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Semiotics. I needed my lonely night - Paula Barsan
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Publisher: Cismigiu Books
Author: Paula Barsan
Edition: I
Pages: 116
Publisher year: 2023
ISBN: 978-606-28-1583-7
DOI: 10.5682/9786062815837
Product Code:
9786062815837
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Endlessness, fold of sleepy bellows,
Fosnet sink in rosewood.
soul touches,
In a dream of varnish gloss, goodbye
The subtle revelation of the mind.
Marvel at the wave arch, the Venetian mirror
He longed for the xylophone of love.
The sign as a symbol, meaning, auspiciousness, emblem, or other meanings given by the dictionaries, has in Paula Barsan's book, the shade of memory. The silences come with their mark, with their wake, like a road on the water, left by a ship, a boat, or the "carriage of destiny".
Personal memory allows itself to be assimilated, without regret, by poetic memory, and the meaning of the first will be perfected, falling apart in the night that generated it.
In all the tonalities, serious, acute, high, in which Paula Barsan wrote and wrote, her books are also books about love.
Clelia Ifrim
Fosnet sink in rosewood.
soul touches,
In a dream of varnish gloss, goodbye
The subtle revelation of the mind.
Marvel at the wave arch, the Venetian mirror
He longed for the xylophone of love.
The sign as a symbol, meaning, auspiciousness, emblem, or other meanings given by the dictionaries, has in Paula Barsan's book, the shade of memory. The silences come with their mark, with their wake, like a road on the water, left by a ship, a boat, or the "carriage of destiny".
Personal memory allows itself to be assimilated, without regret, by poetic memory, and the meaning of the first will be perfected, falling apart in the night that generated it.
In all the tonalities, serious, acute, high, in which Paula Barsan wrote and wrote, her books are also books about love.
Clelia Ifrim
-
Semiotics. I needed my lonely night
Download
PAULA BARSAN
POETICS OF "THE LOOK FROM THE INSIDE"
for another logic of feelings
The poetry written by Paula Barsan is the result of a conscious process related to a "logic of feelings/states" passed through a cold and systematic ordering, which places the author in a less numerous category of lyrical creators and all the more meritorious. Small in size, his poems represent both textual provocations and outpourings of a full soul, well tempered by an almost cerebral poetic discourse and devoid of the usual risks assumed by love poetry or poetry of existential states, in general. Referring to a famous title, it can be said that her volume (Semiotics. I needed my lonely night, with a foreword signed by Clelia Ifrim, Cismigiu Books, 2023) is an assumed reply to those well-known "knots and signs", because, beyond the explicit reference in the title of the book, Paula Barsan succeeds in the performance of associating the scaffolding related to the "ice castle, thinking", with those subtly elaborated images, sometimes even of great lyrical substance, coming from a sui generis vision of feelings.
Ordered as required by the logic of the title, the volume includes many poems that, collected, could configure a certain poetic art, leaving enough freedom for the other texts to contribute in this sense. The very first poem, with the obvious Nikitastanescian mark, The unspoken (Nerostirea), is significant from this point of view, although it also leaves room for an extreme-oriental examination of quality: "Balconies of the sky/ Will the swallow/ Caught in flight/ Seen from inside." Beyond the concentration of the sapiential-oriental invoice and the Nichitastanescian allusion, we discover in this small quatrain the first outline of a program sending towards a poetics of "looking from within", the one that can capture and fix, otherwise, the frenzy of impetuous flight but, more importantly, favors another type of speech, original and provocative, moreover. In Siaj, the emphasis is shifted towards a suggestive and very well-articulated combination, in the same logic of concentration, of "silences" with the pure, freed feeling, perceived as a major sign of vitality. As in other poems by the author, eros is only a pre-text, always profitably exploited, for the benefit of one's own art, which also means unexpected images, unexpected word combinations, a cadence of gravity that knows: "There is so much perfection in my life,/ Chain love with our arms,/ Numb statues in forgiveness/ Embraces of light, today." We find a poetic vision of the essence (defining element for the characterization of Paula Barsan's poetry) in the poem that bears this very title, which begins with a particularly deep and beautiful verse and continues in the same suggestive metaphorical opening, in a successful frame of the moment and of the illusion: "God cries with our tear/ The doves gather unsent dream bundles through the mailbox./ The illusion of the moment wakes up helpless lambs, Frisky, soft moments towards the udder stretch." We see a mini-poetry of "contradictions" in