Anatol E. Baconsky
Anatol E. Baconsky | |
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Modernism |
Anatol E. Baconsky (Romanian pronunciation:
After a brief affiliation to
Anatol E. Baconsky was the elder brother of Leon Baconsky, a literary historian and academic, and the father of writer and diplomat Teodor Baconschi.
Biography
Early life
Born in
In November 1945, Baconsky moved to Cluj. He began his studies at the University of Cluj's Faculty of Law, while attending lectures in Philosophy and Aesthetics given by Lucian Blaga and Eugeniu Sperantia.[5] His first essay, which Baconsky considered his actual debut work, was published by the Tribuna Nouă newspaper.[5] Beginning 1946, his work was given more exposure, and was published in local Transylvanian journals (such as the Carei-based Prietenii Artei) before being featured in the collective volume Antologia primăverii ("The Anthology of Spring").[5] He was at the time an adherent to Surrealism, and a volume of his Surrealist poetry was supposed to be edited by Editura Fundaţiilor Regale, but never saw print, owing to the institution's disestablishment by the new communist authorities.[6] Literary historian Mircea Braga writes that, over the following years, Baconsky showed himself to be a staunch critic of Surrealism, and quotes him defining André Breton's pupils as followers of a "rigid dogma".[7] Literary critic and academic Diana Câmpan also that the split with Surrealism and the avant-garde was a sign of his belief that negation could only result in value if substantiated, as well as his theory that aesthetic revolt, after manifesting itself as a disease, was degenerating into kitsch.[8]
Discarding Surrealism soon after, Baconsky moved to a poetic version of
Early years at Steaua
In 1950, Baconsky completed his first volume, Poezii ("Poems", published by the USR's Editura de stat pentru literatură şi artă).[7] The following year, he printed another book of poetry, Copiii din Valea Arieșului ("The Children of the Arieș Valley").[10] The new editor was by then involved in a number of disputes with other young authors, in particular those grouped around the Sibiu Literary Circle, among them Ștefan Augustin Doinaș and Nicolae Balotă.[11][12]
It was at that stage that he began collaborating with Almanahul Literar, a newly founded magazine edited by communist poet Miron Radu Paraschivescu, which, in 1954, was renamed Steaua.[13] Among his early assignments there was his participation on the literary jury that granted the magazine's annual prize (alongside literary men such as Paraschivescu, Emil Isac, Dumitru Micu, and Iosif Pervain).[12] In one notable incident of 1950, the panel honored a high school student named Ion Motoarcă, without being aware that Motoarcă's communist poetry was in fact a parody of Socialist Realist literature, authored as a prank by Baconsky's rival Doinaș.[12] As was revealed decades later, Doinaș continued to ridicule the Steaua writers over several months, and, when he decided that the risk of repercussions was far too great, simply put an end to the prank. This he did by having Motoarcă decline all of Baconsky's suggestions with the claim that one "should not take lessons from a less gifted poet than himself."[12] In parallel, Anatol E. Baconsky's relationship with Paraschivescu was tense: in February 1951, at a USR meeting in Bucharest, he was one of those who criticized Baconsky's new take on lyric poetry, accusing him of "intimism".[5]
However, in 1952, Paraschivescu left for
Baconsky also published poems in
From Itinerar bulgar to Fluxul memoriei
In January 1953, the 26-year-old poet left Romania on his first trip abroad, visiting the People's Republic of Bulgaria. Back in Bucharest during March, he was present at a USR meeting indirectly provoked by the death of Soviet leader Joseph Stalin, during which they were confronted with the new cultural guidelines stated by Georgy Malenkov. A condemnation of the first- and second-generation proletkult writers, it saw Baconsky both as a critic and a target of criticism.[20] His volume of reportage from the Bulgarian travel, Itinerar bulgar ("Bulgarian Itinerary"), saw print in 1954, together with the poetry collection Cîntece de zi şi noapte ("Songs of Day and Night", awarded the State Prize in 1955).[10]
In 1998, literary critic Cornel Ungureanu proposed that, by that moment, Baconsky was finding his voice as a "rebellious author".[9] According to Călinescu, the Baconsky of the late 1950s had "completely changed his orientation".[15] Writing for Steaua in 1955, Baconsky submitted an essay reviewing and promoting the work of George Bacovia, a Symbolist and pessimist who had been largely ignored by post-1948 critics (see Symbolist movement in Romania).[10]
Baconsky was again a USR delegate in June 1956, when he presented the body with the first of his reports, dealing with the state of Romanian poetry.
