Fănuș Neagu - Knowledge

1741: 2811:. Reportedly, the two of them joined up for tormenting young journalists who asked for interviews. The new generations of writers, who dismissed him as repetitive or needlessly florid, were seen by Ștefănescu as "essentially unfair, since they forget to mention that was being repeated is a great talent." As reviewed by Ciotloș, Neagu's deathbed aphorisms are as flippant as always, being primarily an illustration of the author's unending commitment to "wine philosophy" (despite his medically-imposed abstinence). Some of his final notes detail his tongue-in-cheek admiration for Dong Dong, a Chinese toddler-turned-alcoholic, whose existence had been revealed to him upon reading a Romanian tabloid. Neagu explains that, "had I not been crippled by cancer", he would be off to meet this "Asiatic warrior" and challenge him to a drinking contest. 1384:, his contributions made him immensely popular, beyond the fame enjoyed by any other Romanian author of his time. He himself toned down praise, insisting that he had primarily taken up the job because it allowed him to travel abroad, something which would otherwise have been prohibited under communism. While engaging in this activity, Neagu proceeded to make more or less public shows of his annoyance with the regime. Mocking Ceaușescu as "Balconetti", he also made risky assertions about which of his peers was spying on the others for the Securitate. As noted by fellow journalist Dumitru Graur: "Nobody could muster the nerve to even react to this." He was a card-carrying member of the Communist Party, but, by his own definition in a 1995 interview, he also acted as a "troublemaker" ( 1489: 878:("The Noise"), depicted a grocer-turned-counterfeiter who ran a money-making device powered by unwitting shoppers, a boy who overfeeds on stolen cakes, and a physician who steals his grandfather's gold chain, one link at a time. Other pieces have a vague narrative pretext that merely allows Neagu to display his verbal skill—in one such work, the actor Eugen Argova reunites with an old fling, then makes love to her, carefully omitting to inform her that her son has been mauled to death by dogs. The story collections also introduced another characteristic of Neagu's style: "Always and everywhere he seeks what one could call the sweet fruit of writing: a 2183:. They both declined the honors as a "joke", indicating their contempt for that institution. As read by Ciotloș, Neagu's political journalism became "acid and unjust, but inconsistent". It was generally carried by "spontaneous" opinions or "moods", making his stances unpredictable. With time, he became "entirely cut off from current affairs, either in Romania or anywhere else", dismissing virtually all younger authors as "counter-cultural", collecting minute details about the provincial literary scene, and praising the Romanians' timeless "cultural myths" (in pages that are rated by Ciotloș as a "nadir of his writing"). In June 1991, the 2496:). Chivu more conservatively argued that, while Neagu's early novels were salvageable, in his later work he had come to use a "predictable recipe, losing all its taste through continuous overbidding. Almost any prose work by Fănuș Neagu drenches its characters in a mud of vulgar-poetic metaphors, themselves tortured beyond recognition." The aging writer was also impugned as a cronyist for his early-2000s activity at the National Cinema Council, since he had supported the allocation of state funds to his old friends (including Blaier, D. R. Popescu, and Saizescu), while casually ignoring projects submitted by 294: 697: 2796:. According to Chivu, it is an encomium written "without any sort of talent", though showing "Fănuș a no-nonsense man, a sentimental womanizer and lover-boy, an all-knowing sage, slick and skillful, inspired and witty, delicate, generous and altruistic". Oral tradition also depicts Neagu as a smart and irreverent raconteur, remembered for his on-the-spot aphorisms, but also for his acid characterizations of various colleagues, whom he judged through the lens of his own bohemianism. He is believed to have once called footballer 2717:'s pleasure. His last thoughts were on arranging his own memorial house in Grădiștea, though he also prepared a goodbye text for the sports-page readers, in which he deplored the decline of Romanian football. During his final weeks, he slipped into a coma. He ultimately died of his terminal illness on 24 May 2011, while still at Elias. Asked to comment on the occasion, Agopian called Neagu "the last of his generation's great bohemians", adding: "I don't even know how he lasted for as long as he did..." Overall, as Voncu reports 31: 2168: 671:, who met and befriended Neagu in 1953, recalls that he "seemed to not fear anything at all", speaking his mind even as the communists had started imprisoning or deporting men for expressing similar opinions. The two of them were joined by a communist writer, Vintilă Lamotescu-Ornaru, who was hiding his past as a landowner (as Dimisianu recounts, he would have been deemed a man of "unhealthy social origins" in the communist vocabulary). Under Lamotescu-Ornaru's influence, Neagu started placing bets at 745:, who remembered him as "loud", but also "bursting with talent, in a Romanian language adhering to rules that I myself could not comprehend." Neagu was also one of the newspaper's editors, between 1954 and 1956, and remained involved with its school of reporters. Visiting the offices "some two years after" his formal departure, he happened to assist his friend C. Vasile with writing a football chronicle. The co-signed piece was also his first contribution in that genre. 2091:

threatened by undercover agents. During the late 1980s, the novelist was expressing support for the national-communist approach to the Hungarian minority, now seen by Ceaușescu as a privileged class that needed to be contained. During a trip to Denmark, Neagu mocked an interviewer, telling her that, had he not been a writer, he would have fancied being a Hungarian in Romania; upon returning, he recounted his "wonders and mischief" to his Romanian colleagues at

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as to the future of our literature", and pliable to the regime's commands (since they are "more obsessed in hierarchies, in accumulating boons and privileges"). As Ștefănescu recounts, he had also perfected a special kind of self-promotion, making vague statements about the manuscripts he was preparing for print, while also reissuing his works in several new editions, which were always reviewed with the same interest by professional columnists.

2822:, which saw literary professionals still listing Neagu's novels and novellas as obligatory readings. Though most Romanian institutions still shied away from commemorating the writer, in 2021 a "small cult" of his was still being maintained in Brăila. Writers who embraced Neagu's stylistic guidelines include his friend Tănăsescu, who went as far as to imitate him in his own novellas of youth, and, albeit to a lesser degree, the 1990s novelist 2773:, who depicts him in one of his pieces as a "gentle, calm and sluggish bear". According to Dimisianu, this portrayal was at least partly inaccurate, "aiming at appearances", since Neagu was in fact quick-tempered and sometimes violent. Likewise, Ștefănescu described the novelist as "massive, blond and freckled, always surly as if after a bender", overall a "picturesque figure on the literary scene." According to a diary entry by the 1126: 2236:. Defending Neagu in 1993, Tomozei celebrated him as a "solitary figure", carving his own way under old regime just as under "the newly imposed tyranny of the revolutionaries". He added: "Always surrounded by a procession of admirers (poets, painters, jobless bards, paper-pushers, peddlers of sports), Fănuș Neagu is nevertheless a lonely man." In November of that year, Neagu was elected a corresponding member of the 2818:, despite the latter's expressed enthusiasm for Neagu's prose. When Simion inquired why, Neagu replied: "Will it have hurt your hand to also write that I'm a genius?" As observed by Voncu, the mixture of rejection and indifference continued to plague Neagu's memory in the decade after his death, but not enough to uproot him from the literary canon—he sees this as confirmed by a 2019 survey in 2673:"; he returned for near-constant treatment at Elias. This interval saw him writing in his diary, which covers the period down to 7 May 2011. As remarked by Ciotloș, the dying Neagu provided few details on his own physical suffering, only complaining about it to the measure where it interfered with his literary projects. Portions of the work are therefore explicitly dismissive of 2399:. Dimissing Caramitru as a mere actor who belonged "on the plank of stages or the plank that one walks on at the very end", he refused to hand in his resignation, and remained in office until May 1997, when Caramitru organized a competition for the post. Neagu declined to participate, but also stepped down voluntarily. That year, his final volume of short prose appeared as 1707:, the communist intellectual and former avant-garde author. Neagu and other members of Barbu's circle had been infuriated by Bogza's decision to republish one of his earlier texts, which featured his mockery of Arghezi. Neagu sought to harm his rival by republishing pornographic and rebellious, unpatriotic fragments from Bogza's youthful writings, within a lampoon in 1508:, who was Neagu's good friend (and, from 1977, also his godson) inspired the central protagonist, Eduard Valdara. In some fragments, the narrative also stands as a thinly-disguised portrayal of the 1950s literary scene, as experienced directly by the author himself. At a deeper level, the work, defined by Zaciu as one of "parodic realism", was essentially 2645:, Neagu had purchased at an apartment on Ion Mincu Street 27, in a previously nationalized villa. He was involved in a lengthy litigation with two men, both of whom claimed to have been the rightful inheritors of the dispossessed owners; in June 2006, a court ruled that he had acquired the apartment in good faith, though one of the judges presented a 2033:, and also as a synthesis of events from the 1944–1970 interval. Though including himself among Neagu's admirers, Nicolae Turtureanu saw this as definitive proof that Neagu's "metaphorism overshadows the epic line", agreeing with others that the novel as a whole was bad. Teodorescu sees it as Neagu's worst, "nearly illegible", contribution, but adds: 1089:, who also accompanied him on drinking escapades and courted the same women. One one occasion, they got bored of sifting through the 18,000 letters to the editor, which they found to be devoid of any literary value. They proceeded to burn them all, creating an incident that resulted in their salaries being halved by the magazine's head editor, 2232:, who became Romania's first post-revolutionary president. His stance alienated several of his writer friends, who found Iliescu's politics unpalatable. The new regime contrasted the public's indifference by awarding him several public accolades. He is therefore seen by Teodorescu as a pampered figure of that era, still "riding high" after 1789:

Neagu's original need to write in drama form must have been a need to hear his words, his so very beautiful word associations, spoken out on the stage." Having already published Faulknerian translations before 1973, Neagu returned to this activity in 1980: together with Florica Dulceanu, he produced a well-received translation of

693:, managed to "defeat censorship on several occasions, by winning over, intimidating or dazzling the regime's representatives." As the same author argues, Neagu was convinced that a true writer should "view himself as a treasured guest to any stranger", and that "scandalous gestures" were tolerable in people of talent. 1339:, as a policy hinging on Ceaușescu's commands, curbed liberalization and demanded full obedience from the community of writers. As Lovinescu notes, Neagu seemed unaware of the dangers this posed, and participated in at least one squabble that seemed to facilitate Ceaușescu's designs for total control; in 1972, he and 1205:. Teodorescu doubts that this version ever existed. He notes instead that the published text was remarkably tame, at a time when other writers were allowed to publish clear-cut revelations about "what the regime had done during the first years of communism." This view is contrasted by Voncu, who upholds 2544:

in the press , that there is a perfect unity of man and oeuvre. had no capacity for understanding that a literary field will now and then tolerate mutations in aesthetics, in values, and finally in hierarchies, a fluctuation that does not in fact engender any one writer being ousted from the History

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observed from the side that the objectors were publicity seekers, who aimed at marginalizing Neagu's position within the national canon. However, he also found Neagu's replies to Marcu as belonging to a disgraceful tradition of lampoons, "mixing paper in with manure". Other lampoons, probably ordered

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s new editor-in-chief. A similar point is made by Deletant, who notes that Neagu's rage over the issue was politically significant: " left the opposition camp and aligned himself with Eugen Barbu, one of the few supporters of proposals." The incident was also retold by Păunescu himself, who reported

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noted that he had enjoyed a "rapid ascent into the cultural establishment", and that he had always "ignor critical amendments (as timid as these were)". A 1964 note in the "most intimate" section of Preda's diaries accuses Neagu, Velea and Stănescu of being shallow and unskilled writers, "indifferent

2677:'s hospital memoirs, which are intentionally written in a tragic tone. Also a political testament, Neagu's final diary reaffirms his commitment to nationalism. This is combined with an interest in some non-Romanian writers, from which he transcribes entire fragments (examples include García Márquez, 1179:

saw the book as an incidental document of Neagu's ideological emancipation as well: the first chapters, which were probably written down in the previous decade, describe immaculately moral peasants in their conflict with the landowners; as the narrative progresses, the focus switches on the criminal

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waters: desperate, hungry farmers set out to hunt for millers upstream, hoping to break into their secret ponds. It shows them "hatchets raised to their chest, galloping on emaciated nags after the mirage of a silvery stream, and toward the moon itself". Other samples depict a naive servant shooting

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in the lead role. It was reviewed by critic Cezar-Paul Bădescu as an "inebriation with words, of the kind that is so very loved by Fănuș Neagu." Bădescu was alarmed that the series had received lavish public funding, despite being a mix of "kitsch, vulgarity, and aberration"; he also drew attention

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revisited the film as one of Gabrea's great accomplishments, also praising Neagu for agreeing to rewrite "scene after scene, in the expressive language of cinema." Another retrospective review was provided by Căliman, who recalled that the international press, which had seen the film played as part

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in what was supposed to be his breakthrough role, was altogether banned from cinemas. According to cinematographer Dumitru Fernoagă, this was for the best, since Neagu's script was merely a collection of "idiotic jokes". Neagu, who blamed the affair on Popescu-Dumnezeu's machinations, supported the

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s publication, Neagu was making shows of his support for the party line. In December 1977, alongside Barbu, Lotreanu and Preda, he expressed solidarity with the regime, against the dissident movement launched by Goma; the list of allegiances, which was kept in the Securitate archive, also included

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and political satire, describing the food shortages faced by a football team and its press officers. Such incidents resulted in the Securitate taking some additional interest: from December 1986, Neagu and his former associate Dinescu were kept under special observation, being both influenced and

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In mid-2004, Neagu had refused to be decorated by Iliescu, stating that he "hated them trinkets". According to Teodorescu, the hidden message in this gesture was a snub at Neagu's "declared admirer", getting back at Iliescu for having ignored him for a more significant promotion (the only office

1306:. Overall, Neagu's accusations had failed to impress the public, who opted to endorse Barbu's methods; when Barbu was eventually exposed for more clear-cut plagiarism offenses, Neagu had become his friend, and was defending him publicly. Reflecting back on the issue in 1982, Barbu observed that: 1196:

of such prison-themed fragments" was a negative contribution by the censors, or a choice made by the self-censoring Neagu. Neagu once reflected that censorship had been unwittingly helpful, by forcing him and his peers to go for "allegorical literature", which required of them that they "polish

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soil; Micu describes this imagery as a "metaphor of illusion". Reviewer Mircea Ghițulescu welcomed the merger between Neagu and Nasta's competing forms of the "playful spirit", while suggesting that the former had his verbose metaphors toned down by the latter. Ghițulescu speculated that "Fănuș

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was still impressed by its "high-grade aestheticism", and especially by Neagu's ability to portray his characters using faux descriptors, that "cannot coagulate objectively." For instance, Tudor Fluture, who organizes a chase for dogs (which forms a central element of the plot), is presented as

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as its own publication. In February 1998, the Union declared his position vacant, and organized a competition to fill it; Neagu, backed by his editorial staff, implied that the move was illegal, and refused to either step down or present himself in the contest. He was a guest panelist at other

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ordered by the president. According to such sources, he showed up inebriated for an USR meeting, and proceeded to ad-lib about the gas and light being randomly turned off in his home, and about mandatory servings of oceanic fish in restaurants that lacked other, more prestigious, dishes. Neagu

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in the literary community: "few people know that his other name was Neagu." The future writer had a brother and a sister; only the latter was still alive at Fănuș's death in 2011. In old age, Neagu liked to tell highly exaggerated stories of his childhood poverty, to see if those present would

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of December 1989 lifted censorship, but, as literary scholars argue, also undermined Neagu's popularity—since he was no longer "fashionable", and since his target audience no longer cared for culture. He initially joined in the anti-communist trend, proposing that "Securitate" be spelled in

1284:. By his own account, he survived for "a few days and nights" on the roof of a local cannery—with "millions of cans" floating around him, and sharing his living space with a group of local workers and a feral wolf. During his stays in Bucharest, he engaged in a publicized polemic with rival 768:'s signature novels. According to Voncu, he was fast on his way to becoming a herald of Romania's "neo-modernism", "which is to say a break with socialist-realism and a return to the models of interwar modernism". Commentators have also described his writings as a Romanian contribution to " 483:

in 2001, he was further isolated when he also came to reject Iliescu's policies. Incapacitated and hospitalized during the final years of his life, Neagu chronicled his declining health, and his indifference to dying, in a set of diaries, the final one of which was published posthumously.

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Speaking for the openly anti-communist diaspora, Lovinescu praised the novel, alongside similar works by Preda and D. R. Popescu, for exploring at least "fragments of the real past, or of the experienced present." She notes that Neagu introduced his readers to the crimes committed on the

826:, the stories contained therein are seen by Ștefănescu as a commendable form of "traditionalist" and studied prose. Their exact relationship with the still-obligatory standards of socialist realism is a matter of some contention. In a 2004 article, novelist and political commentator 1180:

underworld of Brăila, which Neagu depicts with taboo-breaking gusto. Pârvulescu notes that the novel, especially with its epilogue (which includes a near-explicit critique of 1950s communism), reflects the terms of his successful negotiations with the censors, during the peak of

