postmodern-authors

"The idea – deepness and relief"

"At a time when poetic experiments have grown weary, when petty self-referentiality and the lamentations of the civic self have replaced the thrills of the exponential Self, when the benevolent propagandistic impulse, far more insidious than that imposed by totalitarian ideologies, manifests itself with irrepressible ease, a poetry that looks upward, that contemplates stellar combustions and perceives quanta of light, that investigates multiple universes and the entire existence itself solely through the lens of incorruptible thought and major acts of consciousness seems, if not impossible, at least of maximum strangeness. Despite this assumption, drawn directly from the configuration of the contemporary lyrical phenomenon, a discourse such as that contained in Dumitru Găleşanu Axioms of Infinity proves that everything is possible and that minor times have no way of supressing or thwarting major stakes. In a certain way, Găleşanu’s discourse, paradoxical in its ability to be simultaneously geometric and alluvial, does precisely that, it eludes historical time, escapes from the circumstances of concrete life imperceptibly transforms itself into a surprising oracular voice."

": Joc optic ("Optical Game"). Stanza 4, lines 67–70 (69–72), p. 105 (111)"

": Viaţa poetului – la hotarul dintre poezie şi ştiinţă ("The Poet’s Life – at The Border between Poetry and Science"). Stanza 4, lines 55–58 (57–61), p. 254 (260–261)"

": Clinamen. Stanza 6, lines 55–60, p. 48"

"The poet is a Magician, Theosophist, Philosopher, Scholar and Astrophysicist. Definitely erudition, the supersaturation of a modern knowledge are complementary to a soteriology which does not take the risk of the blamed skeptical categorizing of a sociology of "mystification". Had he not have the inborn call to the foundation of the feeling of his existential mood, Dumitru Găleşanu would not have heard about us, his readers, either from "the temple of the book", or from the "desk" from where – like an Orpheus raised from the Myth up to the surface of the "endured labyrinth", tried hard, actually speaking, to pick Eurydice up from the darkness of an (eventual) complicity with Hades... But can the beast in the human being be tamed by such a new knowledge (intuition-mystic reason-transmodernism) – and can it be eluded through Poetry (imitatio Dei) – La condition humaine, Montaigne’s stigma? What would "tragic condition" mean if not its contraries for the regeneration, or the eternal return?"

"Postmodernism"

": Remanenţă ("Remanence"). Stanza 3, lines 37–42, p. 182 (188)"

": Dizolvând ne-Fiinţa ("Dissolving The Non-Being"). Stanza 1, lines 1–3, p. 34 (38)"

": Ţărmul vast-al gândirii ("The Vast Shore of The Thinking"). Stanza 1, lines 1–5, p. 223 (229)"

":In Argument poetic ("Poetic argument"), p. 4"

": Axis mundi. Stanza 3, lines 30–40, p. 26"

": Grădina cuantică (The Quantum Garden). Stanza 7, lines 42–48, p. 132"

"Natively in-spaced by the reflex of some experiences deeply rooted in the womb of the diversity which characterises the 'the worlds of man', whence springs the light of congeneric verses being born 'in the magical logic' of the metaphysical thrill of passage, the journey of thought and feelings undertaken by the physicist-cosmologist poet, begins and unfolds through his very substance, in the dominant tone of the Existent, from his fertile interiority, that is, from and towards the 'originary', in the Einsteinian shift towards red of the spectral lines..., of things. And all this against the 'musical' background of highly accurate poetic-philosophical projections, untainted by the ephemeral, which are subsumed to the logical introspection of the evolution over time of theories aiming at the scientific knowledge of the phenomenon itself."

"A strange poetry is proposed to us by Dumitru Găleşanu, defying the limits of the poetic through his predilection for grand, resonant and abstract words, into which he instils a pathetic dynamism of a spectacular and rare innocence. Ancient and perennial literary motifs intertwine within the same poem with postmodern themes (some even of the most recent kind), yet the author’s plea is neither in favour of tradition nor of contemporaneity. His goal is the rediscovery, through poetry, of an essential nature and an essential humanity – a naturalness thanks to which the 'archetype of matter' might be held 'in the palm of the hand'. Dumitru Găleşanu proves to be a fervent follower of cosmodernity, the very logic of his poetry tends to be a cosmodern one."

"Existentialism"

"Meaning of life"

": Zbor în decor al Ideii-înseşi-de-zbor ("A Fly in The Sky of The very Idea of a Flight"). Stanza 3, lines 31–35, p. 292 (300)"

": Lumina – [undă pe corzi] ("The Light – [wave on strings]"). Stanza 3, lines 44–47, p. 188"

": Continuum estetic ("An Aesthetic Continuum"). Stanza 1, lines 1–10, p. 28 (32)"

": Hyperboreea ("Hyperborea"). Stanza 3, lines 29–30, p. 83 (87)"

": Şi totuşi... actul meu liric de pietate ("And Yet... My Lyric Act of Piety"). Stanza 3, lines 28–30 (27–30), p. 206 (212)"

"Just as the ritual of life has materialized on earth since ancient times, persisting even today in the gentle light of the sun, the poetic expression establishes itself in our tangible world like a gentle sunray that confirms that the human destiny originated in the being. However, as one can notice, in the eternal corroborative kaleidoscope of existence, the contemporary society is nothing but the fruit of the creative power of the wise man that intensely investigates the direct reality, from one end to the other, to the most hidden details, and imagines it in its infinity, even if, ignoring the play with the nothingness and the barriers of the heart, today there is no doubt that the same reality is indefinitely broader than reason and than man’s illusory ambitions to truly appropriate the mysteries of the universe. The rhetoric of my (purely metaphysical) verse does nothing but interrogate the vast universe of the human condition, consubstantially transposed by the instance of the poetic thought on the eternal winding path of the natural intramundane dimension."