Beginning summer 1956, the communist regime clamped down on the cultural environment, its apprehension motivated by events in
Anatol E. Baconsky was again present in poetry with the 1957 volume Dincolo de iarnă ("Beyond Winter"). According to Braga, it was the moment in which his poetry made decisive gains in originality, and the first stage in his renunciation of "Proletkult versification".
Move to Bucharest and debut in publishing
By 1958, Baconsky became a target of criticism in the literary community. The reaction, Braga noted, was "vehement", and, in January 1959, got Baconsky dismissed from his position as editor of Steaua.[23] In October of that year, the poet left Cluj and settled in Bucharest.[9][24] According to Ungureanu, the capital was "hostile" to Baconsky, and the move was the equivalent of an "exile".[9]
Over the following decade, he focused mainly on reading his earlier volumes of poetry, on publishing works of criticism and travel writing, and on translating works by various authors. His new home became a gathering spot for young writers who did not approve of communism's cultural guidelines, including Călinescu and other Bucharesters who had previously published their work in Steaua.[15]
In 1960, Baconsky published his translation of early
A year later, he published a translation of selected poems by Swedish author
Early Ceauşescu years
Baconsky's situation improved during
In 1967, the writer completed work on his collection of old poetry and new pieces, also titled Fluxul memoriei ("The Flow of Memory"), and published his debut short story volume, Echinoxul nebunilor şi alte povestiri ("The Madmen's Equinox and Other Stories").[28] He revisited Italy and Austria, and, in 1968, traveled to West Germany.[28] In his 1968 two-volume book Remember (title in the original),[29] he republished his earlier travel writings into the East with modifications, and added an account of his western travels, headlined Fals jurnal de călătorie ("False Travel Journal").[30] He also hosted a weekly National Radio program, titled Meridiane lirice ("Lyrical Meridians")—Baconsky read his introductions to works by various writers, and Romanian theater stars read fragments of their work.[28]
In November, Anatol E. Baconsky was reelected to the Writers' Union Committee, and, in 1969, his Remember was awarded Steaua's annual prize.
Final years
By 1971, Baconsky was outraged by the Ceauşescu regime having curbed ideological relaxation and proclaimed a Romanian "
In February 1972, he settled in
His 1973 anthology of world poetry, Panorama poeziei universale ("The Panorama of Universal Poetry"), was noted by
Together with other poets, he traveled again to Budapest, as part of a cultural exchange between Hungary and Romania, and, in 1974, was again on leave in Italy (invited by academics in the fields of
In March 1977, Baconsky and his wife Clara fell victims to the 7.2 Mw Vrancea earthquake which devastated Bucharest. At the time, Baconsky was preparing for a new trip abroad: complying with Communist Romania's restrictions on the use of passports, he had just asked authorities to release the document, and was carrying it on his person.[35] His last volumes, Biserica neagră and Corabia lui Sebastian ("Sebastian's Ship"), remained unpublished.
Work, style and creative periods
Communism and Socialist Realism
After his short affiliation to Surrealism, a style which is almost entirely absent from his published work, Baconsky embraced a style which reflected his communist sympathies, and which is most often seen as the source of some of his poorest work. Cornel Ungureanu describes the early 1950s Baconsky as "an exponent of socialist realism" and a "passionate supporter of the communist utopia";[9] his stance in respect to the authorities was described by literary historian Alex Drace-Francis as "conformist"[36] (a word also used by Călinescu),[15] while Paul Cernat circumscribes Baconsky to the "pure and tough Stalinism" of the day.[11]
His early works are seen by literary critic Sorin Tomuța as "an unfortunate debut with conjectural lyrics".