1625:, who had frozen permission for writers to travel abroad when one of their colleagues defected to England, if he planned on doing the same for Securitate spies, one of whom had opted to give himself up in Norway. At some point during that decade, Neagu had a chance meeting with 2634:, and expanded on the social critique of post-communism. He suggested that an "acute crisis of dignity" was tacitly promoted by the intellectuals, both right- and left-wing, and complained that the proletariat had been "diluted into a class of ignoramuses, tarts, and cadgers" ( 1426:, who had served time in prison after the 1956 events. Also in 1972, Neagu publicly declared that Goma had no literary talent—a statement that the Securitate case officer felt compelled to regard as exaggerated. Neagu similarly served the regime's case against another writer, 1641:, in exchange for shots of vodka. Onlookers thought that Neagu was being provocative, though Szőcs speculated that he was actually mocking Ceaușescu's propaganda, which had it that "in the depths of every Hungarian's soul is the cherished idea of revenge". Around the time of 1060:, went into production, and Naghi was again picked as director. Taking in the criticism, he had agreed to enhance the realistic feel of this new film, mainly by closely studying both the screenplay and the Bărgan life which it depicted. It was ultimately released in 1966, as 2302:, who had been jailed for his role in violently quelling the anti-Ceaușescu protests of 1989. Neagu presented Coman only as a patron of Romanian football, adding: "he has to get back into prison now, for reasons that elude me." In May of that year, Neagu also announced that 2270:, who confirmed that Șerban was disliked for not showcasing Romanian dramatists in a publicly-funded venue. Ungheanu added: "we expect changes from the new director, Fănuș Neagu." Ichim also noted that Neagu had a questionable reputation, making him unqualified for the job. 513:. As he himself put it in a 1987 interview: "The people, the water, the grassland of that spot are what's dearest to me in the world." His parents Vasile and Paraschiva (née Miroslav) knew him under the pet name "Fănuș", which became his favorite signature, as well as a 1737:, a national-communist, for the position of USR president, and, on 26 August, attended a meeting with the communist leadership. He and others among Dragoș's supporters asked Ceaușescu to impose a new USR charter, which would have brought it under the party's control. 2108:

lowercase. He reportedly became quickly disgusted by the new approaches to sports' journalism, prompting him to renounce his contributions in this field; however, he remained active in cultural and political journalism, managing a number of periodicals—including

1676:, who had been jailed by the Securitate; at the USR, he and Stănescu, alongside Crohmălniceanu, staged a protest which resulted in Negoițescu being granted parole. As argued by Voncu, in the 1980s Neagu belonged to a "grey area of literature", also populated by 1310:

the polemic I had with Fănuș Neagu only served to draw us closer, rather than set us against each other. Given his linguistic genius, he could only have loved me, but the wicked and the eunuchs were pushing him to take a bite out of me. Later, we embraced one

565:, who also provided him with food. He and his school resettled in Iași after this military realignment, and it was during his time there that he penned his first stories. He graduated in 1948, just as Romania was coming under a communist regime. Called up to 5224:

Valerian Sava, "Film. Deceniul se încheie, la CNC, cum a început. Despre imbatabilii falsificatori ai concursurilor de proiecte; Răzvan Rădulescu a fost respins de la finanțare, Sergiu Nicolaescu și Geo Saizescu au fost răsplătiți cu sume consistente", in

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described it as one of the major accomplishments in Romanian short prose of the early 1980s, noting its main trait and stylistic appeal: "the elements of myth and folkloric tradition become literature." In early 1985, he published a second installment of

522:, so that his parents would not have to spend money on shoes. In other contexts, he described his childhood as "fabulous" and rich in life lessons. His childhood friends, many of whom appear in his work under their nicknames, included both Romanians and 1236:

as a "spectacular surpassing" of narrated everyday events, "toward the fabulous, the unsettling cosmic generalizations, though never abdicating from the unforgiving, 'realistic', principle." Neagu was the credited writer on Ion Niță's comedy film,

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A lyrical net is cast, like some sort of a trance, over the book's vaporous image. The world is seen through colored glass. Its author believes (one senses) that writing beautifully, expressively, carries more artistic weight than any commonplace

1388:), rating himself as more courageous than outside opponents. Dramatist Mircea Radu Iacoban credits a rumor according to which the Securitate "grew tired of even reporting on his mischief", with no new records made in his dossier during the 1980s. 993:. As she noted in 1968, "each of these novellas has enough material for a novel, and it is only a novel that could provide a frame large enough to fit Fănuș Neagu's outpouring vitality." Writing forty years later, critic Viorel Coman argued that 2630:("Hidden-face Diary") both appeared in 2005. Voncu believes that such works had little merit, but also that the criticism they received remained grounded in purely political objections. During the promotional tour, Neagu stated his belief in 1323:. During the mid-to-late 1960s, government had relaxed its hold on society, though it continued to spy on its citizens through the Securitate. The latter reported that Neagu was instigating other writers (including Bănulescu, Dimisianu and 2306:, the self-exiled Romanian playwright, had demanded to have one of his final plays staged exclusively by the TNB. Such claims were refuted by Ionesco's wife and daughter, who further accused Neagu of having circulated a forged letter. 1097:

in 1967, Neagu also found parallel employment as secretary of the Bucharest Writers' Association, where he trafficked in favors for aspiring authors. In his twin capacities, he became a protector of a much younger provincial writer,

2536:. However, as Agopian writes, "given that all people are aware of Fănuș Neagu's disinterest for ideas, and the colorful language which he uses to cover up this defect, nobody even took seriously." Chivu similarly remarked in 2003: 858:Ștefănescu likewise proposes that Neagu was allowing himself to break out of socialist-realist conventions primarily by selecting "eccentrics" and "weirdos" as his protagonists. The same had been noted earlier by literary theorist 2617:

renamed one of its halls after the writer, during a ceremony that he attended alongside his wife Stela. In October 2004, he was made an honorary citizen of Craiova, and attended the inauguration of a Fănuș Neagu Primary School in

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remarked its "tragic indictment" of socialist realism, but was overall unimpressed by its "metaphoric delirium", since "beautiful images are stifled by a purely decorative style." Also then, Neagu released his only volume of

1075:, and was hired as one of its regulars—but allegedly showed up for meetings only on payday. According to his own recollections, he was spending that period, and overall some eight years of his life, working as an editor at 1051:

came to Neagu's defense, noting that his original script had been suffered "18 rewrites and transformations", which had "completely erased its realism and significance." In his own dismissive summary, Căliman recalled that

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general, invited in to inspect Bucharest's brothels. He was applauded for his performance in a role which "fit him like a glove, according to the more spiteful of commentators." He made a final return as a screenwriter on

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and had no intention of returning from the trip; during their exchange, he implied that Tudoran was a traitor to his country. The following year, Securitate informants revealed that Neagu himself had been critical of the

792:. According to recollections published by eyewitness Irimie Străuț, this would explain why Neagu was for a while "chased out" from editorial offices, and placed under surveillance by the communist secret police, called 4001:

Mihnea-Petru Pârvu, "Evenimentele uitate ale anilor '90. Pedepsit tardiv pentru plagiat dar, mai ales, pentru publicistica sa răutăcioasă. Povestea excomunicării lui Eugen Barbu din Uniunea Scriitorilor (II)", in

1598:", message, which ridicules communist totalitarianism and again alludes to its crimes against individual freedoms. Though identifying and listing influences from Caragiale, Creangă, and E. Barbu, as well as from 1462:, rated it as the most important one coming out of Romania during the decade; Căliman also mentions that, during post-production, Gabrea had "struggled against the stiff opposition of censors". Neagu also wrote 357:), as well as on his contributing new means of expression in the Romanian language. The subtleties of this style also allowed Neagu to drop hints about communist crimes against the peasants in his debut novel, 1504:("Those Beautiful Lunatics of the Great Cities"). Much of its commercial success was attributable to Dinamo fans, who bought the book after being told that it was largely about their favorite team; midfielder 2712:

Neagu reportedly continued drinking alcohol even under supervision, and stashed bottles of wine under his hospital bed—as Turtureanu notes, he was not actually addicted, but did not want to spare himself a

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in several major ways, including by making the central figures more approachable and direct. This characteristic is highlighted by Steinhardt, who describes them as "furious", "like the heroes portrayed by

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Those who fell for the "great craftsman" could not allow themselves to tell him outright that his novel was a dud. If Fănuș got away with this, it was also because had no appetite for literary scandals.

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regarded them as subservient to the ideological tenets of communism, though "reconciled" with the expectations of a public that "had had just about enough of propaganda literature." According to scholar

1696:". Voncu also notes that Neagu and the others were exploited by the Barbu group, but without ever joining the Protochronist caucus. In May 1980, Neagu was shortlisted for the top managerial position at 386:—as a screenwriter, he went from being derided for his superficial comedies to being praised for dramas based on his own novellas and novels. As a literary celebrity, he had a complex relationship with 1559:, but is innovative for being adapted to a modern, urban setting, in which the heroes are "footballers, crooners, fun-seeking girls". In rendering the protagonists' speech, Neagu also relies on the 1155:

sees this moment as inaugurating Neagu's complete break with "traditional prose", and his transition into a "distinguished poet", albeit one who never wrote actual verse. Also according to Tomozei:

724:. After a disciplinary meeting with rector Ion Cotranu, who asked him to refrain from corrupting his fellow students, Neagu realized that he could find more gainful employment, joining the staff of 2061:". Manolescu adds: "If not his intuition then at least his experience should have prevented Fănuș Neagu from childishly mucking up so many stories that could have otherwise been anthology-worthy." 2221:

viewed these as embarrassing for Neagu, since he now held "the same opinions as those being launched by the Securitate." The novelist had claimed that Dinescu was subservient to his Hungarian and

2461:). Though styling itself an "independent publication", it was largely supportive of the Social Democratic establishment. His output for that newspaper included political pieces expressing his 1047:; as noted by film historian Călin Căliman, Lamotescu-Ornaru was a co-author on this project. It was an instant flop, for which Neagu and Naghi could only agree to blame each other. Filmmaker 1441:("Bastard Chronicles or Poems I Dropped Here and There", 1977); reportedly, they "only lasted in bookshops for a couple of hours", being almost instantly sold out. Neagu had hopes of turning 2814:

Neagu himself was sometimes offended when other professionals failed to welcome him in the terms he used to describe himself. He was reportedly upset with his friend and fellow academician

2160:, was expelled from the USR for both his history of plagiarism and his attacks on other writers. Neagu was vocal in opposing the move, during a heated debate which again pitted him against 1935: 2785:

in September 1980, the two men pestered and terrorized her for an entire night of "screaming cursing". She calls Neagu a "catastrophe" and an "antisemitic hooligan." As argued in 2009 by

2638:). Arguing that the more distant past could not serve as a model, since it belonged to a "detestable bourgeoisie", he referred to himself a "man of the left" (though "not a communist"). 882:, achieved through an orgy of images. In order to obtain freedom for his luxuriant fantasy, he wears various masks." As a result, all his characters are aspects of the narrative voice. 530:, for which he preserved an "all-consuming love" throughout his life. As a "country lad", he was especially fascinated with its cosmopolitanism, discovering its community of seafaring 2488:, a Social Democrat. With Neagu approaching the end of his career, various young colleagues had begun disputing his abilities and status. Within this generation, Pârvulescu revisited 2721:

his passing was engulfed by discretion and indifference, as expressed by a society that responds to the models of another paradigm, a paradigm that differs in both values and morals.

