GENERATIVE

FORTRESSES

Poetry by Mihaela CRISTESCU

Art by Luminita
SERBANESCU
,
,

Coperta Luminia erbnescu

Fotografie Mihaela Cristescu (coperta 4) Loredana
Tudor Tomescu

Descrierea CIP a Bibliotecii Naionale a Romniei

CRISTESCU, MIHAELA
Generative fortresses / Mihaela Cristescu ; art by
Luminia erbnescu. - Brila : Editura Sfntul Ierarh
Nicolae, 2014
ISBN 978-606-671-806-6
I. erbnescu, Luminia (il.)
821.135.1-1=111

Mariei - Parascheva ,si lui Gabriel,

Pentru viitoarele lor constructii
lingvistice
,

To Maria Parascheva and Gabriel,

For their future linguistic fortresses

He who attempts to erect temples for gods is

freed from the sins of a thousand births. Those who think
of building a temple in their minds are freed from the
sins of a hundred births. [] He who builds a temple for
Krishna, the son of Vasudeva, is born as a man of good
deeds and his family is purified.

Mircea Eliade
From Primitives to Zen
THE MERITS OF BUILDING A TEMPLE,
HINDUISM
Manmatha Nath Dutt, A Prose English Translation of Agni Puranam, vol. I,
(Calcutta, 1903), PP. 142-6; adapted by M. Eliade

ROOFS
by Luminita
Serbanescu
,
,

BRICKS

FNTNA

Aa ziceam
cteodat,
n jurul nsetrii,
s construim
o fntn din crmida,
cu ap curat,
pentru ngrijirea
unor rni mitice,
s nlm
n adnc
ziua ce curge
agat vital
de cumpn,
n btaia vntului:
the water
telling the truth
to the
new born
house
in the summer time.

GRAMMAR OF MIND

Let the journey

aside
as a spare part
for cadence,
image
and story tellers.
An expert
knows
when to walk
backwards
and feel the drums
of centuries.
Let the journey
begin
into
language patterns
by building
our bricks
of
grammar.

THE BLUE STONES

Pentru ca
fiecare roat
s construiasc
un drum
i fiecare
piatr
-un sunet albastru,
Pentru ca
pelerinul
s reflecte
asupra
testelor de acustic,
iar ritmul
s ntreasc
melodia
din vers.

10

OLD MEDIEVAL TOWN

by Luminita
Serbanescu
,
,

11

CHURCH - DETAIL
by Luminita
Serbanescu
,
,

12

FORTRESSES

13

THE MONASTERY

They decided to work over night

and to finish the job
before
the master comes.
So, they built
walls
and struggled
with the wind
and the snow.
It was
a good opportunity
for everyone
to engage their powers
and their mind.
The walls
were fine.
The gate
was fine.
The master came
and asked them
to open
their eyes.

14

THE TRACE
The shadow
evaluates
the changes
of the castle
in its deep water
along the moat.
It is the time
when peoples mind
transfers
the beginning
into
the end,
the towers
into galleries,
the donjon
into drawbridges.
It is the place
where His Majesty
sleeps
with
knight dreams
and
victories
approach in puzzles.

15

THE SKYSCRAPER
Somehow,
eyes belong to high blue
and their grey steel frames
intersect
mornings
among mathematics,
souls
and curtain walls.
One by one,
along the unfinished road
of delay,
the everyday walks
negotiate
true afternoon tea
and a good night sleep.
The power of the City,
they explain,
in tubular shapes
of structure
built,
a modern temple
of predetermined calls:
the history of elevators,
our thoughts belong to this skyscraper.

16

THIS YELLOW SHIP

This yellow ship

was born
for battle,
for fight
and conquer
and defeat.
This yellow ship
was build
in anger.
It was
a light
-it is
a guilt.