This series included controversial stanzas about
Trece-o noapte şi mai trece-o zi, |
A night passes, another day passes, |
Other such lyrics read:
Astea le vedem noi — dar chiaburii |
These are what we see—but the chiaburi |
Former Romanian Communist Party activist Pavel Țugui, whose opinions diverged from the party line, claimed that, in effect, Baconsky was writing with subversive undertones from the time of his debut—literary chronicler Bogdan Creţu renders this opinion, but expresses doubt, calling Țugui "dubious" and "in reality, a politruk as sinister as all the others."[39] Literary historian Eugen Simion also proposed that Baconsky was, in effect, parodying agitprop literature of the day.[38] Analyzing Baconsky's early political views, his biographer Crina Bud concludes that the poet was attracted into cooperation in order to make a living,[39] and that, from the very start, he was playing a number of different and conflicting "roles".[11][39]
The writer was already noted for being a man of refined tastes and for being interested by universal culture. Both Creţu and Cernat define him as "a
During his period at Steaua, Baconsky encouraged young authors to express themselves and created, what both Tomuţa and Creţu define as a "literary oasis".[37][39] Tismăneanu however criticizes the writer and other leftists on the cultural scene for not reacting against the post-1956 repressive mood, and argues that their inaction helped ideologists Leonte Răutu and his subordinate Mihai Beniuc to restore Gheorghe Gheorghiu-Dej's control over the Writers' Union.[21]
A particular controversy involves allegations against the young Baconsky for the way in which he treated his colleagues. Many voices in the literary community have come to suspect that he was an
Break with communism
Despite initially complying with ideological requirements, Baconsky was often subject to criticism in the official press. This occurred frequently after 1953, when Soviet politico
In parallel, Baconsky criticized other writers on similar grounds. He aimed such remarks at his fellow poet Eugen Frunză, which brought him additional criticism from Georgescu and Mircea Gafiţa.[48] Several of Baconsky's poems, in particular the 1953 Rutină ("Routine"), satirize authors who did not seek to make their poems interesting to the general public.[49] The latter, Selejan proposes, may be a covert reference to and ironic pastiche of Mihai Beniuc, one of the Socialist Realist poets most trusted by the regime.[50] One of the stanzas reads:
Dimineaţă. Lumea-n drum spre muncă |
Morning. People on their way to work |
Selejan also notes that Rutină, like the war poem Manifest ("Manifesto"), constitute a "dissonant note" when compared with other poems of the day, including those of Beniuc.[52] Manifest, which may have been written in honor of the Romanian-hosted World Festival of Youth and Students (1953), and which Selejan believes may display irony toward "poetic militantism in the present tense", compares the fate of World War II soldiers with that of post-1945 youth, in meditative lyrics such as:
Dragi prieteni nu vă amăgesc, |
Dear friends I will not deceive you, |
Progressively after the late 1950s, Baconsky entirely lost his confidence in communism—an attitude which culminated in his 1972 protest. His disappointment was especially known to his intimate circle.[11][53] Based on this, Cernat defines the writer as an "informal anti-communist",[11] while Călinescu, who recalls participating in such conversations, notes: "Baconsky [displayed] an emphatic, lucid, irreconcilable anti-communism. Not even later [...] did I meet many people who had a more emphasized contempt, mixed with an intense repulsion, for the representatives of the [communist] party ideology, either within the literary world or outside it."[53] He believes Baconsky's stance from 1958 onwards makes him the period's "only dissident", although he also notes that the poet criticized the communist system only "orally".[15] Cornel Ungureanu, who stresses the importance of both his move to Bucharest and the numerous visits abroad, adds: "[he] was to walk down a road which most celebrity authors of the 1950s' communist east [...] have walked down on: the one between fanatical exaltation and acute misanthropies."[9] According to Bogdan Creţu, 1967, when Echinoxul nebunilor was published, was the capital moment in Baconsky's non-compliance with the ideological requirements, with "more than honorable behavior" defining the second part of his career.[39] However, Cernat speculates, the theory regarding his alleged collaboration to Securitate may offer clue that Baconsky's new stance was itself orchestrated by the Party, in an attempt to offer him credibility and permit him to sabotage the literary environment.[11]