the poem titled Unnatural: "We give birth to the earth/ We give birth to the green/ We give birth to the blue noon/ We give birth to the fountain of longing/ We die killing our dreams,/ Loyalties in contradiction." The text that provides both the title and the subtitle of the volume is a successful accumulation and a demonstration of poetic virtuosity, because it refers to the major signs that support the lyrical scaffolding in this book: night, solitude, regression, obsessions, confinement in a shell, happiness extracted from the dark, the green, the star, the pure white (snow). Of course, the reference to semiotics can be received in at least two registers. But what should be remembered is the fact that even without this compelling title, the way Paula Barsan writes poetry compels such a finding. A certain rigor is lavishly dominant, hidden behind some images often of an assumed lyrical quality, a concentration reminiscent of the canons of poetry with a fixed form, reinvented in postmodern discourse. And in Desir we see a continuation of a program enunciated in stone, chaining the power of the genesis of the word with a certain perception of love: "The fight of the self of the word, / The eroticism of candor roared in the shell, / The evening was overflowing with seductions..." And a poem from the end of the volume, it is titled Meta snows and allows unexpected associations ("winter mogul", "longing fissure", etc.) that prove the author's great desire to value suspected and unsuspected resources of language, configuring images of strength.
In such a great ideational concentration offered by Paula Barsan's volume, the signs send to the nodes, then vice versa, this being another facet of understanding the poetic discourse. The flight and the look, the avatar and the moment, the dream and the shell, the silence and the wind, the tear and the doves, the abyss and the dance, nothingness and love, the moment and the star, the smile and the twilight, the eyelid and the rose of the winds, the silence and the word, the bitter moon and the estuaries of fire, regression and happiness, parchment and childhood, beginning and infinity, young girls and cemeteries, eternity and kneading... (and many others) enter into affinities and contradictions, building and deconstructing incessantly and creatively, at the same time, in a hundred surprising permutations and combinations that produce powerful images. Basically, the texture is strongly supported by these relationships, like a matrix specially elaborated in this way.
Of course, we can also read the volume from the perspective of the themes/images that appear in the texts, in deliberately unspectacular incidents and, precisely because of this, all the more meaningful (we are referring, as otherwise, to that invoked "what we find in his poetry"). They are fixed (because the poetry of the world repeats itself thematically, the difference being made by the expression adapted to the era/place/culture/talent) those spaces, motifs that can be said to gather in a broad poetic imaginary: flight, love, time, life, dream, the cosmos, the East, memory, human communication, illusions, childhood, mathematics, longing, ephemera. The related images are left to be discovered, not quite simply, according to an imposed logic that characterizes the entire volume, often surprising and full of necessary and beneficial re-semantications at the level of the poetic discourse: "Statues numb in forgiveness / Embraces of light, today", "Wind flaps wither customs", "God cries with our tear", "branduse kimonos", "peacock tail autumn", "shell obsessions in winter", "logarithm of your whey function", "the body of the moon opens cleavages of deep sun".
Paula Barsan writes that "how" is much more nuanced. And for this, we will stop, in a short analysis, on three poems from this volume, in order to capture something from the laboratory of the author who, sometimes, allows herself to be attracted even by the secret fascination of linguistic inventions, such as "geruiri", "capalne", "dezoua", etc.) In Affinities, that "how" (that is, the plane of explicit expression) is visible both at the iconic level ("gate of the soul, with three legs and a roof"), and at the level of the ellipse (mark of extreme concentration): "chariot on destiny", "chariot with whirligig in the parade". One can, moreover, talk a lot about this syncopation taken by the author to a true stylistic refinement. It is a syncopation and a restriction of communication, up to the limit allowed by semantic needs, which we also find in other texts, such as in Clock, where one can even reach an ambiguity and apparent nonsense, the mark of an extremely elaborate discourse: "Asthmatic is caressing, whispering,/ It asks you to swallow." And in Sedila (as in other poems, for that matter) we see how, in good Danbarbilian continuity, the scientific discourse (primarily of mathematical essence) intersects with that impregnated with the signs of poetics: "Algebraic goats, / Allegorical goats quench hunger / Of banal numbers,/ You breathe a call/ Of great depth."