17

THE MOSQUE
I have been told
to search inside,
the architecture
should be so different
and there are so many beautiful colours
around the metal.
Gold in real Medina
I was told
to question about.
Impatiently,
were they
listening to
the hypostyle mosques
when answering
silently
to their prayers.
Its iwan,
the unprotected
dream
of kneeled people
in open air,
could be
vaulted structured
in tiles.

18

Some house.
Some symphony.
Some sights.
They say
the Universe
is based on
moral grounds.

19

THE CASEMATE

Images bound to reality

seen by
a world full of senses
and red lights
drown
into liquid, gas and solid.

All together
inside
the cannon heart.
No sleep,
no patterns,
no rampart.
Just
cold brandy
from one to ten,
from left to right,
letter to letter.

War,
some favourite hate,
hoping a sonnet
among bombs.

20

Words,
my only words
used to create
Us
and a history of land.
So sweet,
this realm:
especially
its transcendence
into liquid, gas or solid.

21

RIPPLES
October 2011
Published in ZineWest11 Western Sydney Writers

FORGOTTEN
by Luminita
Serbanescu
,
,

22

RIPPLES

For me, my friend,

The place where I live
Is inside a painting.
They move me every day
From one hall to another,
By the windows and the chairs,
Every time looking for a good shape.
Oh, child! A shadow is my body
And a hole is my eye.
Nevertheless, I can smell fresh air
And see a path in your forest.
Too far, my dear lover,
Seems nothing would destroy your gift
Authentic our meanings crumbled down together
And false its signature, in shift.
Too late, my sweet October
is the weather,
Too thin the spiders web above my reference bright,
On Earth,
I cannot fall forever,
A hero now, my bed is white tonight.

23

DOOR - DETAIL
by Luminita
Serbanescu
,
,

24

TREI MONOLOGURI

25

CEAA DIN GRDIN

Li se spune
s sparg ceaa.
Ceaa de diminea
ctre sear,
aceea care apare
precum un gnd
iritant
i prelung,
o durere de msea
subtil
n timpul orelor de office,
fr cafea,
adnc nvluit
n hrtiile
dezordonate
interior.

Li se spune
n fiecare clip,
s adauge scanner-ul
i s dizloce
roua ce picur
de pe telefon.

26

O ntreag grdin
nverzit
ce li se spune
s fie privit:
nti n rsrit,
apoi n destin,
a treia dat n curaj.

Li se spune
s sparg ceaa
privit
dintr-un zgrie nori,
cu gndul
n cer.

27

CATEDRALA
S intrm cu grij.
Sigur, sigur,
este o ncpere imens,
suntem elegani
i pstrm n minte
modelul
inimitabil
al valorii supreme.
S pim atent.
ncet, ncet,
reducem ateptarea
la puterea de a nelege
faptele.
Pas cu pas
ne atam
de centrul auriu
al bogiei
sufleteti.
Suntem
nluntru.
Putem s manevrm 360
ecranul.

28

Cu ochelarii de scris
am reui mult mai mult.
Pe unde, ntreb,
s descoperim structura
de rezisten?
S fim calmi.
Privind razele transparente
aflm nendoielnic
unde se gsete fereastra.

CHURCH - DETAIL
by Luminita
Serbanescu
,
,

29

CU TIMPUL

Ce de estoase,
mi spun,
Ce de estoase
pe pmntul rece al oceanului!
Ct de ncet se mic ele,
i ce siguran
a trecerii timpului
prin propriile celule
aduc acum
pe foaia alb din faa mea.

Cum se tinuie
carapacea
ntre mictoarele Lumii
perechi
de ochi
i ct de pictoresc
se coloreaz
n repetiie
adevrul lor
nerostit.

30

Aa, mi spun,
Aa s ne ngropm n nisip.
s ne gseasc noaptea
cu gndurile curate
ale vieuitoarelor
de lng noi.

Aa,
mi zic eu,
plutind
pe pmntul rece
al oceanului ntins
ntre doua sfere
de gravitate.