"Haloed with the nonchalance of the light beyond death, in the galactic trench that vaguely separates us, oh, you – dear reader!, held in the palm of the same echo of the star trembling, full of grace, from afar, what better hook than your soul fabulously emerged from a book?"

": À bon entendeur, salut! Stanza 1, lines 1–7, p. 5"

": Absent în agorá ("Absent in the Agora"). Stanza 2, lines 16–29, p. 9"

": Dacă eu aș pleca? (What if I Left?). Stanza 4, lines 41–52, p. 60"

": Fericirea înaltei mirări (The Happiness of the Great Wonder). Stanza 1, lines 1–4, p. 103"

": Instanța lirică (The Lyrical Instance). Stanza 6, lines 57–60, p. 166"

": Zugravul (The Painter). Stanza 2, lines 8–14, p. 445"

":Poem of the same title. Stanza 1, line 2, p. 10"

": Ylem. Stanza 3, lines 44–45 (44–46), p. 283 (289)"

"Dumitru Găleșanu is a rare poet nowadays (and not only nowadays). His metaphysical, authentic and irrepressible vocation opposes the aesthetic lightness without a real spiritual creativity of the most contemporary poets immersed in the dailiness of things, conjuncture and minimalism, in a mimetic modern era (N. Frye). In his poems, the tangible elements of reality that incite his eye, heart, thought and word acquire a metaphysical wing that elevates them to transcendence, projected on a cosmic screen that valorizes them. The vibration of the heart and thought is a priority in his poetry together with the spiritual vision, combining the reality of the "up-to-date" knowledge with the poetic imaginary, its rhythm dictating the layout of the verses, many times placed in multiple calligramic configurations."

"Dumitru Găleșanu shows a great loyalty to his poetic world and art. A sort of profound noosphere dealing with mathematics and metaphysics while everything happens with the aim of a poetic appeal. In other words, Dumitru’s poetics cannot avoid the poetry of science and, at the same time, the science of poetry, as a whole, mutually involved, in search of a new cosmology whose paradigm is constantly revised while the latter acquires or inherits the poetry of complexity of the reality of the world itself."

"Original in Romanian:"

"Human nature"

"Original title in Romanian: Luminile omului: lirica filosofică (Univers Enciclopedic Gold Publishing House: Bucharest, 2020), pp. 470. . OCLC 1240152154."

":In Argument poetic ("Poetic argument"), p. 3"

": Big Bang . Stanza 2, lines 12–20, p. 48"

": 'Motto' poem Lumina – [undă pe corzi] ("The Light – [wave on strings]"). Pp. 186; the last cover"

": Adeverindu-se Sieşi ("Convincing Oneself to Be True"). Stanza 1, lines 1–4, p. 10 (14)"

": Bunul simţ-al măsurii ("The Common Sense of Measure"). Stanza 1, lines 1–12 (1–14), p. 16 (20)"

": Geneză ("Genesis"). Stanza 1, lines 1–8, p. 73 (79)"

"Get it into your thick head that jokes are just like life. Things that begin badly, end badly. Everything's fine in the middle, it's the end you need to worry about."

"For years, I have been heralding the work of Rabih Alameddine, a Lebanese-American writer. His prose is gorgeous, his approach irreverent, and the ideas in his stories are sometimes comical or fantastical, but always deadly serious — very relevant to understanding the complex history behind multiple holy wars today. In Italy and Spain, his books are best sellers. He has full-page profiles in major newspapers, has garnered prizes, is a darling of literary festivals and has won acclaim from international writers. In the U.S., he’s hardly known. Why is there a geographic divide in literary appreciation?"

"I don't sit down to write something politically or to challenge stereotypes. Being who I am, almost everything I do will be political, almost everything I do will be a challenge to those stereotypes…"

"Elwood and Turner represent two different parts of my personality…There is the optimistic or hopeful part of me [in Elwood] that believes we can make the world a better place if we keep working at it. Then there’s the pessimistic side, the cynical side [in Turner] that says no—this country is founded on genocide, murder, and slavery and it will always be that way. That’s our dilemma as human beings: How do we reconcile the hopeful with our pessimistic side? How do we reconcile disappointments with the small daily times that make up our lives? I don’t know [any more] than anybody else.… For the characters [in the novel] there’s the problem of, How do you come back from a life-changing catastrophe?...Bouncing back from trauma, you borrow from a sense of hope…but also recognize what you’ve gone through and what you’re up against."

"My compulsion to write the story was from seeing so many people go unpunished, and so many innocents' stories being untold…"

"I get upset about what is taken as great literature and what is cute and exotic."

"If you sit with your memories, you might as well become a plant."