View
1.912
Download
3
Category
Tags:
Preview:
DESCRIPTION
An e-zine about contemporary poetry
Citation preview
poe-zine 04 1
po
e-z
ine
O
cto
ber
20
09
, #0
4
Re
pu
blic
a P
oe
tica
About 70 young Romanian Writers attended the fourth colloquium dedicated to them in Alba Iulia. A movie about the contemporary poetry was made with some of the poets invited to this event.
r.ț. r.a.
poetry. the power young poets and their powers
poe-zine 04 2
You’ve leant in school how poetry goes. It’s time to show you how it really is. 24 young writers explain literature where it comes from and where it goes to. Some may swear that prose is mother for poetry; others think it a pyramid, a means of communication, or rage, a beeline for rock celebrity. “poetry. the power” is a documentary that takes the pulse of the Romanian contemporary poetry, of its public and its indecency: an hour with the new poets and their special powers. A movie by Andrei Ruse and Răzvan Țupa.
Movie project
Andrei Ruse and Răzvan Țupa
filmed, cut and edited poetry.
Poetry. The power- a film
with 24 young poets and two
questions:
What means poetry today?
What is the power of poetry now?
where: Alba Iulia, Romania
and online www.poetica.rocultura.ro www.poeticsofthequotidian.wordpress.com www.andreiruse.ro
Bucharest, Romania
wh
o
Andre
i R
use
Raz
van
Tupa
pre
mie
re
June
2009
Poet
icil
e
coti
dia
nulu
i
poet
s C
on
sta
ntin A
cosm
ei,
Şe
rba
n A
xin
te,
Con
sta
ntin V
irgil
Bă
ne
scu
, C
ătă
lina
Cad
inoiu
, D
an
Co
ma
n,
Tu
do
r C
reţu
, S
orin
Desp
ot, C
osm
in
Dra
go
mir
, A
na D
rag
u,
Te
od
or
Du
nă
, A
ida
Han
ce
r, M
arin
Mă
laic
u
Hon
dra
ri,
Mari
us I
an
uş,
Va
sile
Lea
c, O
an
a
Cătă
lina
Nin
u,
Flo
rin
Pa
rte
ne
, D
en
isa
Piş
cu
,
Cosm
in P
erţ
a,
And
ra
Rota
ru,
Ge
org
e
Se
red
iuc,
Sto
ian
G.
Bo
gd
an,
Olg
a Ş
tefa
n,
Ad
ria
na T
eod
ore
scu
,
Mih
ai V
aku
lovski.
poe-zine 04 3
RĂZVAN TUPA was born in 1975 in
Braila.
Since 2006
he has been
reading
poetry at
internatio-
nal festi-
vals and
projects in Berlin
(2008), Bratislava (2008), New
York (2008), Prague (2008), Paris
(2006, 2009) and Rome (2007) and
developed different projects
for video poetry. In 2009 he
deployed a project of filming
poetry. This project was „poetry.
the power” documentary. It is a
film that introduces 24 new
Romanian poets selected to The
National New Writers Coloquium
in Alba Iulia (May, 2009).
He published „fetish” (2001, 2003)
and „corpuri romanesti” (2005),
two books of poetry.
Until now, the only anthology of
new Romanian poetry in English was
published by David Morley at
Heaventree Press in UK, “No Longer
Poetry: New Romanian Poetry”.
ANDREI RUSE was born on 16th
December,
1985, in
Bucharest.
His online
activity
includes
developing
Sketche
(2006), IIIrd
place as a culture blog at
Roblogfest 2007, Hyperliteratura
(as an admin durring 2007),
ROcultura.ro (2008), IIIrd place
at Webstock 2008, a project he
sold in 2009.
His first book of poetry was
„Black Job” (ed. Vinea). In 2008
he published SONI (ed. Tritonic),a
novel.
poe-zine 04 4
I. Starting point. 1989
Before the fall of communism in
1989, literature was perceived as a
powerful instrument. As in other ex-
communist countries, the free
market and the explosion of
traditional and new
media proved to be a
bit hard for well
established authors.
In Romania the
easiest way of
organizing the
multitude of
directions proved to
be a separation
based on the year of
publishing one’s first
book.
This is how the 60’s
generation was
described as shifting away from the
socialist realism imposed to the
writers officially recognized in the
50’s.
