Geo Bogza
Geo Bogza | |
---|---|
reportage, satire | |
Literary movement | Avant-garde Surrealism Socialist realism |
Relatives | Alexandru Bogza (father) Radu Tudoran (brother) |
Signature | |
Geo Bogza (Romanian pronunciation:
After the establishment of
He was the older brother of Radu Tudoran, himself a known writer, whose political choices were in stark contrast with those of Geo Bogza, and made Tudoran the object of communist persecution. Bogza had lifelong contacts with some representatives of the Romanian avant-garde, among them Victor Brauner, Max Blecher, Sesto Pals, Sașa Pană, and Paul Păun, and was friends with, among others, the essayist and theologian Nicolae Steinhardt, the dissident Gheorghe Ursu, and the filmmaker Mircea Săucan.
Biography
Early years and the avant-garde
Geo Bogza was born in
Geo Bogza, who indicated that he was baptized
Bogza attended school in
In 1927, he made his debut in poetry, writing for the Prahova-based
During that period, Geo Bogza became one of the most recognizable young rebellious authors, a category that also included, among others,
Winning the praise of his fellow young authors Stephan Roll and Ilarie Voronca,[8] he was criticized by prominent literary figure George Călinescu, who accused him of "priapism",[3][8] based on Bogza's irreverent tone and erotic imagery. It was also during the late 1920s that Bogza began touring the Prahova Valley, becoming a close observer of local life in the shadow of the oil industry.[1] He had a conflict with Tudor-Miu in August 1928, after the latter modified a poem Bogza sent to be published in Câmpina—the two reconciled later in the year, and later wrote a special poem for its one-year anniversary.[1] His collaboration with Pană, Roll, Ion Vinea, Simion Stolnicu, and others led to the ad hoc establishment of a literary group, which was defined by writer and critic Camil Petrescu as "the revolutionaries from Câmpina" (after the town where Bogza spend much of his time).[1] Among other writers who joined Bogza in publishing the five issues of Urmuz were Voronca and the Dadaist Tristan Tzara.[4]
He also established a friendship and collaboration with the photographer
Early in his youth, while in Buștenari, Geo Bogza met and fell in love with Elisabeta (also known as Bunty), whom he married soon after.[3][8] Their love affair was celebrated by Bogza's friend Nicolae Tzone, who also stated that she "lived simply and without any sort of commotion in his shadow".[8] Initially, the couple lived in Sașa Pană's Bucharest house, and, for a while afterwards, at the headquarters of unu.[1] In old age, he spoke of one of these lodgings as "an unsanitary loft, where one would either suffocate from the heat or starve with cold."[11]
Trials and jail terms
Bogza's work was at the center of scandals in the 1930s: he was first arrested on charges of having produced
Reportedly, Bogza asked to be defended by Ionel Teodoreanu, a known writer who had training in law, but he was ultimately represented by Ionel Jianu.[6] After his success in court, he issued business cards reading: "GEO BOGZA/ACQUITTED/NOVEMBER 28, 1932 [capitals in the original]".[6] Late in 1933, he edited a new magazine, titled Viața Imediată ("The Immediate Life"), of which only one issue was ever published.[12] Its cover photograph showed a group of derelict workers (it was titled Melacolia celor șezând pe lângă ziduri, "The Melancholy of Those Sitting by the Walls").[12]
The same year, he was taken into custody for a second time, after publishing his Offensive Poem—which depicted his sexual encounter with a servant girl[13]—and was sentenced to six days in jail; in 1937, at the same time as H. Bonciu, Bogza again served time for Offensive Poem,[6][8][14] after the matter was brought up by Ioan Alexandru Brătescu-Voinești on behalf of the Romanian Academy.[8][14] Similar demands for punishment were voiced by historian Nicolae Iorga and by the poet and fascist politician Octavian Goga.[8] Bogza was frequently attacked by Iorga's nationalist magazine Cuget Clar.[15] During the same period, his friends and fellow Surrealists Luca and Pals were also jailed on similar charges, after they were denounced by Iorga.[6][7][16] Other young authors imprisoned on such grounds included Păun, Aurel Baranga, and Jules Perahim.[6]