The poem written by Paula Barsan certainly represents a new element in terms of contemporary poetic expression, an obvious gain, which the author will add from one volume to another.
And it's definitely not a small thing. Because, if she continues this program, we will continue to hear good things and see other volumes that will attract the attention of poetry lovers/connoisseurs.
Constantin DRAM
for another logic of feelings
The poetry written by Paula Barsan is the result of a conscious process related to a "logic of feelings/states" passed through a cold and systematic ordering, which places the author in a less numerous category of lyrical creators and all the more meritorious. Small in size, his poems represent both textual provocations and outpourings of a full soul, well tempered by an almost cerebral poetic discourse and devoid of the usual risks assumed by love poetry or poetry of existential states, in general. Referring to a famous title, it can be said that her volume (Semiotics. I needed my lonely night, with a foreword signed by Clelia Ifrim, Cismigiu Books, 2023) is an assumed reply to those well-known "knots and signs", because, beyond the explicit reference in the title of the book, Paula Barsan succeeds in the performance of associating the scaffolding related to the "ice castle, thinking", with those subtly elaborated images, sometimes even of great lyrical substance, coming from a sui generis vision of feelings.
Ordered as required by the logic of the title, the volume includes many poems that, collected, could configure a certain poetic art, leaving enough freedom for the other texts to contribute in this sense. The very first poem, with the obvious Nikitastanescian mark, The unspoken (Nerostirea), is significant from this point of view, although it also leaves room for an extreme-oriental examination of quality: "Balconies of the sky/ Will the swallow/ Caught in flight/ Seen from inside." Beyond the concentration of the sapiential-oriental invoice and the Nichitastanescian allusion, we discover in this small quatrain the first outline of a program sending towards a poetics of "looking from within", the one that can capture and fix, otherwise, the frenzy of impetuous flight but, more importantly, favors another type of speech, original and provocative, moreover. In Siaj, the emphasis is shifted towards a suggestive and very well-articulated combination, in the same logic of concentration, of "silences" with the pure, freed feeling, perceived as a major sign of vitality. As in other poems by the author, eros is only a pre-text, always profitably exploited, for the benefit of one's own art, which also means unexpected images, unexpected word combinations, a cadence of gravity that knows: "There is so much perfection in my life,/ Chain love with our arms,/ Numb statues in forgiveness/ Embraces of light, today." We find a poetic vision of the essence (defining element for the characterization of Paula Barsan's poetry) in the poem that bears this very title, which begins with a particularly deep and beautiful verse and continues in the same suggestive metaphorical opening, in a successful frame of the moment and of the illusion: "God cries with our tear/ The doves gather unsent dream bundles through the mailbox./ The illusion of the moment wakes up helpless lambs, Frisky, soft moments towards the udder stretch." We see a mini-poetry of "contradictions" in the poem titled Unnatural: "We give birth to the earth/ We give birth to the green/ We give birth to the blue noon/ We give birth to the fountain of longing/ We die killing our dreams,/ Loyalties in contradiction." The text that provides both the title and the subtitle of the volume is a successful accumulation and a demonstration of poetic virtuosity, because it refers to the major signs that support the lyrical scaffolding in this book: night, solitude, regression, obsessions, confinement in a shell, happiness extracted from the dark, the green, the star, the pure white (snow). Of course, the reference to semiotics can be received in at least two registers. But what should be remembered is the fact that even without this compelling title, the way Paula Barsan writes poetry compels such a finding. A certain rigor is lavishly dominant, hidden behind some images often of an assumed lyrical quality, a concentration reminiscent of the canons of poetry with a fixed form, reinvented in postmodern discourse. And in Desir we see a continuation of a program enunciated in stone, chaining the power of the genesis of the word with a certain perception of love: "The fight of the self of the word, / The eroticism of candor roared in the shell, / The evening was overflowing with seductions..." And a poem from the end of the volume, it is titled Meta snows and allows unexpected associations ("winter mogul", "longing fissure", etc.) that prove the author's great desire to value suspected and unsuspected resources of language, configuring images of strength.
