Horia Gârbea
Horia Gârbea | |
---|---|
Born | August 10, 1962 Bucharest, Romanian People's Republic |
Occupation | playwright, essayist, journalist, poet, publisher, screenwriter |
Nationality | Romanian |
Period | 1982–present |
Genre | free verse, lyric poetry, parody, satire, tragicomedy |
Literary movement | Optzeciști, Postmodernism, Neorealism |
Horia-Răzvan Gârbea or Gîrbea (Romanian pronunciation:
The recipient of several national awards for literature, he received critical attention for plays, short stories and novels which merge
Biography
Early life and career
Born in
Gârbea made his debut in 1982, at age twenty, his poems being published by the student magazine Amfiteatru.
A turning point in Horia Gârbea's writing career was the
Gârbea's first volume of
Gârbea returned to drama with the 1999 book Decembrie, în direct ("December, Live Broadcast").
His career in the post-Revolution press began early in 1990, when he was among the writers published by Nouăzeci, a magazine founded by
Literary consecration and Writers' Union activities
An active member of the Writers' Union since 1994, Horia Gârbea was elected president of its Bucharest chapter in 2003, and appointed head of the Union's
During 2004, authors Horia Gârbea,
Also in 2005, Gârbea and the Writers' Union were involved in a polemic with Paul Goma, a novelist and former dissident who lived in France. This came after Viața Românească, a literary magazine managed by the Union, republished fragments from Goma's diary, which caused public outrage for its perceived antisemitism.[22][23][24] Gârbea and USR president Nicolae Manolescu both intervened to sanction the publication. In an early interview with Gardianul daily, he spoke of the editorial staff as having displayed "negligence", and noted that replacing the panel of editors was one of the sanctions being considered, while also stating that he felt none of them were "100% responsible" for the incident.[23] Gârbea however dismissed rumors that he and his colleagues were considering disestablishing Viața Românească, noting that the magazine was a historical institution.[23]
The USR's public expression of regret over having tolerated "a text with antisemitic content" caused Goma to threaten with a lawsuit on
Since 2006
Gârbea published his second novel, Crime la Elsinore ("Murders at
With the 2008 Trecute Vieți de Fanți și de Birlici ("Bygone Lives of Beaus and Aces"), he investigated the history of
The same year, Gârbea voluntarily reduced his contributions to drama and theater criticism, citing his family obligations, alongside a general disappointment with the milieu: "I grew aware that writing for the theater is usually not followed by productions. Although plays I signed were constantly performed, I never had productions at a satisfactory level nor significant material gains, except for translations."
In 2010, Editura Limes published Fratele mai deştept al lui Kalaşnikov ("
Work
Cultural context and Postmodernist reinterpretations
Committed to
A defining characteristic of Gârbea's main works is the reliance on intertextuality, as compliments to his predecessors in drama, novel and poetry.[2][4][7][8][12][13][36][37] Speaking in 2009, Gârbea himself recalled his stylistic discovery of the 1980s: "It still seemed to me that being a writer meant having visions and struggling to communicate them so that others may have them too. [...] I could not write prose, but I enjoyed writing drama because I had invented something very fun to do: old characters in new situations."[3] Poet and critic Octavian Soviany noted: "Horia Gârbea is a dramatist who builds with a program in mind, placing his stake on the resources of parody and the intertextual play. The parodic here is given birth by the disabused conscience of a postmodern spirit, who knows that all books have been written and therefore only their 'rewriting' [...] is still possible".[37] Commenting on the texts grouped within Cine l-a ucis pe Marx?, literary critic Mircea A. Diaconu placed the intertextual references (which often make a point of transgressing historical reality) in connection with William Shakespeare's phrase "All the world's a stage", since "everything is possible at the level of the text becoming reality".[36] He praises the author for managing to preserve an "absence that imposes", by not making his own intervention felt in the text.[36] Diaconu admits that such an approach could be read as "gratuitously bookish, [where] a line is more important than an event, a pun more important than a murder", but supports the notion that they all display an "existential bearing", accounting for an "intrinsic value."[36] He speaks of the technique as "a vengeance of the theater" on the traditional historical record: "In essence, Horia Gârbea's theater emerges from the textual inconsistency of the world when faced with the consistency of history, or, better yet, from the inconsistency of history and the textual consistency of the world."[36]
Beyond its immediate context, critics see Horia Gârbea's contribution as greatly indebted to the work of 19th century dramatist and humorist Ion Luca Caragiale. According to Diaconu, Caragiale's influence constitutes the "depth" of Gârbea's work, going beyond the "surface level" of intertextual references and tributes.[36] At the same core level, Diaconu identifies the author's debt to Eugène Ionesco, while also judging his manner of "mixing eras, languages, writings, characters or historical figures, fiction and document" to echo the techniques of Argentinian writer Jorge Luis Borges.[36] Another main influence on Gârbea's work is interwar author Mateiu Caragiale, made famous by his cultivated style and eccentric outlook.[38] Critic Dumitru Ungureanu sees this cultural echo as having been filtered by the style of Radu Albala, one of the authors to have been most inspired by the "matein" narratives, and concludes that the lineage places Gârbea on the same level as Cărtărescu and Florin Șlapac.[38]
According to his generation colleague, essayist Dan-Silviu Boerescu, Gârbea "cannot part with the speculative charm of a brain given to bookish games", but closely follows a realistic tradition with his "sarcastic analysis of [...] all everyday weakness."