Writing for Azi, a review edited by Zaharia Stancu, Bogza dismissed the accusation as a cover-up for an increase in authoritarianism as King Carol II was attempting to compete with the fascist Iron Guard.[17] The latter's press welcomed the move, and, using strong antisemitic language, instigated the authorities to intervene in similar cases of alleged obscenity—which it viewed as characteristic of both Surrealism and the Jewish-Romanian authors who were associated with Bogza.[18]
In 1934, while visiting Brașov in the company of his wife, Bogza met Max Blecher, a young man who was beddriden by Pott's disease and had started work on the novel later known as Întâmplări din irealitatea imediată ("Events in Immediate Unreality").[19] The three were to become good friends, and Bogza encouraged him to continue writing.[19]
Adoption of communism and official status
His growing sympathy for communism and his connections with the outlawed Romanian Communist Party (PCR) made Bogza a target of the authorities' surveillance. Siguranța Statului, the country's secret service, kept a file on him, which contained regular reports by unknown informers.[20] One of them claims: "given that he was a communist, [Bogza] covered the puberty of his writing in the cape of social revolt."[20]
Late in 1937, Geo Bogza traveled to Spain as a war correspondent in the Civil War, supporting the Republican side.[2][13][20][21] His position of the time drew comparisons with those of other leftist intellectuals who campaigned against or fought Nationalist forces, including W. H. Auden and George Orwell.[21] He was accompanied on this journey by Constantin Lucreția Vâlceanu, who had ambitions of becoming a writer, and whom Bogza asked to contribute to a never-completed novel inspired by the war.[20] Soon after their return, in what was a surprising gesture, Vâlceanu split with the leftist camp and rallied with the Iron Guard.[20]
The writer had grown close to the PCR, but their relations soured c. 1940, when Bogza was confronted with news that the
After World War II and the establishment of a communist regime, the writer adopted and included in his works the themes of Socialist realism,[22] and was awarded several honors.[23] During the 1950s, he traveled extensively to the Soviet Union[24] and Latin America, writing several works on topics such as Decolonization.[25] In 1955, Bogza became a full member of the Romanian Academy.
Historian
Bogza was, however, skeptical about the goals of the PCR, and his support for it was much reduced in time. Literary historian Eugen Simion discussed the writer's effort to tone down the scale of cultural repression, and included him among the "decent men" to have done so.[27] Bogza's brother Radu Tudoran, an anti-communist who had risked a prison sentence in the late 1940s after attempting to flee the country, was condemned by the communist press, and lived in relative obscurity.[28]
In 1958, Geo Bogza himself was exposed to official criticism in the official Communist Party paper,
In February 1965, as Gheorghiu-Dej was succumbing to cancer, the Writers' Union Conference facilitated an unprecedented attack on Socialist Realism.[30] This dispute saw writers attacking Union president Beniuc, who was identified with Stalinism—as a result of the confrontation, in what was an early sign of liberalization, Beniuc was dismissed from his post, and replaced with Zaharia Stancu.[30][31] According to literary historian Valeriu Râpeanu, Bogza, who attended the Conference, went so far as to demand that Beniuc's chair be burned.[31]
In opposition to Ceaușescu
A member of the Writers' Union leadership board after 1965, he was editor of the influential literary magazine
Bogza was nonetheless often ambiguous in his relations with the authorities, while his public statements oscillated between covert satire and open praise.[5] Between 1966 and 1973, he was a contributor to Contemporanul magazine, and was well known in Romania for regularly publishing short essays in that magazine[5][32] (some of them were also read on national radio).[5] Bogza also had a permanent column in the influential magazine România Literară.[36] His gestures of defiance include his display of support for Lucian Pintilie, a director whose work was being censored. In 1968, having just seen Pintilie's subversive film The Reenactment shortly before it was banned, Bogza scribbled in the snow set on the director's car the words: "Long live Pintilie! The humble Geo Bogza"; the statement was recorded with alarm by agents of Romania's secret police, the Securitate, who had witnessed the incident.[37]