31

GRASS
by Luminita
Serbanescu
,
,

32

GRASS

33

THE WAY BACK TO BABYLON

Grass
and words
could be the beginning
of a wonderful friendship,
a cultural interface
again and again
within the meaning
of a thought.

The imperfection
should face
the day,
the eyes,
the gesture.

34

Their way back:

mountains full of grass
sculpted
through the ziggurat:
go back
to learn,
silently,
the Lexicon.

35

VINTAGE RAIN
Immature poets imitate; mature poets steal; bad poets
deface what they take, and good poets make it into
something better, or at least something different.
T.S. Eliot, The Sacred Wood

It will rain.
The outside stairs
are going to be damaged
slowly
and profoundly.
Their water will feed
the grass
inside the crevices
and makes them live.
Red and small flowers
everywhere,
now enjoying
the cloudy sky grey as in a fancy combination
of office colours:
elegant suit and scarf.
It will rain
this afternoon
but I still have to go shopping
and climb down the stairs
that protect the crimson agent.

36

AFTER THE RAIN

by Luminita
Serbanescu
,
,

I only have to work

with my thoughts
and make the atoms move around the shoes.
Until then,
stealing the courage
of my crutch
seems to be
the only possible
explanation
for todays trip:
it will rain
and the stairs
are going to be slippery.

37

LONG WEEKEND

They called me
on Friday
telling me
that the war was over.
We have survived
more than doctors said,
an entire vicinity
of funny words
and stories
about life.

Then, they called me

on Saturday
telling me
we can rest
for the time
when the airplanes
are going to land
on grass
and fiction.

38

They told me
it was Sunday.
We met them
around the fire:
an hour or two
filming
for memories.
Today
they called me
telling me
it is Monday again.

39

ENCHANTED
by Luminita
Serbanescu
,
,

40

NTOARCEREA N
BABILON

41

AICI

Aici,
spune costumul oficial,
n rou i gri
savurm ritmul zilnic
al transferului arhetipal.

O conversaie
amnat
din diminea
n sear,
din vest n est,
de-a lungul coralilor
interactivi.

Aici
se adun
resursele minerale
ale organismului,
susinut de miile de canale
lingvistice,
trecute
prin copilria
auzului.

42

Se ascult sunete,
Se simt unde.
Aici
se ntoarce
cuvntul
cnd nu mai avem
vorbe
s vorbim.

43

NTOARCEREA N BABILON

Recomandarea
a fost fcut
rapid,
am nlocuit
lexiconul
prin morfeme
simplu i uor de neles,
independente,
cu substrat profund,
multiple posibiliti de ntrebuinare
i pronunare
delicat.

S-au gndit
s semene iarba
n interiorul piramidelor
crpate de vreme,
s aduc la suprafa
un nou mod de convieuire
n comun,
o nou surs
de energie.

44

Aa nct,
am parcurs drumul napoi,
printr-o paradigm diferit:
perspectiva unei credine
native,
o lingvistic
personal
n aprarea modest
a trecutului
perimat.

45

POVETI

Povetile se spun
iarna,
la gura sobei,
cu pine cald,
murturi
i bun voie.
Zic i eu aa,
despre povetile noastre
neuitate,
mituri moderne
n memoria
vorbit
a strbunicilor
actuali.

46

CLDIRI

ncepem i noi
cu pnza de pianjen
din arhiv
i putem ncheia
prin adierea vntului
de var trzie,
la umbra
viei-de-vie
din grdin.
ntre timp
avem de ridicat
cteva ntrebri
cldirilor din faa noastr,
nu putem cumpra pmnt,
l putem
-numaicultiva cu pianjeni.

47

OBIECTE

Obiectele care dor

se ridic ca fumul
frunzelor arse
de soare,
n plin lumin,
s acopere vizorul
norilor aproape compaci
i cartezieni.
Obiecte cu durere,
geografia aceasta
ataat cuvntului scris,
un vers
lng o piramid
a Zeului Ra.