In Nelega's view, Gârbea, "one of the truly alive writers of his time", was among the few debuting local playwrights to have their works staged by prominent Romanian directors—
There are several controversial aspects to Gârbea's public notoriety, involving reactions against academic verdicts, and objecting to the close relationship between Gârbea and mainstream cultural forums such as the USR. The implications of positive appraisals by these venues were debated by literary critic Bogdan Crețu, who argued that Nicolae Manolescu tended to overrate authors in his proximity, while being dismissive of Vișniec's contribution to drama (which Manolescu had claimed lacked originality).[39] Critic Dan C. Mihăilescu criticized in particular Manolescu's "caprices", suggesting that, in a 2008 synthesis of Romanian literary history, his older colleague had assigned Gârbea's entry undeserved space, more than to a better known novelist like Gib Mihăescu.[40] Also according to Mihăilescu, Cărtărescu may have had his rival Gârbea in mind when reproaching Manolescu that he had insisted on writers who were not at all worthy of recognition.[40] Nicolae Oprea saw Gârbea as apparently "uninhibited" in matters of literary discourse, but critically noted that the poet was also preoccupied, "to the point of obsession", with his own cultural imprint (citing as proof the fact that, in its original version, Creşterea iguanelor de casă features the English-language versions of five poems, translated by Gârbea's own hand).[13] A highly critical voice is that of Bianca Burţa-Cernat. She suggests that, in adopting all forms of writing, Gârbea displays "an implausible self-certainty".[2] She polemically connects the critical appreciation with his status as a "good colleague" and "devoted shadow" of other writers, noting that Gârbea's notoriety is ensured by a promotional system with "all the stakes" and "all the pulleys", as well as by "the argument of prolificity", but that these attributes also surpass his actual value.[2]
Plays
Usually assigned by their author the name of "texts", in preference over "plays",
Published ten years after the
Published alongside Decembrie, în direct, Capul lui Moțoc ("Moțoc's Head") reinterprets
The three-character
From Căderea Bastiliei to Creșterea iguanelor de casă
With his debut novel Căderea Bastiliei, Gârbea produces a satirical portrayal of his fellow Romanian writers, disguising their real names with
The narrative delves into Bucharest's
Overall, Horia Gârbea's contribution to short fiction is described by Alex. Ştefănescu as "ingenious" and "endearing".
Among his poetry collections, Creşterea iguanelor de casă drew attention for transferring the intertextual and parodic conventions into a lyrical format, mostly
dimineaţa pe la ora patru pe nemâncate |
morning round four on an empty stomach |
Oprea also highlighted ironic and dismissive borrowings from Romania's
Crime la Elsinore and Trecute Vieţi de Fanţi şi de Birlici
Crime la Elsinore is a return to prose satire, in this case directed at the theatrical environment. The setting is a fictional theater in provincial
Ciotloş reproached Crime la Elsinore for lack of subtlety, in the presence of a "not exactly indispensable" glossary of terms which was published with the book.[25] Although he acknowledges that the writing is "amusing", he also contends that it is "impossible to extend sociologically or connect to some reality", being isolated "in its own world", and displaying "compositional precariousness."[25] He concludes: "A book perfect in its own way, but far from perfection in ours."[25] A similar overview is provided by Burţa-Cernat, who contends that, in taking sides and explaining his intentions, the author adopts "the manner of an untalented journalist", with "see-through" results.[2] She also believes that Gârbea's chief comedic resource is "the cheap anecdote with a trite climax", which she compares with those published by the communist-era magazine Urzica.[2] Additionally, Burţa-Cernat comments on the irony of Cosma's reliance on intertextuality, which she finds similar to Gârbea's own work for the stage.[2] Critic Andrei Terian noted that he disliked almost all the book, because of its author's tendency to humiliate his characters "before us readers are in the least familiarized with them."[30]
In Trecute Vieţi de Fanţi şi de Birlici, Gârbea revisits the main themes of Romanian literature, looking into the biographies of various fictional characters, their lifestyles, personal preferences and social positioning. He himself defined the overview as "a sort of collection of essays on the edge of literary history."