In the 1970s, Bogza and several of his Writers' Union colleagues became involved in a bitter conflict with the nationalist
In autumn 1980, the Securitate, was alarmed of his alleged intention to condemn the country's officials for allowing antisemitism to be expressed in the press. This came after nationalist poet Corneliu Vadim Tudor signed an article in Săptămâna, which outraged representatives of the Jewish community. Romania's Chief Rabbi, Moses Rosen, was quoted saying that Tudor's piece was evidence of "fascism" and the prosecutable offense of "instigations to racial hatred".[39] A Securitate note, published by Ziua journal in 2004, claimed that Rosen was preparing to bring up for debate the issue of antisemitism in Romanian society, and depicted Bogza, alongside Jebeleanu and Dan Deșliu, as "exercising influence" over the Rabbi in order to have him "publicly demand the unmasking of «antisemitism» in the S[ocialist] R[epublic] of Romania".[39]
End of communism and final years
Bogza was also close to the outspoken dissident Gheorghe Ursu (who, in 1985, was beaten to death on orders from the Securitate), as well as to filmmaker Mircea Săucan, himself an adversary of the communist regime.[40] One theory attributes Ursu's violent death to him having refused to incriminate his writer friends during interrogations—among those whose activities may have interested the investigators were Bogza, Nina Cassian, and Iordan Chimet.[41]
In late March 1989, ten months before the
During the final stages of his life, Geo Bogza granted a series of interviews to journalist Diana Turconi, who published them as Eu sunt ținta ("I Am the Target").[1] He died in Bucharest, after a period during which he was interned at the local Elias Hospital.
Work
Avant-garde aesthetics
Geo Bogza's lifelong but uneven involvement with
Much of Bogza's work is related to social criticism, reflecting his political convictions. This was the case in many of his reportage and satirical pieces. In reference to this trait, Mihuleac commented that the 20-year-old Bogza was in some ways a predecessor of later generations of protesters, such as the American Beatniks and the United Kingdom's "angry young men".[5] In 1932, Bogza stated: "We write not because we wish to become writers, but because we are doomed to write, just as we would be condemned to insanity, to suicide."[1]
The young Bogza made obscenity an aesthetic credo. Shortly after his acquittal, he wrote: "In order to reach a new form of nobility, one is required, beforehand, to vaccinate one's soul with mud."[2] He elaborated: "The word must be stripped of the unctuous senses that have come to depose themselves on it. Cleansed of ash. The flame inside kindled, for the introduction of words, like that of women, is [currently] a privilege reserved for the great landowners."[1][2] Geo Bogza's spoke in defense of taboo words such as căcat ("shit") and țâță ("tit"), arguing that the original frankness of Romanian profanity had been corrupted by modern society.[1] One of his usual and highly controversial poems of the period read:
Adunați pe întâiul meridian al sexului |
Gathered on the first meridian of sex |
As a youth, he extended his protest to the cultural establishment as a whole—while visiting the high school in
Mă rog de tine, Nicolae Ilie, |
I pray of thee, Nicolae Ilie, |
He extended an appeal to the oil industry workers, in which he identify oil with foulness and with himself:
Eu, care sunt mârșav și violent, |
I, who am black and ugly, |
In another one of his earliest poetry works (Destrămări la ore fixe, "Unravellings at Pre-Convened Hours"), Geo Bogza elaborated on the theme of melancholy and loss:
Mari, ca și mici, ne paște același program; |
Big and small alike, we are destined to the same program; |
Reportage and agitprop
One of the first and most acclaimed authors of
Also according to Mihuleac, Bogza went through a radical change around 1935, when his writing turned professional and his subjects turned from "himself" to "the multitudes".