Baconsky allowed his intellectual opposition to communism to merge with his activities as a cultural promoter. In addition to promoting the work of
Lyrical transition
Following his break with the regime, Baconsky's style underwent major changes. Tomuţa notes he became "a first-rate stylist",[37] while Doinaş stresses his "discreet but tenacious self-edification", leading to "an ardent consciousness, albeit perhaps belatedly gained".[56] The new direction, heralded during his time at Steaua,[11] was however much-criticized by the 1950s cultural establishment, who accused him of "intimism" and excessive "lyricism", and argued that his work was a return to aestheticism and Symbolism.[57] Baconsky resisted such criticism, and, in one of his articles, openly stated that poets needed to return to a lyrical approach: "Ignoring the rich array of intimate feelings means mutilating the protagonist's personality, depicting him unilaterally, belittling the actual dimensions of his soul."[58] Matei Călinescu argues that such a commitment to artistic purity was a sign of "what we could call the 'aesthetic resistance' to communism."[15]
According to Badea, such experiments resulted in Baconsky's originality, "an anti-metaphoric offensive, built upon the confrontation between the life of lyrical characters with the destiny of ideal lives".[58] The rejection of "decorative metaphors", Cernat notes, was a staple of Baconsky's work, and was explicitly stated in his post-1969 essays.[11] Badea added that this Dincolo de iarnă, and the volumes which followed down to 1965, formed "the first page in a distinct chapter of our modern lyric poetry."[59] Eugen Simion emphasized as the common trait of such poems: "a voluptuousness in things fading away, in the weariness provoked by the whispers of rain."[60] In his definition, Baconsky had become "an aesthete of melancholy."[60]
Baconsky's poems of the period speak of himself being "torn" by the contradictions of destiny, submitted to the command of a nature whose geography, Braga notes, is "dead", seeking to undermine his own humanity so as to become the ideal creator.
Astfel, întotdeauna să-mi fie dor de ceva, |
Thus, may I always be missing something, |
It was also at this stage that the poet began introducing references to remote or exotic locations in his works. His poems began to speak of mysterious
Cadavre în vid and Corabia lui Sebastian
With the somber collection Cadavre în vid, Baconsky entered what Braga calls a "forth artistic phase" (after Surrealism, Socialist Realism and the first change in orientation).[60] Braga however insists that the change between the final two phases is not radical, and that they are separated by a break rather than a tear.[65] Braga also believes that, in his depictions of melancholy and disease, Baconsky again focuses on unease and "the denial of the irreplaceable" (while letting the reader know that such a denial is "useless and inefficient").[66] In a 1985 essay, poet and critic Dinu Flămând discusses Cadavre în vid as "a book of suffering, unique in our literature, a tragic perception of the disinherited, a nightmare of teratologic dreams in the new 'electronic season' ".[60] It includes Sonet negru ("Black Sonnet"), which Braga calls an "exceptional" sample of "feverish tensions, infinite searches [...], obscure impulses":[67]
Singur rămas visezi printre făclii |
Left alone, you dream among the torches |
Mircea Braga writes that this and other late volumes, showing "a world born out of nightmares", are the product of several influences: alongside George Bacovia's melancholic poems, they host echoes from both Expressionism and Postmodern literature.[68] Flămând ranks the posthumous Corabia lui Sebastian among "the best works written in this second half of the [20th] century", and compares its "cynicism" to the existential philosophy of Emil Cioran.[69]
