Mircea Cărtărescu şi Magda Cârneci. Configuraţii ale realului
Mircea Cărtărescu and Magda Cârneci. Configurations of the Real

Summary/Abstract: The recording of reality is one of the defining features of the poetry paradigm in the eighties. The present study aims to illustrate the way in which two representatives of the ‘80s, Mircea Cărtărescu and Magda Cârneci, refer to reality. The idea of a parallel between poetry in the debut volumes of the two poets (Headlights, Showcases, Photographs and Hypermaterial), which appeared in 1980, is justified by the fact that both are often placed by literary criticism, but also by theorists of the eighty phenomenon in the same category – of the prose poets. Therefore, what brings the two poets closer is the precise and blunt way in which they deliver “slices” of reality to the reader, leveled to the ordinary day. The differences are, however, equally relevant. If Mircea Cărtărescu’s poem opts, at some point, for a world of words, a world of fantasy, an alternative to the constant aggression of the real, Magda Carneci’s poetry becomes more incisive, more aggressive and more committed to denouncing the real. It can not be only two esthetic options, but also different ethical options. Mircea Cărtărescu prefers the allusion, the irony, the playfulness, attitudes that “dilute” the feeling of employment toward real life, while Magdei Cârneci seems to be defeated in real life by a voluptuousness that trembled the human being. By using grotesque images, Magda Cârneci denounces a “sick” reality in which the individual is captive, and what clearly distinguishes her from Mircea Cărtărescu is the attitude with profound ethical implications, an attitude that characterizes the entire literature of the 80s.

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