One of his reportages of the period notably discussed the widespread poverty he had encountered during his travels to the eastern province of
In one of his satirical pieces, Bogza mocked the
"A million penholders stolen in Romania would almost be an act of culture. And one would [consequently] forget the degrading spectacle of people writing with chained penholders. Of what importance would any loss be, compared with the beauty of penholders having been set free?"[5]
The next stage in Bogza's literary career was described by Mihuleac as "embarrassing".
More controversial still was his
Subtle dissent
During the Ceaușescu years, Bogza developed a unique style, which, under the cover of apparently insignificant and docile metaphors, hid subversive messages.[5] According to Mihuleac, the writer was critical of his own position in relation to the Communist Party and explained it as a compromise—he believed this message to be evident in Bogza's poem Treceam ("I Was Passing"):
Treceam printre tigri |
I was passing among tigers |
He thus wrote a piece entitled Bau Bau (Romanian for "Bogeyman"), telling of how his parents encouraged him to fear things watching him from outside his window as a means of ensuring he behaved himself while they were absent—the subtext was interpreted by journalist Victor Frunză as an allegory of Ceaușescu's anti-Soviet policies (which attempted to prevent opposition by, among other things, alluding to the threat of Soviet intervention).[50] At some point during the second half of 1969, instead of his usual column, Geo Bogza sent for publication a drawing of three poplars, with a caption which read:
"The line of poplars above is meant to suggest not just the beauty of this autumn, but also my sympathy towards all things having a certain height and a verticality."[5]
The poplar metaphor was one of Bogza's favorite: he had first used it in reference to himself, as early as 1931, in an interview with Sașa Pană.[1] Facing a jail term for his scandalous poetry, he spoke of the tree as a symbol of both aloofness and his own fate.[1]
His subtle technique, like similar ones developed by other România Literară contributors, was at times detected by the regime. Thus, a secret Securitate report of 1984, made available ten years later, read: "The present line-up of România Literară magazine is characterized by a gap between the political content of its editorials (perfectly in line [and] in which declarations of adherence are being made in respect to the state and party policies) and the content of the magazine which, of course, is different; [...] the criticism of content which is discussed on [România Literară's] front page grows aesthetizing through the rest of the magazine."[51]
Legacy
In literature
A central figure in Romanian literature for much of his life, Bogza took special interest in the works of other writers, and contributed to establishing their reputation. During his early period at Urmuz, he actively encouraged various avant-garde trends, and his eclectic interests, as well as his calls to intellectual rebellion played an important role in shaping the work and activity of both Constructivists and Surrealists.[4] Among the most noted writers whom he aided to express themselves freely were his co-contributors Tristan Tzara, Stephan Roll and Ilarie Voronca,[4] and he was also noted for being the first to publish Urmuz's Fuchsiada (a few years after its author committed suicide).[1] Max Blecher also expressed gratitude to Geo and Ecaterina Bogza for helping him complete and publish Întâmplări din irealitatea imediată.[19]