In such a great ideational concentration offered by Paula Barsan's volume, the signs send to the nodes, then vice versa, this being another facet of understanding the poetic discourse. The flight and the look, the avatar and the moment, the dream and the shell, the silence and the wind, the tear and the doves, the abyss and the dance, nothingness and love, the moment and the star, the smile and the twilight, the eyelid and the rose of the winds, the silence and the word, the bitter moon and the estuaries of fire, regression and happiness, parchment and childhood, beginning and infinity, young girls and cemeteries, eternity and kneading... (and many others) enter into affinities and contradictions, building and deconstructing incessantly and creatively, at the same time, in a hundred surprising permutations and combinations that produce powerful images. Basically, the texture is strongly supported by these relationships, like a matrix specially elaborated in this way.
Of course, we can also read the volume from the perspective of the themes/images that appear in the texts, in deliberately unspectacular incidents and, precisely because of this, all the more meaningful (we are referring, as otherwise, to that invoked "what we find in his poetry"). They are fixed (because the poetry of the world repeats itself thematically, the difference being made by the expression adapted to the era/place/culture/talent) those spaces, motifs that can be said to gather in a broad poetic imaginary: flight, love, time, life, dream, the cosmos, the East, memory, human communication, illusions, childhood, mathematics, longing, ephemera. The related images are left to be discovered, not quite simply, according to an imposed logic that characterizes the entire volume, often surprising and full of necessary and beneficial re-semantications at the level of the poetic discourse: "Statues numb in forgiveness / Embraces of light, today", "Wind flaps wither customs", "God cries with our tear", "branduse kimonos", "peacock tail autumn", "shell obsessions in winter", "logarithm of your whey function", "the body of the moon opens cleavages of deep sun".
Paula Barsan writes that "how" is much more nuanced. And for this, we will stop, in a short analysis, on three poems from this volume, in order to capture something from the laboratory of the author who, sometimes, allows herself to be attracted even by the secret fascination of linguistic inventions, such as "geruiri", "capalne", "dezoua", etc.) In Affinities, that "how" (that is, the plane of explicit expression) is visible both at the iconic level ("gate of the soul, with three legs and a roof"), and at the level of the ellipse (mark of extreme concentration): "chariot on destiny", "chariot with whirligig in the parade". One can, moreover, talk a lot about this syncopation taken by the author to a true stylistic refinement. It is a syncopation and a restriction of communication, up to the limit allowed by semantic needs, which we also find in other texts, such as in Clock, where one can even reach an ambiguity and apparent nonsense, the mark of an extremely elaborate discourse: "Asthmatic is caressing, whispering,/ It asks you to swallow." And in Sedila (as in other poems, for that matter) we see how, in good Danbarbilian continuity, the scientific discourse (primarily of mathematical essence) intersects with that impregnated with the signs of poetics: "Algebraic goats, / Allegorical goats quench hunger / Of banal numbers,/ You breathe a call/ Of great depth."
The poem written by Paula Barsan certainly represents a new element in terms of contemporary poetic expression, an obvious gain, which the author will add from one volume to another.
And it's definitely not a small thing. Because, if she continues this program, we will continue to hear good things and see other volumes that will attract the attention of poetry lovers/connoisseurs.