1409:, Neagu was also included in literary textbooks aimed at schoolchildren. Censorship still interfered with his work, including his contributions to cinema. In 1972, the comedy film 997:

was entirely eclipsed by his grown-up stories, and then forgotten by reviewers. He focused his attention of the volume as containing several masterpieces, as well as Neagu's first

1555:

The same reviewer finds that the text is excessive in its metaphors, being entertaining throughout, like a "perpetual dream"; its "allusive langue" evokes 19th-century stories by

5390: 4666: 3694: 3053: 2746: 2348: 3138:

Alexandru Savițescu, "'Am rămas același călăreț în meri și-n duzi, în toate bibliotecile lumii pe care le-am vizitat'. Interviu cu academicianul și scriitorul Fănuș Neagu", in

2356:). It was singled out by film columnist Valerian Sava as one the worst cinema projects to have been financed by the Romanian state, and as "ridiculously at odds with history". 2290:

anybody could see that the new general director had no calling for this administrative post; if he lasted there for almost three years, it was only because of his intelligence.

959:

of his landlord's estate; another story, which critics of the day found to be rather crass and sensationalistic, depicts the love between a prosecutor and a mysterious maiden.

5586: 2403:("A Ship to Bethlehem"), under contract with Cartea Românească. He also returned as a translator in 1998, when he and Aurora Leicand produced a Romanian version of Faulkner's 2148:

editorials as primarily shielding the party from uncomfortable questions about its financing (under his watch, that newspaper eventually filed for bankruptcy). Soon after the

934:

Most of these are seen by Voncu as genuinely good, with an "enormous capacity for expression", and without the "devouring obsession of style" that harmed Neagu's later works.

1902:, slowly piecing together the backstory of his estranged and cheating wife. Căliman calls it "en exciting film, centered on the motley world that bridges village and city". 2443:—it was criticized by Covasna's Romanians because Neagu had failed to fully research the story, and had mistaken a Hungarian official for a Romanian one. In February 2001, 2830:

an age of Romanian prose-writing now reaches its end. It is hard to believe that anyone, at any future time, will ever again write not just as he did, but in similar vein.

2782: 1294:. The scandal was partly sparked by the novel's content, since one of its more "grotesque" protagonists was a caricature of Neagu. Barbu, who had openly acknowledged that 2298:, but never managed to. His contribution as a manager was tinged by several scandals, provoked by his public stances. During March 1994, he paid public homage to General 2156:, with agitatorial articles which claimed that "Hungarians are playing football with the severed heads of Romanian policemen". Barbu, who later established the far-right 1650: 2515:, turned caustic, especially after the latter two stirred up debate about the perishable quality of writers inherited from the communist era. In his overview, novelist 1918:) and her descent into madness. Filmed by Ioan Cărămăzan and released in mid-1984, it was welcomed by critic Eva Sîrbu, who reserved praise for both the script and for 1245:, it was lambasted by Căliman as unexplainably bad, giving viewers a "feeling of shame" for having stayed through it. Neagu then returned with more stories, grouped as 2017:("A Gulf of Lead"), inspired by the 1970 floods, and shortlisted for production by Nottara. He had by then completed and published at Cartea Românească a third novel, 1328: 4793:"Document. Raporturile scriitorilor români cu Securitatea. Fănuș Neagu este intrigat de faptul ca, pe lîngă ciorbă de burtă, trebuie să mănînce și pește oceanic", in 1713:. Zaciu notes that the "perfidious" piece, written in such a way that Neagu could not be sued for defamation, had been personally approved by the communist potentate 1700:

publishers. This perplexed his would-be employee, Zaciu, who noted that Neagu "simply did not fit the job description", for having no university diploma to his name.

1023: 5879: 5794: 2737:), and by several nieces, all of whom still resided in his home village; Grădiștea sent two busloads of mourners for his funeral. The latter took place on 26 May at 1955: 1430:, who had gone public with his critique of the July Theses. He "maligned as having a poor grasp of the Romanian language and as a traitor of the party/motherland." 2566:

with virtually each sentence she produces, passing gas in front of anyone present, and recounting her lifelong sexual debauchery. Though panned by Marcu and Chivu,

2412:

During the TNB controversy's final portion, Neagu declared himself "a free man", who would go on to "speak my mind". In March 1996, he had launched his own weekly,

1826:("Silken Sleeplessness"), dismissed by Voncu as a purely commercial endeavor. That year, Neagu and Lamotescu-Ornaru collaborated with each other, and with director 764:. As noted by Dimisianu, Neagu had managed to show his peers that they could write both realistically and beautifully about the lives of peasants, at a time before 5734: 1725:. Iorgulescu deplored Neagu's transformation into a "rudimentary and libelous publicist", whose "deplorable notoriety" in attacking Bogza risked matching those of 425:

witnessed a critical reevaluation of Neagu's contribution, raising issues about the diminishing quality of his prose, now perceived as incoherent, repetitive, or "

5954: 4176: 3944: 3013: 2519:

suggested that the debate was necessary, but also that those who stood to lose their standing (including not just Neagu, but also his previous enemies Paler and

1454: 979: 1449:

into a single feature film, for which he wrote the screenplay (named after the novella, rather than the novel); it was finally used for production by filmmaker

672: 1757: 683: 5264: 4466: 2528: 2458: 1209:

as one of the few 1960s novels that featured no "socialist-realist residues", and that made no effort to praise the regime for liberalizing itself. Historian

785: 3515: 2449: 1853: 827: 628:. He also defended the School of Literature, which had come to be derided as a communist institution: "I would not be the present-day Fănuș Neagu without ." 455: 2233: 5102:

Isabella Francia, "Naționalul bucureștean își așteaptă noul director. 'Fănuș Neagu oferă meditații gratuite pentru aspiranții la funcția de director'", in

4670:, 23 February 1987, p. 5; Mariana Roman Juc, "Costinești '87: Gala filmului cu tematică pentru tineret. Scenariștii la cotele înalte ale actualității", in 4043: 2444: 608:, the latter of whom became his good friend. In old age, he recalled that his literary style was shaped by foreign sources, primarily the major figures of 2352:, directed by Blaier and released in September 1995 (the project, romanticizing the story of an infamous interwar bandit, had also involved Cărămăzan and 1324: 1039: 4488: 4384: 4297: 3360: 2473: 2391:. Neagu argued that he had been misquoted. In his retraction, he depicted Rebreanu as a "a lisping, tiresome , and moreover a servant of the now-extinct 2188: 1832: 1718: 661: 5243: 4730: 4343: 2516: 2512: 1970: 1734: 1603: 660:. At least in part, he modeled his life on that of Istrati, a vagabond-writer hailing from the same geographical area as he. Fellow cultural journalist 5704: 3434: 2857:

Magda Bratu, Mihaela Calciu, "Actualitate. Scriitorul Fănuș Neagu, la inaugurarea propriului bust, în Caraula: 'Nu credeam să mă văd în bronz...'", in

2042: 1152: 2476:, but at a time when the magazine had suspended publication and was verging on bankruptcy. Controversy was stirred again in October 2001, when writer 1086: 2454: 2372: 2141: 1800: 1773: 4427: 3321: 3285:

Nicolae Băciuț, "Interviu cu Fănuș Neagu: 'Nu pot înmuguri ramurile fără trunchiul cu mari rădăcini, mari valențe, adâncite în pământul natal'", in

2570:

was defended by Ștefănescu as another sample of Neagu's narrative skill. The novelist had made a brief return to football-writing, with columns for

1777: 637: 541:, and Paraschiva had to provide for her children. In 1944, she obtained Fănuș a scholarship for the Military High School, which had been moved from 5949: 5206: 4757: 4595: 2658: 2477: 2267: 1875: 1837: 1714: 1662: 3904:

Alexandru Păduraru, "'N-am fost un disident, ce le place unora sa se laude, am fost mai mult decât ei'. Ne-a declarat scriitorul Fănuș Neagu", in

3551: 3400: 3378: 2484:, which he identified as Neagu's publication, was receiving the largest subsidies afforded by the Ministry of Culture—which was being directed by 735: 597: 5959: 5512: 5410: 4952: 3254: 2786: 2271: 2248: 1225: 863: 593: 2379:. The local press published an interview of his, which had him praising Rebreanu as a major dramatist; this was especially controversial, since 2274:, who served as assistant director of the TNB in 1994, reports instead that Neagu and himself found supporters on the artistic scene, including 1192:, to a "world of unfair denunciations and arrests", but only through "hints". According to Lovinescu, it remained an open question whether the " 5578: 3463: 2823: 1414: 1216:

Upon its publication, the work garnered accolades from the literary establishment. It received an annual USR prize, managing to upstage one of

1019: 903: 832: 5929: 966:("Bad Man"), since it its narrative structure seemed unfocused, of marginal interest to anyone but Neagu, and overall a "waste of talent". In 341:

models, as well as on Neagu's own resources as a raconteur. He became known, and received accolades, for a richly metaphorical and oftentimes

5894: 3980: 2793: 2698: 2110: 1765: 1685: 867: 656:

Faculty of Philology in September of that same year. He had also begun resenting the regime, and was especially interested in subverting its

468: 1740: 1213:

proposes that the novel was a byproduct of communist liberalization, "the vitality of literary debate engendered by Party pronouncements."

1730: 1302:, announced in April 1970 that he was suing Neagu for libel. The two parties reconciled after their case was handled by one of Bucharest's 1290: 1014: 862:—according to him, Neagu formed part of a "new generation" that introduced marginals into the literary canon; for this reason, Neagu, like 708:), and was ultimately enlisted in the distance-learning section; still, he "did not have the patience to graduate." He had befriended poet 1355:

of the USR, and was therefore illegally appointed as the second editor. He and Neagu were able to reunite as friends, but only from 1977.

902:(USR) in 1961—even as the official critics continued to depict them as "dangerous negativists". Revisiting Neagu's career in 2003, critic 5924: 5829: 5699: 5694: 596:

and other young authors, in a small apartment at 13 Roma Street. He was also colleagues with three other authors noted for their talent:

313:(5 April 1932 – 24 May 2011) was a Romanian novelist, playwright, journalist, and occasional film actor. Born to a peasant family in the 2213:

daily hosted some of his op-eds, which outlined his critique of former anti-communist dissidents, including both Dinescu and journalist

1784:. Dan Nasta, who directed it, was impressed by the work as a sample of "poetic drama", centered on myths about a "sunken church" in the 382:, which condensed various narrative levels and became a best-seller of its day. By the late 1970s, Neagu had also involved himself with 5709: 349:; various critics remarked on his breaking the patterns of Romanian prose and his creation of a modern standard for the peasant-themed 5939: 2761:

as a writer "of the plain", who could help counter the dominance of "men of the mountains" (the latter category included authors from

588:. His education was supposed to be fulfilled at the Eminescu School of Literature, which he attended in 1951–1952; he also joined its 5849: 5844: 5834: 5779: 317:, he drew inspiration from that environment throughout his literary career. He undertook his training during the early stages of the 321:, when he was still a teenager; in his early twenties, he was already pushing the limits of literary discourse, and the patience of 5904: 5839: 5719: 5714: 5759: 2465:, which was predicated on the belief that "Europe does not want us", and that "Romania had better be looking for an alternative." 843:'s prose. However, Neagu was veering away from "dogmatism" by introducing "unusual story-lines" (evoking the likes of Istrati and 5914: 5909: 4113:

Vlad Teodorescu, "Văduva poetului Dan Deșliu vinde vechituri în talcioc. Poetul fruntaș: Dan Deșliu, de la odă la dizidență", in

2741:(in its "Academicians' Alley" allotment). The memorial house was ultimately opened for the public in July 2011. A second part of 509:. His was a peasant family, and he remained attached spiritually to both that social class and the geographical contours of the 378:, with columns that were admired for their skill and greatly loved by the reading public. He used these experiences in the 1976 1637:, allowing Neagu to view him as an "honest man." They then played a game in which Neagu would sign off Transylvanian cities to 415: 576:, whose greatest ranking was inclusion on Romania's national youth team. Now pursuing a career in teaching, he was trained at 5524: 2395:." He himself was ultimately forced out of the TNB by a new Minister of Culture, Caramitru, who represented the center-right 1619: 5899: 2554:

On 21 December 2001, Neagu had been made a full member of the Academy. In 2002, he published another one of his own novels,

5814: 5789: 5209:, "Beneficiar al unei subvenții de 200 de milioane de lei. Fănuș Neagu, principalul 'client' al Ministerului Culturii", in 2127: 1882:

an all-positive review, in particular for its "successful enlargement of the meaning one usually ascribes to the notion of

644:(who were two of the regime's trusted writers). In 1953, he worked for a few months as a substitute teacher of Romanian in 442: 1228:. In it, Regman mocked other literary professionals for having mistrusted Neagu. In his own retrospective of 1968 titles, 5809: 5754: 5749: 2693:); the notebooks also take a dim view of authors who have experienced success during post-communism (variously including 569:, he reportedly arrived there carrying his belongings in wooden suitcases, and for a while lived in townhouse basements. 1022:, translated from the Bulgarian by Neagu and Valentin Deșliu. Alongside Radu Nistor, he was working on a translation of 5964: 5889: 5769: 5744: 5080:

Sandu Mureșan, Bogdan Eduard, "Cocktail. Încă o enigmă a epocii postdecembriste: A acordat sau nu Fănuș Neagu ziarului

2149: 777: 640:, Neagu was in fact expelled from the School of Literature, though he continued to enjoy protection from Sadoveanu and 5007:

Rodica Palade, Marie-France Ionesco, "Interviul săptămînii. 'Un fals care face parte dintr-un ansamblu sinistru'", in

2725:

Both his widow Stela and his daughter Anita (known under her married name of Anita Jianu) stood by his body as it was

1874:", approach, was "hardly bearable", though the actors' collective talent had managed to salvage it. Another reviewer, 1366:

Neagu was by then ostensibly passionate about football, which he covered with sports editorials in literary magazines—

1137:

In 1968, after the critics had lost hope that he would ever live up to his promises, Neagu published his first novel,

325:, acquiring his fame as an uncontainable rebel. Neagu's published debut came in 1959, and coincided with the onset of 5819: 5764: 5594: 5573: 5545: 4416: 3587: 2384: 2074: 1405:("on principle reserved for contemporary classics"). Thanks in large part to the efforts a young literary historian, 446: 5341:

Răzvan Vintilescu, "Aceeași instanță a dat decizii opuse în același caz. Îngerul a strigat: Fănuș, ia-le casa!", in

3051:

Ion Butnaru, "Actualitatea culturală bucureșteană. Între proză, film și dramaturgie — Interlocutor Fănuș Neagu", in

2492:

as a novel of "questionable taste", bordering on "kitsch" (the same verdict was passed by Teodorescu in relation to

537:

The boy completed primary school in his village at the height of World War II. His father had been mobilized in the

5934: 5739: 2789:, Neagu "love to play the aging churl", but was in fact a consummate aesthete with a lifelong passion for reading. 2069: 942:

with its depiction of social upheavals within a dream-like setting, as well as for taking direct suggestions from

5729: 2562:, disguised under the name of "Dia Goia". She is shown in decrepit old age, having lost all self-control—spewing 657: 322: 2800:"a cretin", because Răducioiu "drinks dessert wine." In old age, he was a regular at La Premiera bar, alongside 1954:("Lost in Balkan Land"); released by Editura Sport-Turism in 1982, this volume included a portrait of Neagu, by 1672:

for a plan to undermine Goma's credibility abroad. Neagu was however involved in a move to protect Goma's ally,

1224:

novels. It established Neagu's reputation as a literary great, and was welcomed with an enthusiastic article by

1151:, Ion Mohreanu; the "tribal poem" of Mohreanu's rural society; and "some elements of a sociological epic". Poet 554: 5944: 5884: 5864: 2396: 2222: 1638: 776:

or an ultimately failed local variant. These contributions were delayed by Neagu's marginal involvement in the

1141:("The Angel Has Shouted"). According to Micu's summary, the narrative brings together scattered elements: the 5824: 2508:, which sought to restore the standards of communist-era dramas, as an explicit alternative to the New Wave. 2259: 1595: 1475: 1336: 391: 318: 716:, which they had to learn for their exams, but secretly trafficked in banned literature, including books by 5874: 5784: 5724: 2376: 1726: 1488: 899: 761: 558: 368:

and habitual drinker, Neagu had an on-and-off career in the press—in the 1960s, he was mainly an editor at