His role as critic, patron and promoter of art continued under the communist regime, and he kept a vivid interest in reviewing literature of all kinds. After the 1960s, he was involved in recuperating the Romanian avant-garde, and, together with Paul Păun and Marcel Avramescu, helped introduce the previously unpublished works of Sesto Pals to an international audience.[7][16] In 1978, he also republished his earliest poems for Urmuz, as part of the new volume Orion.[1][2] His position also allowed him to extend a degree of protection to literary figures persecuted by the authorities. According to Eugen Simion, during the 1950s, a common initiative of Bogza and philosopher Tudor Vianu attempted to rescue the academic and essayist D. D. Panaitescu from Communist imprisonment.[27] Antonie Plămădeală, a political prisoner of the communist regime and future Romanian Orthodox Metropolitan of Transylvania, credited Bogza and the writer and theologian Gala Galaction with having insured recognition for his debut novel in spite of political obstacles.[52]
The relevancy of Bogza's dissidence, like the similar attitudes of
Bogza often credited real-life events and persons in his poetry. Alongside Nicolae Ilie and his death, his early poems make direct references to
The innovative reportages he authored later in life were credited with setting guidelines and opening the road for a series of notable authors, among whom were Paul Anghel...Te Deum la Grivita, Traian T. Coșovei, Ioan Grigorescu and Ilie Purcaru.[44] Cornel Nistorescu, himself a columnist and author of reportage, is also seen as one of Bogza and F. Brunea-Fox's disciples.[54] Critics have noted the potential impact his early poetry has or may have on Postmodern literature in Romania.[2][55][56] Several commentators, including Nicolae Manolescu, have traced a connection between his poems of the 1920s and 1930s and many of those authored by Florian Iaru between 1982 and the early 2000s.[55][56]
In contrast to both his status as a former political prisoner and his new-found Christian faith, Nicolae Steinhardt continued to value Bogza's contributions, and, in 1981, authored an essay dedicated to his work and their friendship.[10][57] Titled Geo Bogza – un poet al Efectelor, Exaltării, Grandiosului, Solemnității, Exuberanței și Patetismului ("Geo Bogza – a Poet of Impressions, Exaltation, Grandeur, Solemnity, Exuberance and Pathetism") and edited by writer Mircea Sântimbreanu,[57] it was characterized by literary critic Ion Bogdan Lefter as a "eulogy [...] to their shared youth, seen as a paradise of liberty".[10] G. Brătescu, who was himself involved in editing and claims to have aided in publishing Steinhardt's volume, recalled being "fascinated" by both Bogza's "impertuosity", as well as by Steihardt's "art of evidencing such an impertuousity."[12]
Sesto Pals also authored Epitaf pentru Geo Bogza ("Epitaph for Geo Bogza"), first published by Nicolae Tzone in 2001.[16] The writer was also the subject for one of B. Elvin's essays, collected as Datoria de a ezita ("The Duty to Hesitate") and first published in 2003.[35] In the same year, his correspondence with various Transylvanian writers was published as Rânduri către tinerii scriitori ardeleni ("Letters to the Young Transylvanian Writers").[1] The relation between Bogza and Mircea Săucan served as the basis for a short work of fiction, which the latter authored and dictated as part of a 2007 book of interviews.[40]
Other tributes
Bogza was the subject of a portrait painted by his friend Victor Brauner, which was itself the topic of scandal.[4] The piece, defined by S. A. Mansbach as one of Brauner's "most fully realized Surrealist canvases of [the early 1930s]", depicted the subject nude, with a severed head and elongated sex organs (symbols which probably alluded to elements present in Bogza's own texts).[4]
Bogza's novella, Sfârșitul lui Iacob Onisia ("The End of Iacob Onisia"), has served as the basis for a 1988 film, Iacob (translated into English as Jacob, or, in full, The Miseries of a Gold Miner – Jacob).
A school in Bucharest and one in Bălan were named in Bogza's honor, as were a culture house and a street in Câmpina. A memorial plaque was raised on downtown Bucharest's Știrbei Vodă Street, at a house where he lived between 1977 and 1993.[61] Câmpina also hosts the annual Geo Bogza Theater Festival.