48

UMBRE

Se vede o umbr
pe mas
i o alt umbr
n cadrul uii.
Se caut
lumnarea
i emineul
ca surse de lumin,
dar desenul este deja
sfrit.
Au bnuit
lcaul.
Toat perfeciunea
individual
se cheam
naintea
vremii.

49

GENERATIONS
by Luminita
Serbanescu
,
,

50

GENERATIONS

51

CAUSATIVE VERBS

Syntactical tempest
flying over the
river parameters of the day
transits
the attitude
of monads
within the world.
As individuals,
they invert the weather
and play team games
against their neighbours
and friends.
No specific rules,
they say.
Time structures only
in search for
a bygone grammar,
visiting
the causative verbs
of the past.

52

THE WOMAN IN FRONT OF ME

The woman in front of me

was the only one
knowing
how to dislocate
the atoms
of future.
She said:
Look how
you do belong
to synonyms
in atmosphere.
Look how
the matter
will understand
the thought.
It was
the woman in front of me
who
passed the time card.
It was her
who interprets
the rules.

53

DROPS
I know
that the drops are tortured
by the wind,
smashed
by cars and buildings,
sung by drums.
They say
the rain will feed
the land,
from here
to nowhere,
within the time
of real images.
They tell us
the story
of the Giant
watering the Earth.
He should understand
our wet touch:
summer swimming pool
around my shoulders
and neck.

54

GENERATIVE LAND

With feet
on its land,
one by one
moving the legislative articulation
of thoughts,
the new geology
appears
slightly different
in shape.
It was
the recurrence formula
that tricked me
in the beginning.
It is
the land
that generates
the will.

55

ICARUS
by
Luminita
Serbanescu
,
,

56

THE DAY BEFORE

The day before
all generations ended
into the stream of thoughts
had been a sunny day
of old-fashioned smile,
an energetic necklace
printed on a lady's chest,
a sudden flash
of midnight stories
climbing down
through the core of hesitation.
The day before
all generations completed
their performance
became the initial letter
of the words
crashed and crumbled
into a sea
of golden
dust.

57

ARHITECTURE
by Luminita
Serbanescu
,
,

58

HOME

59

HOME
Home
allegorically saying
ARE
material movements
of excellence
in a living nutshell.
Good mornings
seen by a particular statue
on the bookshelf
long and black
searching for the place
of representation.
Catchan eye for details
when fingers meet
under the grace
of
Good evenings.

60

NOBEL PRIZE

This Nobel Prize

makes wrists
look so suitable
and helpful.
Vertical water
in front of them
running through
bones
at right angles.
Could write notes
to follow melodies
above the wet,
perpendicular
Nobel Prize
melted
under the steps
while walking
to the hometown
in the night.

61

THE DOOR
by
Luminita
Serbanescu
,
,

62

THE DOOR
Open the door
of elementary particles,
a door
to measure
density and space,
a lock
to empty
the valley of lexemes.
Open the circle
to make it
round
on the other side
of the valley.
Notice the traffic light
and its frank vision
against the day
blinking
on high frequency
in front of
the unsecured
gate.

63

PAPA GERANIUM
by Luminita
Serbanescu
,
,

64

PRIER

Prier e cea mai crud lun, nscnd

Flori de liliac din ara moart
T. S. Eliot, The Waste Land

65

MPREUN - FAMILIA
Trebuie s gsesc
Numrul complex, starea mea dual,
ntre axe perpendiculare,
Centrate n noaptea albastr i nzpezit.
Dac a putea,
A descoperi suprafaa
Pe care i ntinzi braele,
Imaginea, dincolo de realitate,
- Un fractal infinit.

VIS EVAZIV DIMINEAA

Dimineaa devreme,
Chiar nainte de a-l pierde pe Hamlet din priviri,
Am neles c povestea ta fusese adevrat,
Aa precum durerea adnc din sufletul meu
- Un exemplu de memorie nemplinit
Folosind versul n locul prozei.
Horatio, spune-mi, te rog,
Care este intrarea n castel?
Pentru azi, restul este imagine,
Cutarea labirintului cioplit,
Doar un exerciiu de privire.