From that point on, every 10 years a
new generation of Romanian writers
was considered to appear. It wasn’t
until the end of 80’s that a definite
new way of approaching literature
was promoted by the emerging
writers of the moment.
The so called ’80s generation
imposed the term of post-
modernism in Romania reintroducing
experimental ways of approaching
literature that were continued form
the Romanian avant-garde
movement. Writers as Traian T.
Cosovei, Ion Muresan, Florin
Iaru, Mariana Marin, Liviu Ioan
Stoiciu, Alexandru Musina, Nichita
Danilov and Mircea
Cartarescu imposed
gradually different
ways of dealing with
reality by using
textual marks of
irony and fantasy.
Recuperating the
values imposed by
the beat generation
in USA, poetry of the
Romanian 80’s
became very fast a
way of affirming a
different literary conscience. After
1989, the new context became
chaotic for a poetic voice to become
powerful. In 2005, Mircea Cărtărescu
was the best known contemporary
writer in Romania. His success was
not in poetry, but in prose. His short
fiction reached a wide audience.
Poetry in turn had to go two more so
called “generations” of writers until
it started to be regarded as a
possible success for publishing
houses in Romania.
Romanian Bodies
An essay on new Romanian Poetry
poe-zine 04 5
II. The problem of “generations”
The usage of the term “generation”
for the writers who published in the
80’s proved to work against the
personal mark of each writer. When
the public speaks of the 80’s
generation in Romania, they see
rather the general elements (that
are not so many) of this writers
works and less the differences that
proved to be more useful for the
following years
A group of writers that marked a
transition from the literary
postmodern avant-garde of the 80’s
to a market oriented literature
managed to emerge in the 90’s
in Romania. Poets as Cristian
Popescu, Mihail Galatanu, Ioan Es
Pop imposed a clear shifting of
themes and approaches from
specific literary world towards a
more border-like realm.
All this time, personalities as
Gheorghe Iova avoided the
classification
accepted by the
literary critics on
the generation. His
writing, published
officially just after
the fall of
communism, was
initially considered
as belonging to the
90’s generation,
although his
manuscript writings were pretty
influential for the theory and
practice of writing in the 80’s. In
2000 the term of generation 2000
started to be used. Editors (Ni-colae
Tone, Marin Mincu) launched the
term regarding books like “The
Coffee Baby” by Zvera Ion and
“Anarchist Manifesto” by Marius
Ianus. Marin Mincu was the critic
that systematically anthologized and
promoted the directions of the Ro-
manian poetry during the 20th
century. He supported strongly the
apparition of a new poetry
in Romania. Marin Mincu used the
press and a series of literary mee-
tings at Romanian Writers Union and
later in The National Museum of
Literature in Bucharest to support
new trends of the contemporary
Romanian poetry.
Marius Ianus, already mentioned
above, is credited, together
with Dumitru Crudu, as the founder
of fracturism, indisputably the most
influent movement in Romanian
poetry between 1997 and
2005.
Eventually, the discu-
ssions regarding the cha-
racteristics of the
“generation” turned
ineffective, as the initial
intentions of the new
movements were aban-
doned and the discussions
became more and more
literary oriented.
poe-zine 04 6
III. Contemporary directions
Fracturism was not so much a
literary movement as it was a state
of challenging esthetical, political or
ethical authority. For Dumitru Crudu
and Marius Ianus, Fracturism proved
to be not only a fertile banner but
an opportunity of affirming the new
search for rigorous literary discourse
that can raise reactions from the
reader. Marius Ianus proved to be an
influent voice for formulating a
poetic discourse that shocked and
touched the audience of literature
and not only. His most popular
poem, “Romania” was dedicated to
Allen Ginsberg, the poet assuming
explicit connections to the well
known poem “America” of the Beat
poet. Subsequently, Ianus launched
a so called “elementary lyrics” as a
possibility of renouncing the ex-
treme and sometimes superficial
interpretations that critique pre-
ferred for fracturism. Elements from
Beat Generation writers as Gregory
Corso, Allen Ginsberg, Lawrence
Ferlinghetti and from Romanian and
Russian Avant-garde movements (V.
Maiakovski, Tristan Tzara, Gellu
Naum) can be considered as po-
werful influence for fracturist
movement in Romania.