By that stage, Baconsky also became noted for theorizing the rejection of "consumerism", advocating instead a return to established cultural values.[11][60] According to Flămând's 1985 essay, Baconsky's rejection of "consumerism" and the West was decisive, and culminated in a virulent decision of what Baconsky is known to have called "the occidental pharaoh".[60] Braga also writes that, in both Cadavre în vid and Corabia lui Sebastian, Baconsky depicts his own version of a "crisis of the West" (the Abendland forming a setting of one poem), which he believed may have referenced Oswald Spengler's similar verdict (see The Decline of the West).[70] Diana Câmpan noted the poems' dystopian imagery: "The Abendland is [...] an eerie Leviathan-like corpus, with attributes defining for humanity's decrepitude, a surrogate, anti-utopian citadel, handled in accordance with the laws of decline which grind the elites as well as the masses, the things as well their reflection".[71] A part of the eponymous poem reads:
dans al cetăților, crepuscul roșu, abend- |
dance of the citadels, red crepuscule, abend- |
According to Mircea Braga, one of his last interviews shows that, while still criticized for "aestheticism", Baconsky merged his lyricism with an interest in social matters.[72] The statement reads: "The writer is not a politician in the common and consecrated sense of the word. He does however have the role of a spiritual ferment [italics in the original]. He must not allow people to acquire cerebral obesity. He is always dissatisfied with something or other, his position is that of a permanent antithesis with the surrounding reality."[72] Braga believes Baconsky's moral "rigor" to bear a "Transylvanian sign", and to have been ultimately inspired by the philosophy of Lucian Blaga.[72] The related anti-capitalist vision is questioned by Cernat. The critic indicates that, although sincere in its patriotism, it was also "compatible" with the mixture of communism and nationalism introduced by the Ceauşescu regime (see National communism), and thus similar with the philosophical discourse of Constantin Noica.[11]
Late prose works
With Remember, Drace-Francis argues, Baconsky advanced a technique first used by avant-garde writers of the 1930s, which transcended the norms imposed by traditional travel accounts in order to express "the inadequate representational possibilities of traditional forms" and to comment on the metaphysics of reality.[73] Baconsky thus depicts his journey as an "interior adventure".[73] This type of discourse, Drace-Francis contends, was a hint to his readers that the regime would not allow him to recount every detail of his journey.[73] The book nevertheless also doubles as Baconsky's extended critique of the avant-garde of Europe, whose discourse, Diana Câmpan notes, Baconsky depicted as a form of desecration.[74] In Tomuţa's view, the depiction of Vienna, with a focus on "the glorious vestiges of the past", takes the reader on a "voluptuous time travel."[37] In the critic's definition, Baconsky's Vienna encloses a secondary reality, that is "ideal", "aestheticized", "fictional" and "bookish".[37]
Drace-Francis also notes that the climate of relative liberalization and détente of the 1960s not only made such journeys possible, but actually allowed writers the freedom to go beyond stereotyped depictions of capitalism[30] (while it remained uncertain whether Communist Romania's dialog with the West would "dominate the construction of epistemic value").[73] Overall, Cornel Ungureanu comments, Baconsky's accounts of his western travels are marked by "dark visions of the world."[9] Ungureanu sees this as a sign of Baconsky's having "descended into Hell".[9] Cernat, who extends his critique of Baconsky's anti-capitalist attitude to Remember, also argues that the author's "absolute freedom" of travel under a repressive regime indicates that his work was not perceived as a threat by the communist system.[11]
Baconsky's prose fiction is closely linked to the themes and style of his poetry. In Braga's view, the fantasy collection Echinoxul nebunilor is a prosaic representative of its author's early commitment to aestheticism;[58] according to Cernat, its tone is "apocalyptic".[11] A characteristic of Baconsky's prose fiction is its resemblance to his poetry works, to the point where they were described by Crina Bud as "hybrid forms".[39] In Bogdan Creţu's view, Biserica neagră, Baconsky's only novel, is written with "alexandrine-like purity".[39] Likewise, the Corabia lui Sebastian poems were noted for moving into the realm of prose.[11] This transgression of limits summoned objections from prominent literary critic Nicolae Manolescu, who reportedly believed Baconsky's work to be largely without merit.[39]
Biserica neagră is also read as his most subversive work, described by critics as a "counter-utopia".