Constantin DRAM
The Kingdom of the Blue Fire by Clelia Ifrim / 9
Unspeakability / 13
Siege / 14
Stay / 15
Infinite / 16
Silence / 17
Spiral Galaxy / 18
Affinities / 19
Essence / 20
The holiday / 21
Lens / 22
Sin / 23
Spacing / 24
Dance / 25
Veneration / 26
Wilderness / 27
Clock / 28
Last breath / 29
Their soul / 30
Sharpness / 31
Arid / 32
Fingers / 33
Chills / 34
Seat / 35
Naturally / 36
Powerlessness / 37
Voltaic / 38
Release / 39
Chocolatier / 40
Crab migration / 41
Immensity / 42
Spasm / 43
Decorporation / 44
Winds / 45
Restlessness / 46
Polaroids / 47
Harbor / 48
Archeology / 49
Momentum / 50
Petrified habit / 51
Verser / 52
Lead / 53
Acute / 54
Sunsets / 55
Memory / 56
Retina / 57
Geruiri / 58
Unnatural / 59
Semiotics / 60
Sun / 61
Parchment / 62
True / 63
Rumspringa / 64
Elixir / 65
War and Peace / 66
Seasons / 67
Empty / 68
Silence / 69
Taboo / 70
Intimacy / 71
Rosary / 72
Amber / 73
1001 faces / 74
Emotion / 75 /
The seagull / 76
Rohia / 77
Filament / 78
Why? / 79
Desire / 80
Powdered / 81
Seduced / 82
Sincerity / 83
Rhetoric / 84
Pastel / 85
Touches / 86
Rhei slope / 87
Tenderness / 88
Other avatar / 89
The present / 90
Swan song / 91
Reflection / 92
Creature / 93
Life / 94
Contrasts / 95
Archives / 96
Constellation / 97
Ascetic / 98
Shiver / 99
Power / 100
Patch / 101
Subtle seduction / 102
Budding / 103
Ineffable / 104
Suspected disease / 105
Redoubt / 106
The woody dream / 107
Love Story / 108
The music box / 109
Poetic / 110
Meta Snow / 111
Hermeneutic / 112
Stop the butterflies / 113
Unspeakability / 13
Siege / 14
Stay / 15
Infinite / 16
Silence / 17
Spiral Galaxy / 18
Affinities / 19
Essence / 20
The holiday / 21
Lens / 22
Sin / 23
Spacing / 24
Dance / 25
Veneration / 26
Wilderness / 27
Clock / 28
Last breath / 29
Their soul / 30
Sharpness / 31
Arid / 32
Fingers / 33
Chills / 34
Seat / 35
Naturally / 36
Powerlessness / 37
Voltaic / 38
Release / 39
Chocolatier / 40
Crab migration / 41
Immensity / 42
Spasm / 43
Decorporation / 44
Winds / 45
Restlessness / 46
Polaroids / 47
Harbor / 48
Archeology / 49
Momentum / 50
Petrified habit / 51
Verser / 52
Lead / 53
Acute / 54
Sunsets / 55
Memory / 56
Retina / 57
Geruiri / 58
Unnatural / 59
Semiotics / 60
Sun / 61
Parchment / 62
True / 63
Rumspringa / 64
Elixir / 65
War and Peace / 66
Seasons / 67
Empty / 68
Silence / 69
Taboo / 70
Intimacy / 71
Rosary / 72
Amber / 73
1001 faces / 74
Emotion / 75 /
The seagull / 76
Rohia / 77
Filament / 78
Why? / 79
Desire / 80
Powdered / 81
Seduced / 82
Sincerity / 83
Rhetoric / 84
Pastel / 85
Touches / 86
Rhei slope / 87
Tenderness / 88
Other avatar / 89
The present / 90
Swan song / 91
Reflection / 92
Creature / 93
Life / 94
Contrasts / 95
Archives / 96
Constellation / 97
Ascetic / 98
Shiver / 99
Power / 100
Patch / 101
Subtle seduction / 102
Budding / 103
Ineffable / 104
Suspected disease / 105
Redoubt / 106
The woody dream / 107
Love Story / 108
The music box / 109
Poetic / 110
Meta Snow / 111
Hermeneutic / 112
Stop the butterflies / 113
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