Influenced by Pier Paolo Pasolini,
and Romanian poets like Mircea
Ivanescu, Gellu Naum, the above
mentioned books established a
breakthrough for a poetry written
addressed to the common reader.
Adrian Urmanov (”Cannonical
flashes” 2001, “Utilitarian poems”
2003) and Andrei Peniuc (”A small
animal” 2002, “Abridged manual of
Terrorism” 2002) launched a so
called “utilitarian poetics” which
affirmed the need of a poetry
written for the public, a poetry that
uses the means of marketing to drag
readers to poetic message.
Dumitru Crudu brought something
more than his colleagues. As he kept
a close connection with new authors
from Moldavia, Crudu managed to
impose a trend that came up with
something new for the Romanian
literature.
Over the years, the literature
written in Moldavia (the ex Soviet
Union country where the official
language is Romanian) was
considered at its best as equal with
the literature written in Romania.
After Dumitru Crudu emerged as a
respected and remarkable new
writer in Romania, it was clear that
authors as Mihail Vakulovski,
Alexandru Vakulovski and Mitos
Micleusanu are releaseing a new
kind of power for Romanian
language. The influences from
Russian underground poetry or
writers as Erofeev (Viktor and
Venedikt as well), Sorokin or
Mamleev became recurrent topics
for approaches of a violence very
often accessed by the new Romanian
poe-zine 04 7
poetry. A very special exuberance of
expression was imposed in this
manner meeting the experimental
intentions of a group of young
writers in Constanta (South Eastern
Romania) that brought together
among others, Mugur Grosu, George
Vasilievici and Mircea Tuglea.
A very peculiar direction was opened
in 2000 by Constantin Virgil
Banescu (”The Dog, The Woman and
the glance”, “The flower with one
petal” 2002, “The same sky that
isn’t”, 2007). The poet born in 1982
used to chant his poetry with
traditional instruments. Unfortuna-
tely, he died in 2009. The movie
”poetry. the power” presents one of
his last public readings.
A direction that shaped a very
distinct part of the contemporary
poetry in Romania challenged the
expressionist tradition. Claudiu
Komartin (”The Puppeteer and other
Insomnias” 2003, ”The Domestic
Circus” 2005 ), Dan Coman (”The
Year of the Yellow Mole” 2003,
), Cosmin Perța (”Zorovavel” 2002)
and Teodor Dună (”The Train of
Thirty-first of February” 2002),
although in very different ways,
approached the hieratic manner of
shifting themes and atmosphere
effects without the restraint
expressed by their colleagues
regarding the bookishness. This
group of Romanian writers took a
grip into continuing poetics that
bring in one’s mind Paul Celan,
Georg Trakl or the later
developments in terms of the
atmosphere and tragic scenario in
poems by Sylvia Plath.
In Iasi (North Eastern Romania)
acted, maybe, the most active
literary group in Romania. Club 8
brought together writers that were
not strictly people born in the 70’s
and 80’s. Writers as Constantin
Acosmei, Radu Andriescu, Michael
Astner, Mariana Codrut, Gabriel H.
Decuble, Dan Lungu, O.
Nimigean and Dan Sociu shaped a so
called “new realism” of the
Romanian poetry. The Romanian
new realism can be described as a
poetic alternative of the
maximalism.
IV. The display of forces
The opposition to the official
literary institutions
in Romania began with publishing
the magazine “Fracturi” (a
publication of writers involved with
the fracturist movement). Although
the magazine appeared just for one
year (2002) its impact was important
especially for the literary Romanian
society which was confronted with a
new situation: a literary magazine
that attacked constantly the
accepted canon of contemporary
Romanian literature aiming to a
wider audience than the usual
readers of the literature.
poe-zine 04 8
The headquarters of new Romanian
poetry moved for a while on Internet
websites as club literar
and hyperliteratura gathered the
most active new Romanian poets.
Since 2002, different clubs
in Bucharest and in other cities have
been hosting regular events of
performing and reading poetry. Club
A in Bucharest organized the
Fracturi evenings in 2002 and since
2005 it is the main location for
Poetics of quotidian, a series of
meetings that introduce writers and
new books, most of them poetry
books.
In Arad, (North Western Romania) a
group of writers (Catalin Lazurca,
Vasile Leac, Florin Maduta, T.S.
Khasis) tried to present poetic tools
to argue tragic situations.