66

HIC ET NUNC COPILUL

Se uit la mine,
cu ochii lui mari i cprui,
Fr vorbe
s neleg ce va gndi
dup plecarea mea,
Ce va rmne din vers,
Oglind virtual,
Hic et nunc.

ZIGURATUL CONSTRUCIA
Roie,
crmida pe care ai clcat,
fr nume i coordonate,
duce mai departe exegeza,
parte cu parte,
ntreg cu ntreg.
Construim, aadar, un zigurat,
templu de ortografie i culoare,
metafor i gnd.

67

FOTOGRAFIA ARTA

Acest Apus,
Plin de lumin i de muzic!
Concerte n vitraliile de roc,
nclinate dup adncimea imaginii.

Este adevrat:
Nu am auzit aceste povestiri, ale tale.
nainte de culcare,
S ne rugm pentru a fi cumini.

Este foarte adevrat:

Ce gust au aceste bucele de ciocolat!
Micul meu biat, arat-mi calea,
S uit istoria personal
i s lupt.

Toate aceste lucruri pe care nu le-am mai svrit,

Privirea ctre ele,
Draga mea fotografie.

68

IMITATIO DEI - COSMOGONIA

Ne privim nainte de vreme,

Chipurile noastre n oglind,
ca vechile vlstare domneti n castel,
uitnd timpul i pzind furtuna.
O, Doamne,
ct exactitate i ct durere...
Ce linite deplin
in illo tempore.

TU MISTICISMUL

Grbete-te,
Nu avem timp de ateptare.
Putem s vedem sfritul zile
Prin ochii legturii noastre.

69

HOT SUMMER
by Luminita
Serbanescu
,
,

70

WATERS

71

DROPS OF SENTENCES

Drops of sentences
against my earrings
tonight,
grey sounds
of silence
to bring the image
of my guitar
through the literacy
among colours.
Waves of visual
knowledge,
my love,
coming in sequences
of subjects and predicates,
from door to door,
inside home,
our home
of joy.

72

RIVERSIDE

To jump
between the gates,
the open gates along the riverside,
to search the locks,
the entrance, the possession, the control.
They say
to jump between the bastions,
among the soldiers and their sand,
to deal with kings
between the gates,
the open gates along the riverside.
Confine yourself, she said,
within the fortresses
of mind,
explain the password
which allows the smallest jump
between the walls
-the walls that gate
the kings along the riverside.

73

GLASSES
Dreams,
as future in the past:
old souls inside,
your pictures of the night,
images to be restructured
in a thought,
frontiers enlarged by glasses
on the desk.
My book,
as timeless designs for loupes,
to be read,
to be magnified,
to be touched
by the glasses effect.
Your fountain pen,
as the editing device
to be used,
for my new volume of poetry:
You, yourself,
wearing glasses
at the traffic light
for me to find
the rhythm of understanding.

74

MARTELLO TOWER

They watched
waters
and saw the danger
of aesthetics.
Good food and wine,
to celebrate
the tower
designing
the shadow
of clouds.
Silently
come
towards messengers
handing on
the torch
to forregiani.

75

ALTAR
by Luminita
Serbanescu
,
,

76

LEXEME

77

THE MESSAGE

It was
early afternoon,
and the computer
was searching
the nature of seasons
in front of bare hands:
a house full of guests
and pirates,
silence with cake and candles.
Nice talk.
Bring me the wine!
I can hear her saying.
Bring me the will
that is going
to make me
sing
the message.

78

AUDITORIUM

ntre luminile scenei

i intrarea ntunecat
a dimineii,
ntre tocurile rochiei
i zgomotul mtsos
al catifelei
ncercate de greutate,
ntre vorba privit
i pulsul grdinii
de nicotin,
Acum, n final,
ne ustur palmele,
avem de consolidat
peretele exterior al imaginii
-o lung tentativ
de apreciere
pentru nopile
cu lun plin.