In his review of the volume, Emil Mladin deemed it "wonderful" and "an extremely welcome project", noting: "Trecute Vieţi de Fanţi şi de Birlici represents a link which the reader needed in his relationship with the characters of stories relevant both at the time of their writing and today."[29] According to literary critic Silvia Dumitrache, the book creates "new paths in interpretation [...] even when starting from literary locations that are often threatened with turning into clichés."[28] She concludes "Through the playful note he impresses on the book, Horia Gârbea proves that his main intention does not reside in the willingness to impose a new hermeneutic grid on Romanian literature, but in the attempt to demonstrate that the resources of literature can never, ever, be entirely exhausted."[28] Cristea-Enache sees in Trecute Vieţi de Fanţi şi de Birlici "a book as interesting as it is enjoyable [...]. A holiday read, one could say, had this sytagm not been bastardized, in our country, by so many printed works (volumes and journals alike) that offend the reader's intellect."[15]
Outside the critical reevaluation of local literature, Gârbea's work includes short humorous essays about various topics in post-1989 society and modern
Other works
Fratele mai deştept al lui Kalaşnikov, which comprises several stories, received mixed reviews. According to Andrei Terian, the main one, Articolul 96 ("Article 96"), which is about a lecherous politician dating an anorexic model, has the same defects as Crime....[30] In contrast, Terian notes, Gârbea shows his "sure hand" in other pieces, where he parodies Povestea unui om leneş ("The Story of a Lazy Man") by 19th century Romanian classic Ion Creangă, or where he pokes fun at the 14th century Battle of Rovine, as well as the absurdist Întoarcerea tatei din război. Subiecte ("Father's Return from War. Subjects"), where the same narrative cliché is explored from several conflicting perspectives.[30] According to Terian, the volume as a whole displays influences from poet and satirist Tudor Arghezi, as well as borrowings from fellow parodist Ioan Groşan.[30]
În germană: Der vergessene Traum, în traducerea lui Christian W. Schenk, editura Dionysos Boppard am Rhein/Germany 2020, ISBN 9798625419635;
Azerbaijan – The Living Flame details Gârbea's trip and offers additional insight into the
References
- ^ a b c d e f g h i j k l m n (in Romanian) Alina Boboc, "Profesia de scriitor are nevoie de recunoaștere", in Revista 22, Nr. 973, October 2008
- ^ a b c d e f g h i j k l m n (in Romanian) Bianca Burța-Cernat, "Să rîdem cu Horia Gârbea?!", in Observator Cultural, Nr. 348, November 2006
- ^ a b c d e f g h Horia Gârbea, "Meseria de a scrie (la comandă)", in Revista 22, Nr. 992, March 2009
- ^ a b c d e f g h i j k l m n o p q r (in Romanian) Alex. Ștefănescu, "Un prea-plin al inspirației, o voioşie literară", at Editura LiterNet, June 13, 2007; retrieved September 9, 2009
- ^ 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 ac ad ae af ag ah ai aj (in Romanian) Curriculum Vitae Archived 2009-05-11 at the Wayback Machine, at the Writers' Union of Romania site; retrieved September 9, 2009
- ^ Gabriela Adameşteanu, "Revista presei culturale", in Revista 22, Nr. 630, April 2002
- ^ a b c d e f g h i j k l (in Romanian) Alina Nelega, "Despre Matei Vișniec, Saviana Stănescu, Radu Macrinici...", in Observator Cultural, Nr. 57, March 2001
- ^ a b c d e f (in Romanian) Ruxandra Cesereanu, "Imaginea Securității în literatura română în comunism și postcomunism. Studiu de caz", in Caietele Echinox, Vol. 1, 2001, at the Babeș-Bolyai University's Center for Imagination Studies Archived 2009-04-29 at the Wayback Machine
- ^ a b c (in Romanian) Mihaela Michailov, "Gîndiți, Domnule Ministru!", in Observator Cultural, Nr. 43-44, December 2000
- ^ (in Romanian) "Premii peste premii...", in Observator Cultural, Nr. 201-202, January 2004
- ^ Cuvântul, Nr. 296
- ^ a b c d e f g h i j k (in Romanian) Nicolae Oprea, "Texte poetice"[permanent dead link], in Ziua, July 17, 2004