Recently, new writers as Andrei
Ruse or Sorin Dinco are introducing
projects of visual poetry using the
Internet as a medium of expression
as well as an alternative to printed
magazines of poetry.
V. Romanian Bodies. Table of Elements
Before listing a few of the most visible Romanian poets who had emerged in the last 10 years, we should state that together with the above mentioned literary influences, the new Romanian poetry kept a very close relation with music. Diamanda Galas, Placebo, U2, Eminem, Tupac, Madonna were mentioned as recurrent creative motives.
a) The Exuberance of
Poetry
-Mihai Vakulovski
-George Vasilievici
-Vasile Leac
-Catalin Lazurca
-Mugur Grosu
b) The Game of Masks
-Serban Axinte
-Dumitru Badita
-Livia Rosca
-Robert Mandroiu
-Andrei Ruse
c) The Neo-
expressionistic
manierism
Dan Coman
Andra Rotaru
Teodor Duna
Claudiu Komartin
Cosmin Perta
Tudor Cretu
Florin Partene
d) The Poetics "New
(excesive) realism"
Marius Ianus
Dan Sociu
Dumitru Crudu
Bogdan Perdivara
Eugen Suman
e) Trans-textual poetics
Adrian Urmanov
Andrei Peniuc
Razvan Tupa
f) The chalange of the
profound
Stefan Manasia
Linda Maria Baros
Adela Greceanu
Ioana Nicolaie
Constantin Virgil Banescu
g) The Traumatised
Voice
Elena Vladareanu
Miruna Vlada
Ruxandra Novac
Olga Stefan
T.S. Khasis
Domnica Drumea
Diana Geacar
Oana Catalina Ninu
poe-zine 04 9
poe-zine 04 10
Domnica Drumea (b. in 1979) graduated from the Literature Faculty of Bucharest
University in 2002. Her debut collection of poems, Crises (Vinea, 2003), won
Bucharest Writers’ Association Debut Award. She has a second collection of
poems, Not for sale, in course of issue at Cartea Romaneasca. At present she is
editor and translator.
With or without
I imagine liviu’s town
from which more routes
open
the message split
you were talking about
and I wonder if you did it
with or without
if in the smell of fried potatoes
can happen
warm and slippery things
like love
which in fact
is so close
like me
my frown pressed to the window
all I have to do is
turn to my little girl
and smile
Photo pm.ablog.ro
Domnica
Drumea
poe-zine 04 11
Ph
oto
: in
hal
atii.
blo
gsp
ot.
com
Mugur
Grosu Mugur Grosu was born at 11th
February, 1973 in Constanta, on the
Romanian Black Sea coast. At the
early age of five he started to play
piano and to attend a jazz club lead
by Harry Tavitian –
who will became his
mentor, friend and
...Godfather. The
Armenian born in
Romania jazzman is
one of the most
influent and original
contemporary
musicians of his
country, wide
known for his
concerns about
cultural bridges and
syncretism of the
arts, so meeting him was a turning
point in his life, and the beginning of
a series of biographical accidents
too... After some years, Mugur was
kicked-out from the music school
because he played at exams some
variations of Bach in a jazz manner,
later he was rejected 3 times from
the Fine Arts Academy of Bucharest
and so on... But he became a self-
taught, independent artist, writer
and publisher, he had a lot of
exhibitions, performances and
experimental projects, he co-
founded two independent cultural
organizations and he published four
books: Haltera cu zurgalai (poetry/
Ed. Pontica, 2001), Macelărie
(essays, Ed. Tomis, 2006), sms/ ei
respiră şi fac dragoste ca şi fluturii
(zapping poetry / Ed. Vinea, 2006),
press/ troleul 43 s-a spânzurat cu
cordonul de la capot (zapping poetry
/ Ed. Vinea, 2007). In 2008, in
contradiction
with the whole
course of his life
he became a
member of the
Writers' Union
of Romania. But
he’s still
breathing...