79

JURNAL

Ce s neleg:
C dincolo de sear
i de diminea,
exist o nregistrare
a performanei
umane.
S neleg
c ne permitem
luxul
de a garanta
somnul
i visul,
de a sugera
zmbetul
i iertarea.
S neleg
c memoria
are conotaii
multiple
n jurnal.

80

SEARA

Am putea alerga
pn la punte
s vedem
cum plutete
barca
plin de pete
n discursul
serii.
Am putea
simi lemnul ud
prin pielea piciorului
bttorit
de drum.
Un aer
i o plas
n btaia vntului.
Un semn.

81

FRAZA

De fiecare dat
cnd repeta
aceast fraz,
i se prea
c lumea
se oprete
pentru a-l asculta
pe cel ce
o furise.
Punctul de vedere
ptrundea exact
n locul ncins
de vibraii,
iar gura
i se ncleta
ntr-o perpetu
memorare
a rimei.

82

De fiecare dat
cnd se urca
pe scen,
zgomotul ploii
amuea
n favoarea
poeziei criminale
a cuvintelor.

83

I AA

i aa,
drumurile se abat
de la crare
iar busola
de la lumin,

Nordul
de la Sud,
iar vestul
de la uitare.

i aa picturile
de ap
desfac atomii
n particule,
vorbele
-n cuvinte,
sintaxa
-n ioni.

84

Aa
nelegem
ct de repede
se scurge veacul
conservat
n modele atomice
i povestiri.

85

MINIMALISM
by Luminita
Serbanescu
,
,

86

MINIMALISM

87

MINIMALISM

1.
This yellow ship
was born
for battle.
For fight and conquer and defeat.
2.
Found
two congruent angles
for this trilogy
to define
the process
of magnifying
childhood.
3.
Walk towards
ponds of mind
in the crest
of lava mountain
pondering
mutually exclusive
choices:
one paradigm
to rest.

88

4.
New language
to mean
the dignity
of military
blitz
along
the syntax to come.
5.
That was a sign
of the double decker bus
running
through the
bi-dimensional city
searching for
reference.
6.
Tonight
the campaign
is over,
we have fire
for verse.