- ^ (in Romanian) UN Cristian, "Ioan Es. Pop: 'A început să-mi pese de viață' ", in Observator Cultural, Nr. 434, July 2008
- ^ a b c d e f g h i j (in Romanian) Daniel Cristea-Enache, "Un joc de societate", in România Literară, Nr. 34/2008
- ^ a b (in Romanian) Beatrice Lăpădat, "Debut. Orbitor – Aripa nebună", in Observator Cultural, Nr. 430, July 2008
- ^ (in Romanian) "Numărul 2/2001 al revistei de teatru Okean", in Observator Cultural, Nr. 54, March 2001
- Dilema Veche, Vol. VI, Nr. 282, July 2009
- ^ a b (in Romanian) Lucia Verona, "Citește!", in Săptămâna Financiară, June 30, 2005
- ^ (in Romanian) "Primăvara poeților la Paris și la București", in Revista 22, Nr. 783, March 2005
- ^ (in Romanian) "Ce haz mai are comedia românească?" Archived 2012-07-09 at archive.today, in Adevărul, April 5, 2005
- ^ a b c (in Romanian) Scandal la USR, at Divers.ro Archived 2018-04-21 at the Wayback Machine, September 15, 2005; retrieved September 9, 2009
- ^ a b c (in Romanian) Manuela Golea, "Manolescu îl acuză pe Goma de antisemitism", in Gardianul, September 2, 2005
- ^ a b c d (in Romanian) Ovidiu Şimonca, "A devenit Viața Românească o revistă antisemită?", in Observator Cultural, Nr. 286, September 2005
- ^ a b c d e f g h i (in Romanian) Cosmin Ciotloş, "Căderea Elsinore-ului", in România Literară, Nr. 46/2006
- ^ (in Romanian) "Nominalizări pentru premiile Uniunii Scriitorilor pe anul 2006", in Apostrof, Nr. 4/2007
- ^ România Liberă, December 27, 2007
- ^ a b c d e (in Romanian) Silvia Dumitrache, "Viaţa pitorească a personajelor", in Observator Cultural, Nr. 450, November 2008
- ^ a b c d e (in Romanian) Emil Mladin, "Scriitori, personaje, cititori...", in Viața Românească, Nr. 1-2/2009
- ^ a b c d e (in Romanian) Andrei Terian, "Fratele mai deştept al lui Kalaşnikov", in Ziarul Financiar, May 20, 2010
- ^ (in Romanian) Horia Gârbea, "Azerbaidjan – Ţara Focului viu. Unde se termină lumea?", in Revista 22, Nr. 1072, September 2010
- ^ a b "Frankfurt to host book launch of Azerbaijan – The Living Flame", Trend News Agency release, October 6, 2010; retrieved January 7, 2010
- ^ (in Romanian) Ruxandra Cesereanu, "Poezie în Ţara Sfântă", in România Literară, Nr. 17/2011; Horia Gârbea, "Festivalul 'Nisan' 2011", in Luceafărul, Nr. 20-21/2011
- ^ Revista Sud-Est, Nr. 4/2007
- ^ ISBN 978-0-231-14424-7
- ^ a b c d e f g h i j (in Romanian) Mircea A. Diaconu, "Horia Gârbea. Răzbunarea teatrului", in Ziua, February 10, 2003
- ^ a b c d e f (in Romanian) Octavian Soviany, "Potopul şi parodia" Archived 2007-06-29 at archive.today, in Ziua, November 11, 2002
- ^ a b (in Romanian) Dumitru Ungureanu, "Istorii 'albalate' ", in Observator Cultural, Nr. 218, April 2004
- ^ Cuvântul, Nr. 383
- ^ a b Dan C. Mihăilescu, "Cronicarul în cumpăna istoriei", in Idei în Dialog, Nr. 1(52), January 2009
- Cuvântul, Nr. 320
- ^ a b c (in Romanian) Emil Mladin, "Laborator. Departe de lumea dezlănţuită"[permanent dead link], in Revista Drama Archived 2009-05-24 at the Wayback Machine, Nr. 1-2/2007
- ^ a b (in Romanian) Iulia Popovici, "Mircea Albulescu: 'Aş vrea foarte mult ca cititorii, spectatorii, ascultătorii mei să vrea să nu mă piardă' "[permanent dead link], in Ziua, November 18, 2002
- ^ a b (in Romanian) Cornelia Maria Savu, "Pumnagiul, Criticessa și Profetul", in Cultura, Nr. 82/2007
- ^ (in Romanian) "Despre un neverosimil 'foc viu' " Archived 2011-05-18 at the Wayback Machine, in Ararat, March 3, 2010
External links
- (in Romanian) Personal blog
- translations from Horia Gârbea, in the Romanian Cultural Institute's Plural Magazine: Own Goal with Actor and Accountant (Nr. 10/2001), Who Needs No Theater (Nr. 10/2001), The Pleasures of Life (Nr. 23/2004)
- (in Romanian) Raţă cu portocale (e-book version) and Crime la Elsinore (fragments), at Editura LiterNet
- (in Italian) Funghi al pomodoro (translated by Gabriela Lungu), at Griseldaonline.it
- (in Romanian) Horia Gârbea's articles in Cultura
- (in Romanian) Horia Gârbea's articles in Ramuri
- (in Romanian) Horia Gârbea's articles in Săptămâna Financiară
- (in Romanian) Horia Gârbea's articles in Ziarul Financiar