I remember the
collateral woman
I had been blabbing all night long making some bets I knew how to keep an unctuous secret I couldn’t get back breathing my last had been admitted to a Harvard gazelle supposed to get down there in my socks to begin the adventure of my punctuality
poe-zine 04 12
Starla Remp my fatherly transformed lung couldn’t stop preaching our honourable artistic creed in anno domini ’73 nobody was singing O mio bambino caro there was no launch of my painful copies nobody was going to panic of that somebody still ought to announce me to kidnap me lawyers were revenging us we were damn scared were opening the ears’ amphitheatre were populating complaints were thinking about our mammals’ problems calm down Remp the collateral woman still hails me from the quay’s ambush in the renal way her hip is staring at us from the clouds and we dream of her all night long however she was bending me and in her dead lake I had to fly with the Caucasian wing she was playing my trumpet forcing me to run through the iron of her fall who are you I was asking in a hidden place she was laying daughters and sons of myself I was pudding with lions around the pipe I wanted to scream are you going to die I was asking
she saved a snail growing under her breast her sloth was spreading from the window smiling waving to travellers she was carrying a restless trauma saying to everybody Good night Mr. Starla Remp she had something on the dike that was pissing me off she was depriving me of my ordinary fortuitous grace making me swim screaming through my former abject love stories in front of the train I told her I would take care of all her collateral honey moons to take part of the tribes to carry some gas in the house every little thing was easy to be seduced with the help of the wind and the speed of the strawberry I was able to help a comet to be introduced to society I was able to fix the all I loved petting her armpit on a million streets planet away I used to be that fast cause I always ran in the opposite direction I couldn’t bear the time when I would not lie on her my sticky sweat was honestly pleading for the right of every single candidate to a chilly salad remember we are a family I was asking
poe-zine 04 13
most of you don’t know me well she was wandering in her speech there are some spells in the food in the water I was saying sweetening my haircut I trust the unstableness of the placenta It is a desirable felt message she added that I’m bringing right now from the crops of Venus country I would have become a president without a problem I would have received an approximate cat and probably
I would have said some peach skin laws setting up drastic visas to the collateral woman only my wet shampooed hair Starla Remp could have checked on the blockade If I think twice the immaculate sheets helps me to scream with an outdated grace
Photo pm.ablog.ro
poe-zine 04 14
Cosmin
Perța Cosmin Perţa was born in 1982 at
Vişeu de Sus, Maramures, Romania.
His poetry was translated in
Confluences poétiques (France),
Magyar Naplo (Hungary), Électron
libre (Marco), Alora, la bien cercada
(Span), Balkani (Bulgaria),
Literaturnaia (Slovenia).
(3. the madness)
Look how gently death comes, but she is neither violet nor soft, she comes very late at night, leans your head against the tub, dunks you a little in the dung of foolish wonder and goes. But there is nothing attractive about her, when she comes, she comes silently and you are already further away from yourself than all your gestures. You walk slowly; you try to open your eyelids and only the cold din of voices
poe-zine 04 15
reaches you. A chocolate, a glass of wine. A half-hour of sleep. You arrive too late at a certain point and you no longer know how to get back on track.
You lean a little against the sink and hope it won’t break either, that your entire body won’t collapse into a puddle. The shame and the fear.
You arrive too early at a certain point. You are alone and bald, the head shaved. With your parents to whom you rarely speak, even if you know too well how in autumn their chests tremble like weightless plastic leaves, like a nothingness. The shame and the fear. Your plans no longer have any consistency or force, your hands comb the cobbles, scrape the dried-out skin of some neighbour, knead ineffectually into the flesh. Your hands are no longer what they used to be and the worm floats in the hard air. My father brought me up well. He gave me a brain and a body and some supplies. He gave me the supper as promised and some cigarettes. In the deserted outskirts of the town among the cockroaches and mortar, everything’s fine. Nothing can reach you, memory is short around here and all these things exist only for you.
Volatile and dry, soft, downy, undeserved.
Translated by Laura Solomon by means of a French first draft from the original
Romanian
Photo pm.ablog.ro
poe-zine 04 16
Stars speak your language A romanian body is the other one to whom you transfer everything you are In school we all had a cousin who had seen who had been—he was the romanian body of each of us—he he does luxury hands trafficking—of each of us like a duty like a possibility— the same for every fear of our nape fluff one by one or several that you dream in—and the dream is what you do since you wake up till late evening In a very clear moment when my phonetic sound covers everything with a breeze of touches one by one or several—tongue thrust in the air our duty is pleasure Above the roof of the mouth stars rise one by one
English version Adam J Sorkin
Răzvan
Țupa
Since 2005 he hosts the Poetics of
the quotidian event in Club A.