89

7.
Come to the roof
of His house
and we shall talk
about the time when
you were a priest
and I a scientist.

8.
The word
is said
beyond the grace
of movements,
the image
seen
around
the sphere
of trust.

9.
Register
distance between
observation points
as strong occurrence
for ocean tides
in the evening.

90

10.
I am nothing
but the shadow
of a windmill
on a cloudy land.

11.
The price
was paid
within the frame
of never-ending
mirrors
in distress.

12.
Ask the verb
to reconstruct
the meaning of adjective
near
the proximal noun
of contempt.

91

13.
An old survivor
of the cold war
explains
the advantage
of losing his memory.

14.
Keep these
all together:
the name,
the passion,
the reverse.

15.
I would have heard
the sound
of unspoken
winter visions.

92

SOARING
by Luminita
Serbanescu
,
,

93

REWIRING THE UNIVERSE

by Luminita
Serbanescu
,
,

94

PARAMETERS

95

96

GENERATIVE

FORTRESSES

Limite - fr limite Care e relaia de dependen ntre

cele dou? Cnd viaa sau contextul sau cineva (sau tu
nsui) i stabilete, prin ordin, limite pe direcia pe care
ai fi vrut s continui, se nate fireasca nevoie de evadare,
de fentare, dac vrei, a oprelitilor, a gardului pus cu
mult naintea liniei de sosire. Aceast nevoie fireasc,
terapeutic, de a anula sau fenta limitele, nu poate fi
satisfcut dect n prezena unei imaginaii foarte
bogate i foarte active. Toate strategiile prin care mintea
omului taie-o fereastr-ntr-un zid sunt acte de creaie,
genereaz ceva, un ceva de o valoare inestimabil pentru
cel (de) dinapoia zidului. S fie acesta sensul (mai
degrab transparent dect ascuns) al titlului noului
volum de poezie semnat Mihaela Cristescu - Generative
Fortresses? Poate doar unul dintre ele. Curioii cu
siguran vor gsi un rspuns, citind volumul.
Ideea de construcie, de la lingvistic pn la arhitectur,
pare s schieze coloana vertebral a noului volum. La
fiecare intersecie sau hot spot al materialului autoarea
arunc n drumul cititorului o cheie (un citat, o dedicaie,
un motto), fr a spune ns, ce u anume deschide.
Construcia, templul, fortreaa iat o multifaetat
prezentare a arhitecturii, ca i concept, fiecare dintre ele

97

atrgnd un anumit destin, cataclism sau mntuire/

regsire. C fortreaa e o geometrie de ziduri impuse
(sau, cum spuneam, autoimpuse), care pot att s apere,
s ofere protecie, ct i s izoleze forat, este un alt
marcaj care tot apare pe parcursul lecturii. Poemele
Mihaelei sunt jocuri aproape serioase pe terenul
psihologiei, psihanalizei, filosofiei i nu n ultimul rnd
al credinei confesiuni cu glas tare ntre zidurile unei
fortree aproape goale sau adevruri optite n limbi
neinventate, ntr-o pia public.
Dar risc s insist prea mult n decriptarea i descrierea
poemelor autoarea le ncifreaz nu cu scopul de a da
criticilor (avizai sau nu) de lucru, ci pentru c tie c
cititorul se poate regsi ntr-un poem sau altul, dar va
nelege fiecare ntr-o alt cheie. Alta dect a autoarei,
alta dect a mea, cea care, pn cu trei rnduri mai sus,
inea mori s v dea un rspuns matematic, exact, la
ecuaiile de via de pe zidurile fortreelor Mihaelei
Cristescu.
Remarc continuarea colaborrii cu artistul plastic
Luminia erbnescu (mult mai consistent la acest
volum), pe fundaia deja existent a afeciunii dintre
cele dou. Amintiri comune, locuri comune i, nu n
ultimul rnd, emoii comune i uneia, i celeilalte, fac
din colaborarea cuvnt imagine un fel de reet a
succesului pentru acest nou titlu al Mihaelei Cristescu.

98

Arhitectura exteriorului versus arhitectura interiorului i

jocul de emoii dintre ele, cum se intercondiioneaz
acestea (vzute prin filtre filosofice, psihologice i chiar
vag religioase, cu estetica aferent fiecruia) - o idee n
care a putea comprima acest volum bilingv (Ro-Engl) al
Mihaelei Cristescu, scos la Editura Sfntul Ierarh
Nicolae, Brila, 2014.
Loredana Tudor-Tomescu,
Sydney, 2014

99

Mihaela Cristescus poems are elegantly couched but

delight in the unexpected, entertaining and needling the
reader to see the universe anew. The more I read
Cristescu, the better I find her words reflect the nuance
of her intention; the touch is always light whether drama
is encased and escaping simultaneously; or molecules
are conjured to explain the movement, the moment. Ever
interesting and pleasurable to read - small pieces of
power, light and thought.

Sue Crawford
Editor ZineWest - Western Sydney Writers Zine

100

Urban, arhitectural, noul volum de poezii al Mihaelei

Cristescu construiete o lume solid de fortree i
zgrie-nori. Zidurile acesteia, construite organic din
bricks of grammar, sunt fcute s protejeze estura
fragil a gndurilor umane, bucuriile de ieri, speranele
de mine i nevoia perpetu de perfeciune.
Volum bilingv, trind ca i poeta, trup i suflet, pe cele
dou emisfere ale Terrei.
Cristina Brsan
Ph.D. Literature, Bucharest University

