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Annals of “Dunărea <strong>de</strong> <strong>Jos</strong>” University of GALAŢI<br />
Fascicle XIII, New Series.<br />
Issue 28, XVI (XXVII), 2009<br />
pp. 66-71<br />
EXISTENTIAL CHALLENGES.<br />
A SORESCU-LARKIN INTERCULTURAL CASE<br />
Daniela Ţuchel<br />
66<br />
Language<br />
and<br />
Literature<br />
1. Introduction<br />
Postmo<strong>de</strong>rn man needs ‘metaknowledge’ – knowledge acquired through the<br />
inferential mo<strong>de</strong>. The following is a free transposition of Nora Iuga’s (2005) statement at the<br />
Neptun International Festival (“Zile şi Nopţi <strong>de</strong> Literatură”) in September 2005. She says: let<br />
us think of the stubbornness of a writer in search of a perfect match between written<br />
expression and the form of the thought not yet taught to speak out. Just imagine the<br />
economy. Anything useless would be left out, every ‘noise’ would be retired, every ‘că’,<br />
‘cum’, ‘care’, ‘căci’, ‘acum’, ‘atunci’, and so forth. We might be floating, continually ellipting<br />
and spinning out a language pierced like a lace. Rea<strong>de</strong>rs would be enabled to pull through a<br />
coloured string off their own silence. It could be unimaginably beautiful! (“Dar ce să facă un<br />
scriitor care se încăpăţînează să scrie, nu cum se vorbeşte, ci cum se gîn<strong>de</strong>şte: să scrii ca întrun<br />
amor perfect cînd forma scrisă a gîndului s-ar suprapune total peste forma gîndului care<br />
n-a învăţat încă să vorbească. Vă daţi seama ce economie s-ar face? Am elimina tot ce e <strong>de</strong><br />
prisos, am scoate la pensie toţi paraziţii care ne bruiază emisia, pe ‘că’ şi pe ‘cum’ şi pe ‘care’<br />
şi pe ‘căci’ şi pe ‘acum’ şi pe ‘atunci’ şi cîte altele; am pluti într-o elipsă continuă – o limbă cu<br />
găurele ca o dantelă prin care orice cititor îşi poate trasa panglica colorată a propriei tăceri.<br />
Nici nu vă daţi seama cît ar putea fi <strong>de</strong> frumos!”)<br />
The present paper has left behind history and traces contemporary stories and<br />
i<strong>de</strong>ntities born out of compactness and not expansion, out of lacunar economy and not of<br />
periphrastic, reiterated, appositely or appositionally functional pieces.<br />
By means of the parallel addressed in this article, we will try to manage a “site” in the<br />
spirit of Christopher Tindale from whom we quote (2004: 3):<br />
“As a ‘site’, the argumentative situation is a nongeographical space, located in and<br />
created by discourse. We inhabit such spaces with different facility, some of us with ease,<br />
others with discomfort. Yet they are crucial to our self-un<strong>de</strong>rstanding and our<br />
un<strong>de</strong>rstanding of others.”<br />
So much for the operation preliminary to un<strong>de</strong>rstanding and interpreting space. In<br />
time, the basic operation suggested by the <strong>text</strong> of the two poems reproduced below is<br />
syncopation in a cognitive sense. That means to say that the experience reduces the number of<br />
events in the temporal string. Marin Sorescu chooses to represent one’s last biographical<br />
stage by the emergence of the spi<strong>de</strong>r’s web, of the bodily weakness and of the soul’s<br />
separation – an evolutionary <strong>de</strong>velopment compressed to three moments of observation.<br />
Philip Larkin has a time-line of two longer and one shorter mid-positioned spans recording<br />
processes: of darkness setting in, of a sheet slowly drawn over and of hands loa<strong>de</strong>d down.<br />
These notable process occurrences are compressed by syncopation. Now let us consi<strong>de</strong>r the