Relational poem
1. Tell something you had dreamed (at most 3 lines) 2. Name/forename (optional) 3. place/country/city 4. 3 words on (1) country (2) city (3) you 5. 2 words you prefer 6. 1 word you can't stand 7. HELLO
Afterwords please add:
1 + I am let’s say + 2 + Now you call
me + 3 + and I repeat as a sacred
formula + 4 + here we can stop: + 5 +
Beyond this, only + 6 + 7
poe-zine 04 17
New Romanian poetry readings in Prague and Berlin
Two Romanian poetry events for the autumn of 2009
in Prague September 30th Krásný ztráty Cafe (Náprstkova 10, Praha 1, Staré Město) 17.00 – 20.00 Krasny Ztraty Cafe Oana Ninu, Domnica Drumea, Mugur Grosu, Cosmin Perta, Răzvan Ţupa With a presentation of the issue dedicated by the Plav magasine to Romanian literature
in Berlin Friday October 30th 22:00 Live Poesie LiteraturWerkstatt Ioana Nicolaie, Sorin Ghergut, Rita Chirian, Svetlana Carstean, Gabriela Eftimie, Constantin Acosmei, Stefan Manasia, Vasile Leac and Vlad Moldovan, with a video selection by Andrei Ruse introduced by Razvan Tupa
poe-zine 04 18
poetics of the quotidian 4 years latter
poe-zine 04 19
From literatures in motion to republica poetica
PoQ was initiated as an event intended
to promote contemporary literature to a
non-specialized public. The Poetics of
the Quotidian become after 4 years of
weekly meetings an original literary
event involving its own idea over
literature: relational poetics.
Until June 2009 event used the
formula literatures in motion. Our aim
was to present literature by the means
of live interviews and performances as
work in progress and moving image of
the author.
This year, the new format of Poetics of
the quotidian is Republica poetica.
Republica poetica is a project aimed to
present the contemporary
manifestations of poetry, it’s power and
effectiveness. Public readings, debates,
live interviews
are presented in
the new format
in order to
present at least
two guests for a
meeting.
Each edition of
the 105 of the
poetics of the
quotidian
meetings invited
writers to
present their
works and their
positions
regarding the
most close actu-
ality.
Most of these meetings were held in
Club A, one of the clubs impossible to
avoid when one intends to address the
history of Bucharest underground in the
last 30 years.
A series of poetics of the quotidian
workshops developed the concept
of relational poetics in 2009 in
Timișoara (Cărturești and Cartea de
Nisip bookshops) and Constanţa (Fishzila
pub). This concept involves researching
the poetic data and potential of any
individual starting with writing exercises,
elaborating poetic personal and general
maps and interacting.
2005- I-XVI – 16 editions
The first season of meetings included
inviting a writer and a music band on
stage, reading,
performance
and a live
interview on
literature and
poetic attitudes.
This first series
of Poetics of the
quotidian was
appreciated as a
public event
open for non
specialists.
Since 2005, The
PoQ has become
a habitual pre-
sence for the
Bucharest litera-
ry display.
poe-zine 04 20
2006- XVII-
XLII- 26
editions
In 2006, the
“poetics of
the
quotidian”
included
visual
projects,
different
performances
and experiments, being invited to bring
colour to the meetings that continued to
involve readings and live interviews.
Season 3 (spring) and 4 (autumn)
created a real stir by bringing in club A
many writers from all over Romania.
Since 2006, The Poetics of the quotidian
became a meeting point for fresh
literature in display.
2007- XLIII-LVII-15 editions
In 2007, the “poetics of the quotidian”
had guests who were less popular at the
moment of their debate at PoQ.
Gradually, the central aim of the
meetings changed from dynamic
presentation to a debate and oral
presentation of the guests and, mainly,
of the works that gathered the audience
for this events.
Season 5 (spring) and 6 (autumn)
managed to introduce many writers
from Timisoara or Cluj Napoca in club A.
For The Poetics of the quotidian 2007
was a hard year, the fact that we already
had raised an interest for the meetings
bringing the necessity of a more
attentive selection of the guests.
2008- LVIII-
LXXXIV-27
editions
In 2008, the
“poetics of
the
quotidian”
introduced
guests that
were already
known as
writers or
cultural projects managers. The core
purpose of the meetings of PoQ became
more organic in using different means
(artistic and technical as well) to present
an eloquent side of contemporary
literature.
