{"id":674664,"date":"2026-02-02T16:27:03","date_gmt":"2026-02-02T16:27:03","guid":{"rendered":"https:\/\/microscopemedia.com\/?p=674664"},"modified":"2026-02-02T16:27:03","modified_gmt":"2026-02-02T16:27:03","slug":"francezul-care-a-scris-un-roman-intreg-fara-litera-e-cine-e-si-de-ce-fascineaza-inca","status":"publish","type":"post","link":"https:\/\/microscopemedia.com\/?p=674664","title":{"rendered":"Francezul care a scris un roman \u00eentreg f\u0103r\u0103 litera \u201ee\u201d. Cine e \u0219i de ce fascineaz\u0103 \u00eenc\u0103?"},"content":{"rendered":"
<\/div>\n

\u201eLa Disparition\u201d (Dispari\u021bia), roman ap\u0103rut \u00een 1969, l-a \u0219i f\u0103cut celebru pe autorul s\u0103u, George Perec.<\/p>\n

Are 300 de pagini, deci nu e chiar de glum\u0103, iar Perec a f\u0103cut aici un exerci\u021biu ce ar putea s\u0103 par\u0103 o glumi\u021b\u0103 de intelectual: un roman f\u0103r\u0103 vocala \u201ee\u201d, cea mai folosit\u0103 vocal\u0103 din francez\u0103?<\/p>\n

Da, \u0219i mai important dec\u00e2t aceast\u0103 performan\u021b\u0103 tehnic\u0103 este motivul pentru care Perec a ales s\u0103 fac\u0103 asta. \u201eLa Disparition\u201d este o lipogram\u0103 \u2013 un text scris cu excluderea deliberat\u0103 a unei litere.<\/p>\n

\u201eE\u201d-ul lips\u0103 \u2013 lipsa mamei<\/h2>\n

\u00cen cazul lui Perec, eliminarea \u201ee\u201d-ului e cu at\u00e2t mai fascinant\u0103, cu c\u00e2t aceast\u0103 vocal\u0103 e de baz\u0103 \u00een limba francez\u0103.<\/p>\n

Romanul este o poveste detectivistiv\u0103 ciudat\u0103, \u00een care personajele dispar, sunt c\u0103utate, se pierd, f\u0103r\u0103 ca vreodat\u0103 s\u0103 fie numit\u0103 explicit cauza.<\/p>\n

De-a lungul timpului, criticii literari au \u00eencercat s\u0103 identifice semnifica\u021bia elimin\u0103rii acestei vocale \u0219i, la un moment dat, au izb\u00e2ndit: \u201ee\u201d-ul lips\u0103 trimite la o lips\u0103 \u0219i mai mare: mama scriitorului. Deportat\u0103 la Auschwitz \u0219i ucis\u0103 acolo, \u00een timpul Holocaustului, \u00een timp ce tat\u0103l s\u0103u a fost ucis \u00een front, \u00een timpul Celui De-al Doilea R\u0103zboi Mondial.<\/p>\n

Copil\u0103ria \u2013 lips\u0103 \u0219i r\u0103zboi<\/h2>\n

Iat\u0103, bun\u0103oar\u0103, cum aceast\u0103 lips\u0103 cap\u0103t\u0103 contur \u0219i sens, c\u0103ci \u201ee\u201d-ul nu exist\u0103, dar e peste tot, e durerea surd\u0103, implacabil\u0103, cu care nu ai alt\u0103 solu\u021bie dec\u00e2t s\u0103 faci pace.<\/p>\n

Georges Perec s-a n\u0103scut la Paris, \u00een 1936, \u00eentr-o familie de evrei polonezi.<\/p>\n

Copil\u0103ria lui?<\/p>\n

Pierdere, lips\u0103, r\u0103zboi, t\u0103cere \u2013 scheletul moral pe care-\u0219i va zidi scriitura.<\/p>\n

Aceste experien\u021be revin obsesiv \u00een scrisul lui Perec. Chiar \u0219i atunci c\u00e2nd vorbe\u0219te despre experien\u021be banale.<\/p>\n

