron ➺                                  …⇅…

Interviurile din acest volum au fost generate, după caz, de apariţia unei cărţi emblematice pentru cultura română, de un eveniment omagial, de întâlnirea cu oameni care au o opinie particularizantă referitoare la specificitatea etnică a românilor, degenerescenţa valorilor, clişeele mentale, stereotipiile ce încearcă să camufleze o realitate culturală alarmantă, toate reunite sub stindard maramureşan. Meritoriu este faptul că au răspuns apelului şi doi dintre profesorii universitari mai reticenţi mediatic, Adrian Oţoiu şi Cornel Munteanu. O secţiune aparte a cărţii urmăreşte opiniile celor din exterior, a străinilor referitoare la civilizaţia românească. Martin Dorko (asistent la catedra de limba romȃnă a Universităţii Comenius) şi Peter Kopecký, profesor la Institutul de Studii Politice din Bratislava şi fost ambasador al Slovaciei ȋn Romȃnia sunt doi dintre suporterii sinceri ai ţării noastre, care nu ezită ȋnsă să reclame abaterile etice ale romȃnilor şi slovacilor, cutumele şi tarele lor. Interogaţi au fost atȃt oameni de cultură din judeţ, directori de instituţii (Teodor Ardelean) sau de reviste literare (Săluc Horvat), scriitori, universitari, cȃt şi cei care provin din acestă zonă nordică (Ioan Groşan, Terezia Bolchiş-Tătaru) sau au o legătură specială, de durată, cu Maramureşul (Mircea Opriţă, Constantin Cubleşan). Volumul de faţă duce mai departe şi apropierea de reprezentanţi ai exilului şi de cei care au avut o atitudine contestatară în România în epoca totalitarismului. (Gheorghe Bărcan,Terezia Bolchiş-Tătaru, Alexandru Buican) Am ȋncercat să ţinem cont şi de structura psihologică a intervievatorilor şi interlocutorilor lor pentru a obţine un discurs degajat şi a facilita deschiderea zăbrelelor sufleteşti. Astfel, Măriuţa Pop, ce vrea să urmeze o carieră jurnalistică, a interogat-o pe Anca Goja, unul dintre modelele ei, dar şi pe consăteanul din Deseşti Gh. Pȃrja, pe borşanul cu veleităţi enciclopedice Nicoară Mihali sau pe sălişteanul Gheorghe Bărcan, fost deţinut politic. Lui Dan Răzvan, preocupat de sport i-am lăsat libertatea alegerii lui Cristian Şpan, președintele clubului de fotbal Fotbal Club Municipal Baia Mare. Tudor Botea l-a preferat pe Gheorghe Mihai Bȃrlea pe care ȋl ştia de la 7 ani, de cȃnd tatăl său era antrenor principal al echipei de volei masculin Știința „Explorări" Baia Mare, iar intervievatul, preşedinte al clubului. Amelie Michiş şi Carmen Dărăbuş au decorticat misterele Indiei şi Japoniei, privite prin prisma ȋndrăgitei comparatiste, dar şi munca de pionierat a unui lector de limba romȃnă ȋn două ţări nemembre UE.