In 2008, for the first time, PoQ was
opened for writers who would decide to
meet the public. For 10 minutes before
the beginning of the evening, anyone
who would be curious to see the
reaction of an audience could sign in for
5 minutes of performing their writing.
2009- LXXXV-CVI- 21 editions
After almost four years, the Poetics of
the Quotidian transformed the initial
effort of promoting contemporary
literature into a scene for debating and
presenting dynamic projects.
Contemporary writers answer questions
from the audience and present a
personal approach for their own work
and for the influences they received.
The new format of PoQ includes a
section of open mic for anyone who
would perform their own writing or the
poems that are important for their
development.
poe-zine 04 21
poe-zine 04 22
We, the people of poetry, to assert sincere confidence, the expression of calm fascination, the clear joy,
the burst of limpid passion, the organization of diurnal intensity of approach, the usage of quiet rustling-
touch, and full breath, decide and define this
Constitution of Republica Poetica
1. Poetic status
a) The poet is the state of trans-sovereign
state, independent unitary and indivisible
b) Form of government-state status is poetic
republic.
c) Poetica is an aesthetic, social
and democratic state where human dignity,
rights and freedoms of citizens, the free
development of personality, justice and poetic
pluralism is supreme and guaranteed values.
2. Sovereignty
a) Trans-national
sovereignty belongs to
the poetic state that
exercise it through
formulation and
delimitation carried by
explicit language.
b) No group or person
may exercise
sovereignty on their
own.
3. Territory
a) The Poetic territory is primarily an inner
territory.
b) State borders are established by textual
definition, respecting the principles and
generally accepted rules of untextual poetics.
c) The territory is organized administratively in
poems, poets and poetry. Some poets are
declared laureate.
d) Throughout poetic territory don t live
persons but their states.
poe-zine 04 23
4. Unity and equality
a) The state foundation is poetic unity of
states.
b) The poetic is the common and indivisible
state of all attitudes irrespective of race,
nationality, ethnic origin, language, religion,
sex, opinion, political adherence, property or
social origin.
5. Citizenship
a) Poetic citizenship is acquired, retained or lost
in conditions of dynamic poetry.
b) Citizenship may not be withdrawn to anyone
and is assumed by own responsibility. Poetics
citizens are responsible towards
themselves and can be made liable only for the
acts of those around them.
6. Right to identity
a) Republica Poetica recognizes and guarantees
the right to preserve and develop emotional
and expression of their
cultural, linguistic and
religious to persons
belonging to
poetic minorities.
b) The protection measures
taken to preserve the
republic and emotional
expression of
minorities’ must comply with the principles of
equality and discrimination in relation to other
citizens’ poetry.
7. Poetics abroad
a) The Republic supports the strengthening of
links with poetics outside the borders of the
country and working to preserve, develop
and express their ethnic, cultural, linguistic and
religious identity in compliance with the laws of
the State whose citizens they are.
8. Pluralism in poetic society
a) Pluralism in society is a poetic condition and
safeguard Constitutional democracy.
c) Poetics are constituted and operate in
conditions of absolute freedom. They help
defining and expressing the will of citizens,
respecting national sovereignty, territorial
integrity and the principles of poetic democracy
poetic.
poe-zine 04 24
9. Transnational Relations
a) Poetics maintain and develop peaceful
relations with all countries and, in this context,
relations of good aesthetical neighbourhood,
based on poetry and the other principles
generally accepted in contemporary society.
11. Contemporary society
a) The Poetic State undertakes to fulfil in
good faith its obligations in poetic and aesthetic
treaties to which it is a part.
b) Treaties ratified by the inner court are
part of private poetic.
12. Poetic Symbols
a) The poetic flag is a language flag. Its
distinctive signs mean assuming responsibility
of poetic discourse.
b) Transnational day of poetry can be any day.
c) Transnational anthem of poetry is the poem.
d) The coat of arms of the country and seal are
established by poetic forms.
13. Official language
Any language used in communication between
people and even the natural or invented
languages are official languages in the Republic
of poetics.
14. Capital
Poetics Capital is internal, personal and multiple
external manifestations.
15.Diplomacy
Embassy of poetry in France is at the Romanian
Cultural Institute in Paris.
Recommended