Legacy
Anatol E. Baconsky was a noted presence in the literary community of his day, and is believed to have influenced poet, novelist and translator Petre Stoica (who is described by Ungureanu as the writer's "friend and emulator").[9] Baconsky's poems were parodied by Marin Sorescu in his 1964 volume, Singur printre poeţi ("Alone among Poets"). Sorescu's poem, titled A. E. Baconsky. Imn către necunoscutul din mine ("Hymn to the Unknown within Me"), makes use of Baconsky's lyrical style and displays of culture, showing the poet meditating about the ancient Scythian and Thracian peoples. It begins with the lines:
În mine-un scit se caută pe sine |
Within me a Scythe is searching for himself |
Unusual episodes involving Baconsky's death were reported by two of his writer friends, Octavian Paler and Petre Stoica—Paler recalled that the only book to have fallen out of his shelf during the 1977 earthquake was Remember; Stoica told a similar story involving a painting that Baconsky had made, and which he had received as a gift.[11] The writer's death, Cernat writes, was a "troubling coincidence" with that of Alexandru Ivasiuc: a former communist who, like Baconsky, had "radicalized" his vision and authored non-conformist pieces, Ivasiuc was himself a victim of the 1977 earthquake.[11]
In the months following Baconsky's death, his new monograph on
Of the several books dedicated to his life and work, Crina Bud's 2006 volume, Rolurile şi rolul lui A. E. Baconsky în cultura română ("The Roles and Role of A. E. Baconsky in Romanian Culture"), is described by reviewers as one of the most complete.[11][39] Bogdan Creţu comments that views of Baconsky are traditionally divided between two "extremist" positions: "he was either castigated for his sins of youth [...] or mythicized and raised to a level that his work could not have honored."[39] Like Crina Bud, he believes Baconsky to have been a "vanquisher from a moral point of view", adding that he earned "absolution" from the victims of communism: "the writer passed the fire ordeal: he confessed."[39] However, Cernat believes, Baconsky, like his fellow disillusioned communist Paler, refused to record his disappointment in writing other than allusively.[11]
Baconsky and his wife Clara were noted art collectors. They owned representative works of
Published volumes
Poetry and prose fiction
- Poezii, poems, 1950
- Copiii din Valea Arieşului, poems, 1951
- Cîntece de zi şi noapte, poems, 1954
- Două poeme, poems, 1956
- Dincolo de iarnă, poems, 1957
- Fluxul memoriei, poems, 1957; retrospective edition, 1967
- Versuri, poems, 1961
- Imn către zorii de zi, poems, 1962
- Versuri, poems, 1964
- Fiul risipitor, poems, 1964
- Echinoxul nebunilor şi alte povestiri, short story anthology, 1967
- Cadavre în vid, poems, 1969
- Corabia lui Sebastian, poems, posthumous edition, 1978
- Biserica neagră, novel, in Scrieri, vol. II, posthumous edition, 1990
Travel writing
- Itinerar bulgar, 1954
- Călătorii în Europa şi Asia, 1960
- Cluj şi împrejurimile sale. Mic îndreptar turistic, 1963
- Remember, vol. I, 1968; vol. II, 1969
Criticism
- Colocviu critic, 1957
- Meridiane. Pagini despre literatura universală contemporană, 1965; second edition, 1969
- Dimitrie Ghiaţă, 1971
- Ion Ţuculescu, 1972
- Botticelli, 1974
- Botticelli, Divina Comedie, posthumous edition, 1977
Translations
- Poeţi clasici coreeni, 1960
- Salvatore Quasimodo, Versuri, 1961; second edition, 1968
- Jorge Semprún, Marea călătorie, 1962
- Artur Lundkvist, Versuri, 1963
- Poeţi şi poezie, 1963
- Mahabharata – Arderea zmeilor, 1964
- Carl Sandburg, Versuri, 1965