Selected works
Collected poems
- Jurnal de sex ("Sex Diary"), 1929
- Poemul invectivă ("Offensive Poem" or "Contemptuous Poem"), 1933
- Ioana Maria: 17 poeme ("Ioana Maria: 17 Poems"), 1937
- Cântec de revoltă, de dragoste și de moarte ("Song of Revolt, Love and Death"), 1947
- Orion, 1978
Collected journalism
- Cartea Oltului ("The Book of the Olt"), 1945
- Țări de piatră, de foc, de pământ ("Lands of Stone, Fire, Earth"), 1939
- Oameni și carbuni în Valea Jiului ("Men and Coal in the Jiu Valley"), 1947
- Trei călătorii în inima țării ("Three Journeys into the Heart of the Land"), 1951
- Tablou Geografic ("Geographical Survey"), 1954
- Years of Darkness, 1955
- Meridiane sovietice ("Soviet Meridians"), 1956
- Azi, ín România: carte radiofonică de reportaj ("Today, in Romania: a Radio Reportage Book"), 1972
- Statui în lună ("Statues on the Moon"), 1977
Other
- Sfârșitul lui Iacob Onisia ("The End of Iacob Onisia"), 1949; novella
- Eu sunt ținta: Geo Bogza în dialog cu Diana Turconi ("I Am the Target: Geo Bogza Interviewed by Diana Turconi"), 1994
- Rânduri către tinerii scriitori ardeleni ("Letters to the Young Transylvanian Writers"), 2003
Notes
- ^ Familia, Vol. V, Nr. 11-12 (480–481), November–December 2005
- ^ a b c d e f g h i j k l m n o p q r s t u v w Constantin Stănescu, "Revista revistelor. Geo Bogza, insurgentul", in CulturA, Nr.6, p.32
- ^ a b c d e f Călinescu, p.891
- ^ a b c d e f g h i j k S. A. Mansbach, "The 'Foreignness' of Classical Modern Art in Romania", in The Art Bulletin, September 1998
- ^ a b c d e f g h i j k l m n o p q r s (in Romanian) Cătălin Mihuleac, "Bun venit în lagărul de lectură forțată" Archived 2011-05-22 at the Wayback Machine, in Adevărul, April 11, 2004
- ^ a b c d e f g h (in Romanian) Leo Butnaru, "Note despre avangarda românească" Archived 2008-01-07 at the Wayback Machine, in Contrafort, 6 (140), June 2006
- ^ a b c (in Romanian) Paul Cernat, "Sesto Pals, avangardistul subteran", in Observator Cultural, Nr. 179, July–August 2003; retrieved November 21, 2007
- ^ a b c d e f g h i Daniela Şontică, "Între poezie şi închisoare" (with a transcript of a 1933 scandalous poem), in Jurnalul Național, October 10, 2005
- ^ Opening of a Photographic Exhibition by Iosif Berman, "The Man with a Thousand Eyes" Archived 2007-03-15 at the Wayback Machine, at the Romanian Jewish Community site; retrieved November 20, 2007
- ^ a b c (in Romanian) Ion Bogdan Lefter, "Debut cu N. Steinhardt" (review of George Ardeleanu, Nicolae Steinhardt. Monografie, antologie comentată, receptare critică), in Observator Cultural; retrieved November 20, 2007
- ^ Revista 22, Nr. 828, January 2006
- ^ a b c d Brătescu, p.40
- ^ Exquisite Corpse, November/December 1992
- ^ a b Ornea, p.450
- ^ Brătescu, p.73
- ^ a b c d (in Romanian) "Sesto Pals. Repere biografice", in Observator Cultural, Nr. 320, May 2006; retrieved November 20, 2007
- ^ Ornea, p.450-451
- ^ Ornea, p.451, 457
- ^ a b c (in Romanian) Alina Andrei, "Manual de fotografie: Fotografiile lui Blecher", at the LiterNet Publishing House; retrieved November 21, 2007
- ^ a b c d e f (in Romanian) Paul Cernat, "Subterana politică a avangardei românești" (review of Stelian Tănase, Avangarda românească in arhivele Siguranței"), in Observator Cultural, Nr. 417, April 2008; retrieved April 23, 2008
- ^ ISBN 2-7351-1084-2
- ^ Hammond, p.70, 72
- ^ Frunză, p.252
- ^ Brătescu, p.222
- ^ Bogza, "Congresul de la Santiago", republished in Jurnalul Național, October 8, 2006; Hammond, p.72