Limitarea nu sugrum\u0103, ci poten\u021beaz\u0103<\/h2>\n

Perec a fost membru al grupului Oulipo (Ouvroir de lit\u00e9rature potentielle \u2013 Atelier de literatur\u0103<\/a> poten\u021bial\u0103) \u2013 o comunitate de scriitori \u0219i matematicieni interesa\u021bi de constr\u00e2ngeri formale: texte scrise dup\u0103 reguli stricte, formule, scheme, jocuri.<\/p>\n

Ideea central\u0103 a grupului era c\u0103 limitarea nu sugrum\u0103 creativitatea, ci o poten\u021beaz\u0103.<\/p>\n

Prin urmare, romanul lui Perec nu e doar un capriciu \u0219i nici o expunere vanitoas\u0103 de tehnic\u0103 bun\u0103, ci filosofie literar\u0103.<\/p>\n

\u00cens\u0103, desigur c\u0103 a-l reduce pe Perec la statutul de \u201escriitor al romanului f\u0103r\u0103 \u201ee\u201d ar fi mai mult dec\u00e2t nedrept.<\/p>\n

Pasionat de inventare<\/h2>\n

Pasiunile lui pentru obiectele mici, aparent nesemnificative (apartamente, liste, obiceiuri, ritualuri, gesturi repetitive) documenteaz\u0103 banalul ca o constant\u0103 a vie\u021bii (\u00een \u201eLes Choses\u201d a scris despre obsesia pentru consum a unui cuplu t\u00e2n\u0103r, iar \u00een \u201eJe me Souviens\u201d (\u00cemi amintesc) \u2013 a adunat sute de fragmente de memorie personal\u0103 \u0219i colectiv\u0103 \u0219i nu le-a dat form\u0103, le-a l\u0103sat a\u0219a, pur \u0219i simplu \u2013  a fost un pasionat de inventare \u0219i tipologii).<\/p>\n

Spectaculozitatea lui Perec const\u0103 tocmai \u00een aceea c\u0103 nu caut\u0103 cu lum\u00e2narea. \u00centr-o lume a algoritmilor, a regulilor de tot felul, a constr\u00e2ngerilor \u0219i a corectitudinii politice, sensul se poate construi tocmai astfel: din lips\u0103.<\/p>\n

Lipsa d\u0103 structur\u0103, nu harababur\u0103<\/h2>\n

C\u0103ci a\u0219a cum romanul lui Perec cap\u0103t\u0103 for\u021b\u0103 tocmai din lips\u0103, tot astfel \u0219i aceast\u0103 lume \u00ee\u0219i poate recolta for\u021ba tocmai din lips\u0103 \u0219i constr\u00e2ngere.<\/p>\n

Este o lec\u021bie pe care ne-o transmite Perec \u00een felul lui \u0219i de la care am putea s\u0103 pornim \u00een propria noastr\u0103 incursiune spre noi \u00een\u0219ine.<\/p>\n

Lipsa nu distruge, ci construie\u0219te. Prin asta, Perec r\u0103m\u00e2ne la fel de surprinz\u0103tor de actual.<\/p>\n

\u00centr-o lume a zgomotului, lipsa d\u0103 structur\u0103, nu harababur\u0103.<\/p>\n

Perec avea doar 45 de ani c\u00e2nd a murit, dar a l\u0103sat \u00een urm\u0103 o oper\u0103 dificil de \u00eencadrat, dar u\u0219or de recunoscut: texte ce par jocuri, jocuri ce ascund r\u0103ni.<\/p>\n

Dup\u0103 Perec r\u0103m\u00e2ne ideea: t\u0103cerea spune mai mult dec\u00e2t cuv\u00e2ntul.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201eLa Disparition\u201d (Dispari\u021bia), roman ap\u0103rut \u00een 1969, l-a \u0219i f\u0103cut celebru pe autorul s\u0103u, George Perec. Are 300 de pagini, deci nu e chiar de glum\u0103, iar Perec a f\u0103cut … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":674665,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":[],"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/posts\/674664"}],"collection":[{"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=674664"}],"version-history":[{"count":0,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/posts\/674664\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=\/wp\/v2\/media\/674665"}],"wp:attachment":[{"href":"https:\/\/microscopemedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=674664"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=674664"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/microscopemedia.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=674664"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}