Margins
Unde fugim de-acasă? book cover
Unde fugim de-acasă?
1966
First Published
3.61
Average Rating
123
Number of Pages

„Aproape teatru, aproape poeme, aproape poveşti“. Altfel spus, oarecum scamatorie, oarecum farmec şi oarecum minune. Şi, mai ales, APROAPE. Cum să nu-ţi vină cheful de fugit de-acasă, când totul e atât de APROAPE? Şi ai o călăuză aşa de grozavă, pricepută la tot soiul de scamatorii – cu cuvinte, cu lumi, cu vise... Un ghid care ştie să farmece distanţele într-o clipită şi să tragă puţintel de colţul perdelei, cât să se vadă minunea ascunsă în lucrurile cele posace din lumea noastră de zi cu zi. - Liviu Papadima

Avg Rating
3.61
Number of Ratings
538
5 STARS
32%
4 STARS
25%
3 STARS
24%
2 STARS
13%
1 STARS
7%
goodreads

Author

Marin Sorescu
Marin Sorescu
Author · 8 books

In 1964 the Romanian Communist government relaxed its censorship policies, signaling a new openness to free expression. The nation's poets heeded that signal, and Romanian poetry experienced a striking revival. Poet and playwright Marin Sorescu is perhaps one of the most popular figures to emerge from Romanian literary culture in the years since. Sorescu writes in a plainspoken, down-to-earth style spiced with sly humor. He responds to the hardships of Romanian life not with grand rhetoric or fire-and-brimstone sermons, but with what translator Michael Hamburger describes as "ironic verse fables," as quoted by Dennis Deletant in the Times Literary Supplement. Virgil Nemoianu, also writing in the Times Literary Supplement, comments that "[Sorescu's] reactions to an increasingly absurd political regime were always cleverly balanced: he never engaged in the servile praise of leader and party usually required of Romanian poets, but nor did he venture into dissidence. He was content to let irony do its job." His choice of irony over confrontation has made it possible for Sorescu to publish freely and frequently. The journal he edited for years, Revista Ramuri, managed like his poetry to stay within the bounds expected by the Romanian regime. Sorescu's plays, however, have not always fared as well. Both Iona and Exista nervi played to packed houses in Bucharest, the former in 1969 and the latter in 1982. But both plays were quickly withdrawn, their content deemed too controversial. Nonetheless, notes Deletant, the success of these pieces during their brief runs solidified "Sorescu's status as one of the leading writers of his generation." Sorescu's plays and poetry have earned him, Deletant further states, "an unequaled audience" at home in Romania. And translations of his work into English have helped him build a secure international reputation. The qualities that have allowed his writings to flourish on Romania's state-controlled literary scene may contribute to his popularity abroad as well. There is a universality to Sorescu's conversational tone and ironic perspective, what Nemoianu calls "his rueful jocularity and the good-natured cynicism." George Szirtes, writing in Times Literary Supplement, finds in Sorescu's voice "the wry wisdom that sees through everything and yet continues to hope and despair." source: Poetry Foundation

548 Market St PMB 65688, San Francisco California 94104-5401 USA
© 2025 Paratext Inc. All rights reserved