What do you think?
Rate this book
La Lilieci
Avem de-a face in La Lilieci, cum foarte expresiv ne spune o formula dintr-un poem, cu „un teatru mare cat satul“. Este, intr-un sens mai larg, o poezie a „rolurilor“, in care autorul-povestitor preia masti, intrupeaza personaje din universul taranesc si, mai ales, „fotografiaza“ date si situatii ale realului, in substanta lor bruta, pastrand doar gradul de „transfigurare“ inerent, retinut aproape exclusiv in masura in care faptul de viata si de limbaj preia structuri arhetipale, fiind gata modelat de un mod specific de a vedea lumea, prelucrat de traditia seculara, adica are o deja marcata dimensiune simbolic-ritualica, transmisa prin ani pana in momentul refacerii ei in evocare. Faptul de viata pare, astfel, a se prezenta singur, avandu-l ca unic mediator, bun conducator de energie verbala, pe autorul care preia rostitul si facutul ca pe tot atatea „felii de viata“.
448 pages, Hardcover
First published January 1, 1988
37 people want to read
About the author
Marin Sorescu
146 books169 followersIn 1964 the Romanian Communist government relaxed its censorship policies, signaling a new openness to free expression. The nation's poets heeded that signal, and Romanian poetry experienced a striking revival. Poet and playwright Marin Sorescu is perhaps one of the most popular figures to emerge from Romanian literary culture in the years since.
Sorescu writes in a plainspoken, down-to-earth style spiced with sly humor. He responds to the hardships of Romanian life not with grand rhetoric or fire-and-brimstone sermons, but with what translator Michael Hamburger describes as "ironic verse fables," as quoted by Dennis Deletant in the Times Literary Supplement. Virgil Nemoianu, also writing in the Times Literary Supplement, comments that "[Sorescu's] reactions to an increasingly absurd political regime were always cleverly balanced: he never engaged in the servile praise of leader and party usually required of Romanian poets, but nor did he venture into dissidence. He was content to let irony do its job."
His choice of irony over confrontation has made it possible for Sorescu to publish freely and frequently. The journal he edited for years, Revista Ramuri, managed like his poetry to stay within the bounds expected by the Romanian regime. Sorescu's plays, however, have not always fared as well. Both Iona and Exista nervi played to packed houses in Bucharest, the former in 1969 and the latter in 1982. But both plays were quickly withdrawn, their content deemed too controversial. Nonetheless, notes Deletant, the success of these pieces during their brief runs solidified "Sorescu's status as one of the leading writers of his generation."
Sorescu's plays and poetry have earned him, Deletant further states, "an unequaled audience" at home in Romania. And translations of his work into English have helped him build a secure international reputation. The qualities that have allowed his writings to flourish on Romania's state-controlled literary scene may contribute to his popularity abroad as well. There is a universality to Sorescu's conversational tone and ironic perspective, what Nemoianu calls "his rueful jocularity and the good-natured cynicism." George Szirtes, writing in Times Literary Supplement, finds in Sorescu's voice "the wry wisdom that sees through everything and yet continues to hope and despair."
source: Poetry Foundation
Sorescu writes in a plainspoken, down-to-earth style spiced with sly humor. He responds to the hardships of Romanian life not with grand rhetoric or fire-and-brimstone sermons, but with what translator Michael Hamburger describes as "ironic verse fables," as quoted by Dennis Deletant in the Times Literary Supplement. Virgil Nemoianu, also writing in the Times Literary Supplement, comments that "[Sorescu's] reactions to an increasingly absurd political regime were always cleverly balanced: he never engaged in the servile praise of leader and party usually required of Romanian poets, but nor did he venture into dissidence. He was content to let irony do its job."
His choice of irony over confrontation has made it possible for Sorescu to publish freely and frequently. The journal he edited for years, Revista Ramuri, managed like his poetry to stay within the bounds expected by the Romanian regime. Sorescu's plays, however, have not always fared as well. Both Iona and Exista nervi played to packed houses in Bucharest, the former in 1969 and the latter in 1982. But both plays were quickly withdrawn, their content deemed too controversial. Nonetheless, notes Deletant, the success of these pieces during their brief runs solidified "Sorescu's status as one of the leading writers of his generation."
Sorescu's plays and poetry have earned him, Deletant further states, "an unequaled audience" at home in Romania. And translations of his work into English have helped him build a secure international reputation. The qualities that have allowed his writings to flourish on Romania's state-controlled literary scene may contribute to his popularity abroad as well. There is a universality to Sorescu's conversational tone and ironic perspective, what Nemoianu calls "his rueful jocularity and the good-natured cynicism." George Szirtes, writing in Times Literary Supplement, finds in Sorescu's voice "the wry wisdom that sees through everything and yet continues to hope and despair."
source: Poetry Foundation
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 2 of 2 reviews
February 24, 2012
People that might have taken a look at my recent readings will know that I usually do not read poetry. It is not that I don't like it, but I have the feeling that everything important in poetry was already written in the past centuries and I have read the masters in the past.
This time, I decided to try Marin Sorescu because I recall I read several years ago one of his modernist poetry book and I liked it. It was different than what I expected, but it is not bad at all. Similarly, the entire "La Lilieci" cycle composed of 6 books split in two volumes at this edition, it is entirely different. He had used a lot the language and regionalism from rural Oltenia and almost all poems are related to the life of the village he was born in, Bulzesti. This time the poetry benefits from a new kind of language and it is deprived of some classical elements like rhyme and rhythm.
So if you plan to read this book, beware. It is not like poetry of Eminescu, Keats or Pushkin.
This time, I decided to try Marin Sorescu because I recall I read several years ago one of his modernist poetry book and I liked it. It was different than what I expected, but it is not bad at all. Similarly, the entire "La Lilieci" cycle composed of 6 books split in two volumes at this edition, it is entirely different. He had used a lot the language and regionalism from rural Oltenia and almost all poems are related to the life of the village he was born in, Bulzesti. This time the poetry benefits from a new kind of language and it is deprived of some classical elements like rhyme and rhythm.
So if you plan to read this book, beware. It is not like poetry of Eminescu, Keats or Pushkin.
September 18, 2012
Nice to be reminded how my Gran and those of her age use to speak. Vivid memories spring to mind the moment I open the book...
Displaying 1 - 2 of 2 reviews