- ^ a b c Tismăneanu, p.187
- ^ a b (in Romanian) Eugen Simion, "Aniversări, comemorări, lustrații", in Ziua, October 21, 2006
- Revista 22, Nr. 837, March 2006
- ^ Radio Free Europe Research, June 19, 1958, at the Blinken Open Society Archives, retrieved September 8, 2021
- ^ a b Tismăneanu, p.342
- ^ a b (in Romanian) Valeriu Râpeanu, "Ce roman, viața lui Zaharia Stancu" Archived 2007-12-20 at the Wayback Machine, in Magazin Istoric, September 1998
- ^ Radio Free EuropeResearch, June 15, 1972, at the Blinken Open Society Archives, retrieved September 8, 2021
- ^ Frunză, p.460; Tismăneanu, p.353
- ^ a b Tismăneanu, p.353
- ^ a b c (in Romanian) Monica Gheț, "«Cum să nu devin ceea ce nu sînt»" Archived 2013-04-16 at archive.today, in Observator Cultural, Nr. 178, July 2003; retrieved November 23, 2007
- ^ Talaşman Chiorean, p.124
- ^ (in Romanian) Emil Berdeli, "De ce te urmărește Securitatea, Mitică? De frică, monșer" Archived 2008-05-11 at the Wayback Machine, in Gardianul, May 12, 2008
- ^ Dilema Veche, Vol. III, Nr. 121, May 19, 2006
- ^ a b (in Romanian) Răzvan Savaliuc, "Liderul PRM urmărit în anii '80 pentru antisemitism" Archived 2007-11-12 at the Wayback Machine, in Ziua, January 12, 2004
- ^ ISBN 978-973-7893-65-9
- ^ (in French) Gabriela Blebea Nicolae, "Les défis de l'identité: Étude sur la problématique de l'identité dans la période post-communiste en Roumanie", in Ethnologies, Vol. 25, Nr. 1/2003 (hosted by Érudit.org); retrieved November 20, 2007
- ^ ISBN 0-7146-5234-2
- ISBN 0-7546-3790-5
- ^ a b Lisei, p.99
- ^ a b Călinescu, p.891-892
- ^ ISBN 963-00-8714-6
- ^ a b (in Romanian) Paul Cernat, "Un mizilean care «face diferența»", in Observator Cultural, Nr. 222, June 2004; retrieved November 20, 2007
- ^ Călinescu, p.892
- ^ ISBN 973-669-175-6
- ^ Frunză, p.460
- ^ Talașman Chiorean, p.138-139
- ^ "Sărbătoarea Înălțării", in Jurnalul Național, June 9, 2005
- ^ a b c (in Romanian) Gheorghe Grigurcu, "Ce înseamnă un scriitor incomod", in Convorbiri Literare, April 2002
- Dilema Veche, Vol. III, Nr. 140, September 29, 2006
- ^ a b (in Romanian) Sorin Alexandrescu, "Retrospectiva Nicolae Manolescu (V)" Archived 2013-04-16 at archive.today, in Observator Cultural, Nr. 93, December 2001; retrieved November 23, 2007
- ^ a b (in Romanian) Ioan Holban, "Înnebunesc și-mi pare rău", in Evenimentul, October 15, 2005
- ^ a b Brătescu, p.366-367
- ^ a b c Vincent Canby, "Review/Film; At Work and Home, a Difficult Life", in The New York Times, October 3, 1988
- ^ România Liberă (February 2003); at the LiterNet Publishing House; retrieved November 21, 2007
- ^ (in Romanian) Magdalena Popa Buluc, "Istoria nu este o ladă cu vechituri din pod, este ceva foarte viu" (interview with Stelian Tănase) Archived 2007-11-09 at the Wayback Machine, in Adevărul, July 11, 2007
- Romanian Writers' Unionsite; retrieved November 21, 2007
References
- (in Romanian) Studia Universitas Babeș-Bolyai Ephemerides, LII, 1, 2007, at the Babeș-Bolyai University of Cluj-Napoca:
- Mihai Lisei, "Gabriel García Márquez şi romanul-reportaj", p. 99–104
- Claudia Talașman Chiorean, "Promovarea mitului Erei Noi în perioada 1989–2000 prin România Literară", p. 121–150
- ISBN 973-50-0425-9
- George Călinescu, Istoria literaturii române de la origini până în prezent, Editura Minerva, Bucharest, 1986
- Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990
- Andrew Hammond, The Balkans and the West, ISBN 0-7546-3234-2
- ISBN 973-9155-43-X
- ISBN 0-520-23747-1)