330: 2424:, registering the brand with Floarea Albastră publishers. This pitted him against the USR, which regarded 2266:, the previous chairman, into resigning). Such interpretations were partly confirmed by Sorescu's deputy, 2053:("Stories of the Road to Brăila"). It was similarly panned by Manolescu for its "excess" in detailing the 5799: 4369:, "Kilenc erdélyi várost vásároltam vissza Fănuș Neagutól (Részlet a szerző önéletrajzi regényéből)", in 2021:("Chair of Solitude"), whose title was a reference to a piece of furniture once used by an eunuch of the 1899: 1599: 1315:

Neagu's irreverent take on politics became more public during that stage of his career, especially after

1181: 1102:, who shared both his Bărăgan origin and his passion for "classical" storytelling. He also helped launch 326: 1028: 5869: 5854: 5774: 5565: 2774: 2523:) were quick to identify a "cabal". Neagu attacked Marcu as "that insane woman" during an interview in 2244: 1189: 956: 450: 890:

As recounted by Cosașu, a group of nonconformist young writers, including himself and Neagu (but also

406:, and continued to speak his mind about some of the regime's excesses. He was kept under watch by the 30: 5919: 4453: 2329:

as the female lead. Neagu himself made another appearance as an actor in the 1994 period-comedy film

2576:—as Chivu notes, these were no longer interesting, and interchangeable in content. In January 2005, 1401: 939: 498: 55: 5859: 4821:

Clara Mateș, "Prevenirea ca metodă de represiune a Securității. Mediul artă-cultură 1987–1989", in

2594: 1929:("The Blue Sled"), which reviewers of the day described as unsatisfactory. Neagu alone worked with 1586:." Voncu goes further, proposing that the "anarchic" novel has a purely superficial resemblance to 1391:

Teodorescu opines instead that Neagu had secured his protection by always being biased in favor of

1202: 984: 731: 617: 523: 197: 5632: 4762: 4247: 3620: 3259: 2792:

Neagu's adventures formed the basis of a 2003 book by his fellow novelist and drinking companion,

2286:, that he did not feel entirely adequate for this assignment. Iacoban believes that he was right: 2283: 1733:. Over the following months, Neagu intervened in the conflict tearing apart the USR: he supported 1602:, Lotreanu rates Neagu as "one of our most original writers". Re-reading the work in 2013, critic 1081: 677: 370: 4760:, "La Teatrul 'Nottara': Un spectacol sub semnul cuvîntului magic. O demonstrație înfrățită", in 1618:

In the mid-1970s, Neagu continued to test the regime's tolerance for dissent. He once approached

1546:

was not at all a novel, and merely had the "appearance of an epic writing." As Lotreanu puts it:

1459: 688: 653: 4230:

Horia Tabacu, "Eveniment. Dinu: 'Soția mea e ca un înger căruia Dumnezeu i-a luat aripile'", in

3416: 3387: 3241: 2609:, with its "small circulation"). Instead, he cultivated a relationship with the notabilities of 1999: 1939:, drawing praise in particular for his writing of the female lead role (assigned by Saizescu to 726: 2694: 1697: 1684:. These authors served to legitimize a nucleus of extreme national-communists—including Barbu, 1281: 1056:

had made the Bărgan look like a "postcard". Just months after, Neagu and Velea's other script,

844: 460: 1749: 1392: 411: 5465: 5450: 5168: 4955:, "Actualitate. Lovituri de forță ale Ministerului Culturii: Teatrul Național București", in 4936: 4780: 4685: 4511: 4493: 4432: 4348: 4185: 3967: 3949: 3931: 3868: 3481:

Irimie Străuț, "Mărturii despre 'obsedantul deceniu'. S-a stins doamna verbului blagian", in

3365: 3326: 3162: 3018: 2598: 2157: 1630: 1518: 1470:; the author himself appeared in it as a secondary character, Taliverde. At the time, he and 1368: 1265:("The Noise-making Team"), which first appeared in 1970, showed an entire family of starving 430: 2826:. Revisiting Neagu's potential influence in 2011, Turtureanu was skeptical, observing that: 2485: 1717:, meaning that "nobody will take action , for fear." One exception was the literary scholar 293: 5689: 5684: 2631: 1689: 1320: 871: 666: 538: 395: 338: 267: 217: 4808:

Maria Spătaru, "Construcții subversive în reportajul românesc din perioada comunistă", in

2431: 2179:, Neagu and Sorescu received awards "of encouragement" from Păunescu's new literary club, 1396: 1331:, whom they perceived as liable to clamp down on their free expression. Starting with the 1316: 1269:. Neagu had also produced a second and final collection of stories for children, the 1971 704:

Neagu rarely attended courses (with the exception of a lecture in aesthetics, provided by

526:, as he reportedly "made no difference". Aged eleven, he traveled to the local port city, 387: 8: 5227: 5193: 5067: 4823: 4717: 4130: 4048: 3679: 3468: 2511:

In mid-to-late 2001, the dispute between Neagu and younger talents, such as Rogozanu and

2405: 2299: 2209: 2104: 1960: 1522:—down to striving for the exact same number of pages and mentioning similar landmarks in 950:. The eponymous story, set during the acute drought of 1946, reports a conflict over the 823: 807: 773: 479:. His answers to criticism became increasingly violent; though made a full member of the 422: 147: 4128:

Mihai Fulger, "KINObservator. Divan despre alternativele la balcanismul mainstream", in

3863: 2797: 2770: 2472:

in June 2000: he had withdrawn his complaint against his ministry-appointed replacement

2392: 2095:, within earshot of Ceaușescu's villa, possibly because he had "permission from above". 1258: 1176: 709: 403: 5804: 5606: 5396: 4889: 4371: 2646: 2563: 2435:. In January 2000, the latter hosted his article on the Hungarian–Romanian disputes in 1527: 1467: 1266: 971: 609: 510: 506: 314: 157: 63: 5500: 5372:"Timp liber. Evenimente în țară. Casa lui Fănuș Neagu, reabilitată de muzeografi", in 2808: 2766: 2622:. The latter institution also hosts his bust, done by Lucian Irimescu. A final novel, 2559: 1886:". Over those months, the two screenwriters were also working with another filmmaker, 1868:). Critic Alice Mănoiu gave the result a mixed review, noting that its over-the-top, " 1745: 1340: 696: 5618: 5590: 5569: 5541: 5520: 5374: 5211: 5121: 5086: 4859: 4795: 4775: 4506: 4412: 4232: 4115: 4004: 3583: 3101: 2913: 2589: 2501: 2191:'s interview with Neagu, in which the latter argued that Romania's wartime dictator, 1995: 1808: 1804: 1790: 1471: 1406: 1303: 1217: 1164: 943: 840: 621: 531: 375: 342: 212: 167: 162: 4604: 4400: 3405: 2911:

Mihnea-Petre Pârvu, Ionuț Fantaziu, "Ultimul boem al veacului trecut s-a stins", in

2303: 1781: 1703:

At around the same time, the novelist involved himself in a publicized polemic with

1673: 811: 740: 5557: 2686: 2326: 2294:

During his tenure, Neagu strove to produce a play about the life and times of poet

2237: 2184: 2087: 2010: 1919: 1845: 1681: 1622: 1591: 1513: 975: 848: 713: 613: 480: 207: 2263: 2225:

in-laws, and suggested that Paler, a "spy of communism", should have been jailed.

951: 601: 502: 59: 5529: 5503:, "Radiografia unui interviu. 'Ion Iliescu, activist fermecător și luminat'", in 4366: 2730: 2666: 2585: 2558:("Mrs Dracula's Lover"). The narrative is essentially a posthumous libel against 2497: 2436: 2092: 1795: 1626: 1564: 1532: 1530:

as a "radioactive" companion to Caragiale's "chemically stable" writing (or what

1250: 1242: 1210: 1064:("A Time for Snows"). The same year, Neagu and Lamotescu-Ornaru co-wrote a play, 1048: 947: 789: 605: 434: 383: 334: 272: 2734: 2706: 2453:

daily, and Neagu took over (heading an editorial team that also included Voncu,

2167: 1865: 1159:

He brings in all sort of things that please him in 20th-century literature (the

1106:'s literary career, though he may never have been aware of this—he published in 682:. He himself never engaged in open resistance, but, as noted by literary critic 429:". He was additionally targeted for his politics, in particular after joining a 2758: 2738: 2690: 2520: 2462: 2440: 2338: 2295: 2279: 2214: 1940: 1857: 1677: 1669: 1654: 1568: 1427: 1399:. During the Ceaușescu era, Neagu was honored regularly, being anthologized in 1352: 1099: 1044: 1006: 852: 836: 835:, these writings still adhered to the formal requirements, with depictions of " 734:, had him and Băieșu as special countryside reporters. His colleagues included 641: 625: 581: 473: 374:, whereby he encouraged younger authors; with time, he specialized in covering 227: 5662: 5646: 2762: 2196: 1895: 1633:

poet. The two got along after Szőcs confessed that Hungarians still pined for

1556: 1277: 780:. Sympathetic to its demands, Neagu reportedly listened in as student leaders 756:

magazine. He had already impressed his universe colleagues by reading out his

5678: 5614: 5480: 5032: 4908: 4408: 4200: 4163: 4148: 4028:. 'Un scriitor important lipsit de ideologie literară e de neînchipuit'", in 3983:, "Atelier. Amintiri secrete: 'Acest Pamfil Șeicaru al lumii proletare'", in 3722: 2726: 2665:

and his heart disease. Around the same time, the novelist was diagnosed with

2334: 2192: 2119: 2065: 2022: 1922:'s performance in the title role. The same three-man team worked on the 1987 1861: 1849: 1841: 1827: 1693: 1381: 1143: 1090: 990: 891: 769: 717: 612:, and in part by the local tradition—specifically, through his readings from 577: 346: 277: 187: 141: 2243:

From December 1993, and down to 1996, the novelist was also chairman of the

1915: 1418: 390:, who had emerged as communist leader in 1965: though welcoming Ceaușescu's 5627: 5537: 5496: 5423: 5307: 4448: 4017: 3926: 3562: 2815: 2778: 2733:. In addition, the writer was survived by his sister (who had relocated to 2702: 2682: 2417: 2388: 2275: 2137: 2115: 1975: 1930: 1923: 1914:, the story of a World War II widow (based on a real-life Romani lady from 1887: 1634: 1583: 1509: 1299: 1229: 1103: 895: 859: 573: 519: 449:. In the 1990s and early 2000s, he generated controversy as manager of the 252: 4430:, "Actualitatea. Din nou, despre fraudarea instituțiilor de validare", in 4046:, "'Dreptatea nu are putere'. Dosare închise, dosare redeschise (II)", in 2282:. Neagu confessed to Iacoban, who had served in a similar position at the 2247:(TNB). The latter appointment was given a negative coverage by journalist 802:

and other short-prose samples finally appeared in 1959, bound together as

546: 5550:

Constantin Gherghinoiu, "Din cartea cu prieteni. Fănuș și eroii săi", in

5463:

Alexandra Vrănceanu, "Cartea de proză. Metaforă de dragul metaforei", in

5166:

Cronicar, "Revista revistelor. După alegerile din Republica Moldova", in

4146:

Petru Ursache, "Dosar. Cazul Paul Goma (III). Inedit: Deceniul Goma", in

4021: 3962: 3748:

Eva Sîrbu, "Filmul — artă contemporană. De vorbă cu Lucian Pintilie", in

3575: 2678: 2674: 2654: 2610: 2229: 2204: 2200: 2054: 1571:, veering into what Steinhardt describes as the "most aggressive slang". 1505: 1450: 1332: 1285: 1193: 765: 705: 438: 399: 365: 354: 130: 5622: 5534:

Ceaușescu and the Securitate: Coercion and Dissent in Romania, 1965–1989

4621:. Un sat contemporan care se modernizează trăind și drame 'eterne'", in 3770: 3660:

Viorel Coman, "Fănuș Neagu și 'fericirea nepermisă oamenilor mari'", in

2353: 2313:("A Poker Game"), was printed in 1995, alongside and a final version of 2136:

magazine described him as the PDAR's third most important figure, after

1947:

was adapted into an experimental drama film by Adrian Istrătescu Lener.

1037:, published in 1965. He had debuted as a screenwriter in 1964, when his 572:

By his own account, Neagu was for a while a semi-professional player of

5343: 5269: 5153:

Dumitru Manolăchescu, "Viața pe scurt. Fănuș Neagu și vinul vechi", in

5140: 5009: 4994: 4957: 4475: 3985: 3520: 2670: 2420:

as the editor-in-chief. He continued to serve in a similar position at

1870: 1658: 1377: 793: 589: 445:, Neagu became a committed supporter (and alleged client) of Iliescu's 407: 394:(both in replicating some of its assumptions, including the revival of 329:. His short stories of the period pushed back against the influence of 192: 152: 5505: 4735: 4565: 4524:

Dan Nasta, "Tribuna regizorului. Din experiența teatrului poetic", in

4030: 3836: 1709: 927:("A Summer of Stupor", 1967), and a volume specifically for children, 810:(in the "toiling peasants' collection"), and carried illustrations by 4715:

Ioan Holban, "40 de ani de literatură nouă. Șansa prozei scurte", in

2662: 2161: 2079: 1991: 1704: 1607:"perfectly resembl a dog whose nape is being bitten by another dog." 1423: 1201:

had an "uncensored" form, attacking the fundamental doctrines of the

1148: 998: 781: 721: 592:

team. During this time, he lived "more clandestinely than not", with

566: 550: 222: 202: 79: 2757:

Upon his arrival on the literary scene, young Neagu was welcomed by

2504:. In 2003, he and Blaier granted funds to Gheorghe Preda's project, 1327:), to stage a public protest against communist potentate and writer 962:

Oprea and other critics were not welcoming of another piece, called

855:), as well as a personal touch—namely, the "poetry of the Bărăgan". 649: 585: 580:, first in Bucharest (where his teachers included a published poet, 527: 441:'s post-revolutionary administration. After being active within the 5408:

Anca Ungurenuș, "Scurte știri. Fănuș Neagu a plecat la ceruri", in

4660:

Magda Mihăilescu, "Pe ecrane: Un film despre tinerețe și dragoste.

4097:

Mircea Radu Iacoban, "Cronica literelor. Instituția amiciției", in

3099:

Ionuț Stănescu, "Casa memorială 'Fănuș Neagu', deschisă ieri ", in

2572: 2540:

The academician has managed to show, yet again, through his latest

2342: 2122:. Immediately after the Revolution, he was made editor-in-chief of 1523: 1125: 562: 247: 5599:

Tudor Nedelcea, "Din cartea cu prieteni. Maestrul și oltenii", in

4569:, Vol. XXXVI, Issue 6, February 1987, p. 14. See also Micu, p. 561 3257:, "Există o generație Labiș? Povestind, răzleț, 'În treacăt'", in 4992:

Lucian Gheorghiu, "Fănuș Neagu îl reabilitează pe Ion Coman", in

4874: 2714: 2626:("European Sunset, Asian Sunrise") and a first volume of Neagu's 2619: 2614: 2132: 1785: 1538: 1221: 1160: 819: 561:. Neagu had positive memories of his personal encounter with the 514: 350: 242: 135: 5305:

Cezar-Paul Bădescu, "Cultura pe sticlă. Beție pe banii mei", in

1910:

Again alongside Lamotescu-Ornaru, Neagu had finished writing on

1288:, accusing Barbu of having plagiarized in his historical novel, 1241:("Summer Days"). Released in May 1968 with a cast that included 806:("It Was Snowing in the Bărăgan"). This volume was published at 542: 453:, as well as editor in chief of several publications, including 5392:

Scriitorul Fănuș Neagu, înmormântat, astăzi, în Cimitirul Bellu

5270:

Litere, Arte, Idei. Supliment de Cultură al Ziarului Cotidianul

4469:, "Radiografia comunismului. O carte în dezbatere: M. Nițescu, 3986:

Litere, Arte, Idei. Supliment de Cultură al Ziarului Cotidianul

3081:

Nicolae Turtureanu, "Cronica literelor. O vârstă a prozei", in

2058: 1560: 1197:

style." In parallel, he circulated a legend according to which

1071:

In 1965, Neagu inspired Băieșu to establish the youth magazine

815: 426: 414:-supporting journalist, he endeared himself to the overarching 232: 182: 177: 172: 5134:

Ana Balea, Cristina Poenaru, Tudor Călin Zarojanu, "Scandalul

4934:

Cronicar, "Revista revistelor. Dl Fănuș Neagu are opinii", in

2636:

s-a diluat într-o clasă de semidocți, de paparude și de milogi

2114:, launched in 1991 as a collaboration between Neagu, Tomozei, 1343:

were bitterly fighting each other over who would take over as

5653: 2577: 2025:. The book was presented as the third part of a cycle, after 645: 237: 4563:

Tania Radu, "Interferențe culturale. Un autor, o carte", in

3560:] unui extremist de centru. Între noi, narcisiacii", in 1807:). In 1986, Neagu and Puiu Brăileanu completed a version of 518:

believe them—for instance, he circulated the claim that his

5248: 2650: 1987: 760:("Red Rooster"), which also usurped the literary canons of 4491:, "Morală și literatură sau despre un pseudo-pamflet", in 4217:: Cine e de vină cînd o poveste de dragoste eșuează?", in 3866:, "Neconvenționale. Premiile literare: Îngeri cu sex", in 1768:. Neagu persevered as a playwright, and in early 1980 his 1760:

had published Neagu's volume of biographical profiles, as

1433:

Neagu's football-inspired pieces appeared as two volumes:

1113: 1110:

a short story that Cristoiu had penned under a pseudonym.