101

Mihaelas writing brings together the present, past and

future in a hyperbole of emotional brilliance. The poems
challenge the reader to dig deep in their conscience to
find places they have never been and may even fear to
go.
In her poem The Message we read Bring me the will
that is going to make me sing the message. In this book
we hear the song of the writers soul.
Patricia Weerakoon
Honorary Senior Lecturer, University of Sydney

102

Poezia Mihaelei Cristescu este o poart ctre o alt

lume, una care te dezadapteaz, care se abate de la
crri bttorite de alii, una n care magicul i
supranaturalul i surd oache dintr-un illo tempore din
care nu rzbate nici un vnt de furtun, ci doar pace,
bucurie i ncntare.
Prof. Dr. Daniela Andronache

103

A JOURNEY
INTO THE ARCHITECTURE
OF ARCHETYPES

I have been told

to search inside,
the architecture
should be so different
and there are so many beautiful colours
around the metal.

Long ago, when I was a child, I had an old brick in my

room, a brick that I took from the ruins of a
Transylvanian fortress close to my grandparents village:
the magical place where I grew up. That was my magic
brick, which always stayed close to my bed; it was
always there, helping me rebuild my favourite places, in
my day dreams, that took place in the middle of the busy
hectic city that was Bucharest.
Reading Mihaela Cristescus new poetry book, I had a
sort of epiphany and the long lost brick from my
childhood, resurfaced in my memory.

104

Mihaelas new book represents an accomplished journey

into the mainframe of our worlds architecture, a journey
into archetypes inner core, of all essential elements
decoded and reconstructed with sensitivity and our
bricks of grammar.
The minimalistic approach in poetry could be sometimes
perceived as an arid expression, especially for the
western reader, unfamiliar with the haiku boundaries.
Mihaelas minimalistic poetry expands more than the
borders of haiku tradition, and is a cross-cultural form of
expression, with an emphasis on the invisible structures
that hold up the universal construction of our world.
As a visual artist, I cant stop myself from seeing the
imaginary landscapes generated by Mihaela Cristescus
metaphors. Her city landscapes are not vivid and
dynamic, they are scenes frozen in time, projected into a
metaphysical dimension, which reminds me of Giorgio
Chiricos static paintings.
Beyond the archetypes and polished metaphors, the
author succeeded in projecting an alternative dimension
to our regular perceptions and feelings.

Adrian Pora
Visual Artist,
Mississauga, Canada

105

THE ROOF - DETAIL

by Luminita
Serbanescu
,
,

106

CUPRINS
BRICKS
Fntna
Grammar of Mind
The Blue Stones

8
9
10

FORTRESSES
The Monastery
The Trace
The Skyscraper
This Yellow Ship
The Mosque
The Casemate

14
15
16
17
18
20

RIPPLES
Ripples

23

TREI MONOLOGURI
Ceaa din grdin
Catedrala
Cu timpul

26
28
30

107

GRASS
The Way Back to Babylon
Vintage Rain
Long Week-end

34
36
38

NTOARCEREA N BABILON
Aici
ntoarcerea n Babilon
Poveti
Cldiri
Obiecte
Umbre

42
44
46
47
48
49

GENERATIONS
Causative Verbs
The Woman in front of Me
Drops
Generative Land
The Day Before

52
53
54
55
57

HOME
Home
Nobel Prize
The Door

60
61
63

108

PRIER
mpreun Familia
Vis evaziv Dimineaa
Hic et nuc Copilul
Ziguratul Construcia
Fotografia Arta
Imitatio Dei Cosmogonia
Tu Misticismul

66
66
67
67
68
69
69

WATERS
Drops of Sentences
Riverside
Glasses
Martello Tower

72
73
74
75

LEXEME
The Message
Auditorium
Jurnal
Seara
Fraza
i aa

78
79
80
81
82
84

MINIMALISM
Minimalism

88

109

PARAMETERS
Loredana Tudor-Tomescu
Sue Crawford
Cristina Brsan
Patricia Weerakoon
Daniela Andronache
Adrian Pora

97
100
101
102
103
104

110