|
In March 1990 he
emigrated to the United States.
Only during year 2000 he published 20 books, an international record!
He wrote thousands of pages of diary about his life in the Romanian
dictatorship (unpublished), as a cooperative teacher in Morocco
("Professor in Africa", 1999), in the Turkish refugee camp
("Escaped... / Diary From the Refugee Camp", Vol. I, II, 1994,
1998), and in the American exile - diary which is still going on.
But he's internationally known as the literary school leader for the
"paradoxism" movement which has many advocates in the
world, that he set up in 1980, based on an excessive use of antitheses,
antinomies, contradictions, paradoxes in creation paradoxes - both at the
small level and the entire level of the work - making an interesting
connection between mathematics, philosophy, and literature
[ http://www.geocities.com/charlestle/paradoxism.html
].
He introduced the 'paradoxist distich', 'tautologic distich', and
'dualistic distich', inspired from the mathematical logic [ http://www.gallup.unm.edu/~smarandache/a/lit.htm
].
Literary experiments he realized in his dramas: Country of the Animals,
where there is no dialogue!, and An Upside-Down World, where the scenes
are permuted to give birth to one billion of billions of distinct dramas!
[ http://www.gallup.unm.edu/~smarandache/a/theatre.htm
].
He stated:
"Paradoxism started as an anti-totalitarian protest against a closed
society, where the whole culture was manipulated by a small group. Only
their ideas and publications counted. We couldn't publish almost anything.
Then, I said: Let's do literature... without doing literature! Let's
write... without actually writing anything. How? Simply:
literature-object! 'The flight of a bird', for example, represents a
"natural poem", that is not necessary to write down, being more
palpable and perceptible in any language that some signs laid on the
paper, which, in fact, represent an "artificial poem": deformed,
resulted from a translation by the observant of the observed, and by
translation one falsifies. (Therefore,
a mute protest we did!)
Later, I based it on contradictions. Why? Because we lived in that society
a double life: an official one - propagated by the political system, and
another one real. In mass-media it was promulgated that 'our life is
wonderful', but in reality 'our life was miserable'. The paradox
flourishing! And then we took the creation in derision, in inverse sense,
in a syncretic way. Thus the paradoxism was born. The folk jokes, at great
fashion in Ceausescu's 'Epoch', as an intellectual breathing, were superb
springs.
The "No" and "Anti" from my paradoxist manifestos had
a creative character, not at all nihilistic." Paradoxism, following
the line of dadaism, lettrism, absurd theatre, is a kind of up-side down
writings!
He did many poetical experiments within his avant-garde and published
paradoxist manifestos: "Le Sens du Non-Sens" (1983), "Anti-chambres/Antipoesies/Bizarreries"
(1984, 1989), "NonPoems" (1990), changing the French and
respectively English linguistics clichés While
"Paradoxist Distichs" (1998) introduces new species of poetry
with fixed form.
Eventually he edited the
"Second International Anthology on Paradoxism" (2000) with texts
from 100 writers from around the world in many languages.
|
|