- Panorama poeziei universale contemporane, anthology, 1973
Notes
- ^ a b c Braga, p.XXX
- ^ Câmpan, p.101
- ^ Braga, p.VII–VIII, XXX
- ^ Braga, p.XXX–XXXI
- ^ a b c d e f g Braga, p.XXXI
- ^ Braga, p.VIII, XXXI
- ^ a b Braga, p.VIII
- ^ Câmpan, passim
- ^ a b c d e f g h i j k l m n o Cornel Ungureanu, postface to Babeți & Ungureanu, p.518
- ^ a b c d e f Braga, p.XXXII
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab (in Romanian) Paul Cernat, "Despre A.E. Baconsky, cu dus-întors", in Observator Cultural, Nr. 352-353, December 2006
- ^ a b c d (in Romanian) George Neagoe, "Păcatele tinereții. Ștefan Aug. Doinaș a.k.a. Ion Motoarcă" Archived 2016-03-18 at the Wayback Machine, in Cultura, Nr. 66/2010
- ^ Braga, p.XXXI–XXXII; Călinescu & Vianu, p.152
- ^ Braga, p.XXXII; Călinescu & Vianu, p.152
- ^ a b c d e f g h i Călinescu & Vianu, p.152
- ^ Călinescu & Vianu, p.151, 152
- ^ Selejan, p.15, 87
- ^ a b c Selejan, p.15
- ^ Selejan, p.242–244
- ^ Selejan, p.159, 162
- ^ ISBN 973-681-899-3
- ^ Braga, p.IX, XXXII
- ^ a b c d e f g Braga, p.XXXIII
- ^ Braga, p.XXXIII; Călinescu & Vianu, p.152
- ^ Braga, p.XXXIII, XXXV
- ^ a b c d e f g h i j Braga, p.XXXIV
- ^ Braga, p.XXXIV–XXXV
- ^ a b c d e f g h Braga, p.XXXV
- ^ Braga, p.XXXV; Drace-Francis, p.72–73
- ^ a b Drace-Francis, p.72–73
- ^ Braga, p.XXXV–XXXVI
- ^ a b c d e f g h Braga, p.XXXVI
- Stiftung für Aufarbeitung der SED-Diktatur, Berlin & Bucharest, 2004, p.31
- ^ ISBN 0-415-25517-1
- ^ a b c d e Braga, p.XXXVII
- ^ Drace-Francis, p.72
- ^ a b c d e f Sorin Tomuța, biographical note to A. E. Baconsky, "Remember. Viena", in Babeți & Ungureanu, p.84
- ^ a b c d Braga, p.IX
- ^ a b c d e f g h i j k l m n o p q r s t u v w (in Romanian) Bogdan Crețu, "A. E. Baconsky: un destin contorsionat, oglindit în propria operă" Archived 2008-12-02 at the Wayback Machine, in Convorbiri Literare, October 2007
- ^ a b Braga, p.VII
- ^ Selejan, p.87, 162, 197–201, 206, 245–251, 253–254, 256–257, 263–265, 333–334
- ^ Selejan, p.162
- ^ Selejan, p.197
- ^ Selejan, p.198
- ^ Selejan, p.198–201
- ^ Selejan, p.206
- ^ Selejan, p.251
- ^ Selejan, p.199, 200–201, 245–251, 253–254
- ^ Selejan, p.198, 202–203, 288–290
- ^ Selejan, p.290
- ^ Selejan, p.203
- ^ a b Selejan, p.289
- ^ a b Călinescu & Vianu, p.152-153
- ^ Eugen Simion, "Arta marelui Mateiu...", in Curentul, December 29, 2001
- ^ Lettre InternationaleRomanian edition, Summer 2008
- ^ Braga, p.VI
- ^ Braga, p.IX-X
- ^ a b c Braga, p.X
- ^ Braga, p.XII
- ^ a b c d e f Braga, p.XI
- ^ Braga, p.XII–XIII
- ^ a b Braga, p.XIV
- ^ Braga, p.XVI–XIX, XXI–XXII, XXVII–XXVIII
- ^ Braga, p.XIX
- ^ Braga, p.XI, XXXVIII
- ^ Braga, p.XVI
- ^ Braga, p.XIII
- ^ Braga, p.XXII–XXIII
- ^ Braga, p.V
- ^ Braga, p.XXIII–XXVI
- ^ a b Câmpan, p.103
- ^ a b c Braga, p.XXII
- ^ a b c d Drace-Francis, p.73
- ^ Câmpan, p.101-103
- ISBN 973-559-000-9
- ^ a b c (in Romanian) Colecţia Clara şi Anatol E. Baconsky[permanent dead link], at the National Museum of Art of Romania; retrieved July 19, 2008
- ^ (in Romanian) Florena Dobrescu, "Muzeul Colecţiilor de Artă a fost redeschis publicului", in Adevărul, December 27, 2003
- ^ (in Romanian) File de istorie... Archived September 15, 2008, at the Wayback Machine at the Călimăneşti Town Hall, retrieved July 19, 2008
References
- ISBN 973-683-131-0
- OCLC 25027073
- ISBN 973-681-832-2
- Diana Câmpan, "A. E. Baconsky—despre contestarea avangardei şi poezia negaţiei", in the December 1 University of Alba Iulia's Philologica Yearbook Archived 2016-03-03 at the Wayback Machine, 2003, p. 101–104
- ISBN 0-7546-3234-2
- ISBN 978-973-23-1961-1