874:, managed to infuriate the "dogmatic critics". One story, 16:

Romanian novelist, playwright and screenwriter (1932–2011)

5187: 4537:

Mircea Ghițulescu, "Teatru. O piesă neconvențională", in

3556: 772:". They disagree as to whether he was a precursor of the 4295:

Ion Lotreanu, "Lumea văzută printr-un geam colorat", in

4198:

Călin Căliman, "Film. Radu Gabrea în decembrie '89", in

2325:("The House of Dreams"), with Cărămăzan as director and 2086:("Stories of Elsewhere and Orange Travels"). It bridged 1982:("Poems Sprouting in the Grass"), and had another play, 989:, was reconnecting with the interwar trends launched by 557:

chased out the Wehrmacht, and opened the country up for

553:

soldiers who "fed me all the way there". Shortly after,

5509:, Vol. LXXXI, Issue 30, July–August 1992, pp. 4–6. 5084:

interviul elogios despre piesa 'Marea năpîrlire'?", in

3692:"Ce vom citi. Traduceri din literatura universală", in 1500:

was replicated, then surpassed, by Neagu's 1976 novel,

1358: 5448:

Dan Mircea Cipariu, "Un ardelean din Chiojdeanca", in

5065:

Valerian Sava, "Falsa alternativă la Noul Cinema", in

3720:

Călin Căliman, "Film. Două aniversări de aprilie", in

3582:, Vol. I, pp. 357–358. Bucharest: Editura Art, 2014. 2371:("The Great Shedding"), a political comedy penned by 1590:, and is instead based on the "more modest" works of 1417:

from Neagu's screenplay, and unusually starring poet

2781:, which details her chance encounter with Neagu and 2367:

During 1996, Neagu was implicated in a scandal over

2199:

of 1941, and produced allegations against Romania's

2078:

collected his final volume of football sketches and

1485:, which they published in two volumes (1976, 1984). 3673:Const. Sîrbu, "Carnet cultural. Un reușit număr al 1542:). In a 1976 chronicle, Ion Lotreanu suggests that 636:According to a biographical note penned in 2021 by 5636:, Vol. XXXIV, Issue 3, March 1981, pp. 31–41. 3965:, "Voci din public. Scrisoare către redacție", in 3160:Cronicar, "Fănuș Neagu și Brăila de altădată", in 1594:. He sees the work as elevated by its secondary, " 1167:' phrasing), and calmly constructs that brilliant 1085:. His colleague for this entire interval was poet 1005:was similar, in both themes and overall value, to 938:drew attention from critics such as Al. Oprea and 345:prose, which integrated him into the tradition of 5368: 5366: 5311:, Vol. II, Issue 54, January–February 2005, p. 16 4778:, "Actualitatea literară. Proză și pitoresc", in 1822:In 1981, Neagu put out a collection of articles, 748:Also in 1954, Neagu published his debut novella, 5880:Democratic Agrarian Party of Romania politicians 5795:20th-century Romanian dramatists and playwrights 5676: 5098: 5096: 4921:Péter Domokos, "Figyelő. Tévécsatorna. TVR", in 1395:, which was sponsored by the Securitate and the 410:secret police, but also enjoyed protection—as a 361:, which appeared, to critical acclaim, in 1968. 5735:Romanian newspaper reporters and correspondents 4683:Ioana Creangă, "Cinema. Spectacol popular", in 4471:Sub zodia proletcultismului. Dialectica puterii 4346:, "Cronica literară. Caietele Princepelui", in 4161:Marian Victor Buciu, "Modele. Eul creator", in 3231: 3229: 3227: 2447:gave up his position as managerial director of 2387:, while also attacking another anti-communist, 2098: 1950:A number of Neagu's travel stories appeared as 1764:("The Book of Friends"), with illustrations by 5955:Chairpersons of the National Theatre Bucharest 5583:Dicționarul general al literaturii române. L/O 5363: 5239: 5237: 5045:Ioan Lazăr, "Pe ecrane, un nou film românesc. 5026:, 8 January 1992, p. 5; Călin Căliman, "Film. 4509:, "Ochiul magic. Cavalerii Mesei Rotunde", in 4093: 4091: 4089: 4087: 4085: 3929:, "Mișcarea literară 1968. Romanul total", in 3900: 3898: 3896: 3356: 3324:, "Restitutio. Zece ani fără Fănuș Neagu", in 2613:. This began in June 2001, when Jiul Hotel of 2005:In 1987, Neagu was working on a re-release of 1668:The Securitate proposed to use both Neagu and 931:("The White Horses of Bucharest Town", 1967). 5484:, Vol. XII, Issues 45–46, November 2002, p. 6 5289:M. F., "Fănuș Neagu a încetat din viață", in 5285: 5283: 5281: 5279: 5093: 4706:, Vol. XXIII, Issue 10, October 1985, pp. 8–9 4444: 4442: 4339: 4337: 4335: 4333: 4331: 4329: 4327: 4325: 4142: 4140: 3610: 3608: 3606: 3604: 3354: 3352: 3350: 3348: 3346: 3344: 3342: 3340: 3338: 3336: 3317: 3315: 3281: 3279: 3277: 3275: 3273: 3271: 3269: 3180: 3178: 3176: 3174: 3172: 3009: 3007: 3005: 3003: 3001: 2999: 2997: 2995: 2993: 2991: 2989: 2987: 2985: 2983: 2981: 2979: 2977: 2975: 2973: 2971: 2969: 2967: 2965: 2963: 2961: 2959: 2957: 2955: 2953: 2951: 2949: 2947: 2945: 2943: 2549: 2009:—this time as a play, commissioned to him by 1905: 534:as an introduction to the "great adventure". 5430:, Vol. XIX, Issue 222, September 2005, p. 66 5301: 5299: 5260: 5258: 4887:István Barabás, "Új élet a fővárosban?", in 4766:, Vol. XXVIII, Issue 11, March 1985, pp. 5–6 3716: 3714: 3712: 3710: 3708: 3706: 3704: 3511: 3313: 3311: 3309: 3307: 3305: 3303: 3301: 3299: 3297: 3295: 3224: 2941: 2939: 2937: 2935: 2933: 2931: 2929: 2927: 2925: 2923: 2745:appeared posthumously, in 2014, care of the 2597:, suggesting that the text was veering into 2064:In 1985, Neagu hissed off the junior writer 788:voiced their support for the restoration of 712:. The two of them still paid lip service cu 5478:Geo Vasile, "Narațiunea în clarobscur", in 5360:, Vol. XXII, Issue 254, May 2008, pp. 40–41 5234: 5061: 5059: 4837: 4835: 4833: 4291: 4289: 4287: 4245:Ion Rotaru, "Cîteva romane 'cu cheie'", in 4109: 4107: 4082: 3997: 3995: 3893: 3859: 3857: 3855: 3726:, Vol. XII, Issue 16, April 2002, pp. 12–13 3614:Al. Oprea, "Cronica literară. Fănuș Neagu, 3509: 3507: 3505: 3503: 3501: 3499: 3497: 3495: 3493: 3491: 3430: 3428: 3426: 2853: 2851: 2849: 2847: 2845: 2843: 2251:. She described his as a political move by 2228:Neagu was overall a committed supporter of 1990:" shouting. It was produced for Nottara by 1986:, titled after the Romanian equivalent of " 1610: 5276: 5246:, "Editorial. Mlaștina și mrejele ei", in 4439: 4322: 4268: 4266: 4204:, Vol. XXIV, Issue 2, February 2013, p. 33 4152:, Vol. XXIV, Issue 10, October 2013, p. 21 4137: 4034:, Vol. XXXI, Issue 40, October 1982, p. 26 3989:, Vol. VIII, Issue 41, November 2003, p. 5 3830: 3828: 3809: 3807: 3805: 3803: 3801: 3799: 3797: 3791:, Vol. III, Issue 11, November 1965, p. 11 3601: 3459: 3457: 3455: 3453: 3451: 3449: 3447: 3333: 3266: 3217: 3215: 3213: 3211: 3209: 3207: 3205: 3203: 3169: 3077: 3075: 3073: 3071: 3069: 3067: 3065: 3063: 2907: 2905: 2903: 2901: 2899: 2897: 2895: 2893: 2891: 2889: 2887: 2649:. In early 2008, Neagu, who had developed 2341:); in it, he was cast as a heavy-drinking 1994:, and was carried by the two lead actors, 1439:Cronici afurisite sau Poeme cîntate aiurea 1422:Securitate in its simmering conflict with 898:and Țic) was unexpectedly inducted by the 29: 5705:20th-century Romanian short story writers 5296: 5255: 5231:, Issue 281, August–September 2010, p. 22 4948: 4946: 4878:, Vol. III, Issue 49, December 1991, p. 4 4739:, Vol. XXXIV, Issue 17, April 1985, p. 15 4674:, Vol. XXV, Issue 9, September 1987, p. 3 4634:Gherghinoiu, p. 25. See also Micu, p. 559 4457:, Vol. XXI, Issue 245, August 1991, p. 15 4026:Flacăra pentru Minte, Inimă și Literatură 3760: 3758: 3701: 3292: 3047: 3045: 3043: 3041: 2920: 2885: 2883: 2881: 2879: 2877: 2875: 2873: 2871: 2869: 2867: 497:Ștefan Neagu was born on 5 April 1932 at 5273:, Vol. VII, Issue 40, October 2002, p. 1 5115:Liliana Levința, "A apărut săptămînalul 5056: 4830: 4554:, Vol. XV, Issue 51, December 1980, p. 8 4479:, Vol. VI, Issue 41, October 1995, p. 15 4362: 4360: 4358: 4284: 4104: 3992: 3852: 3488: 3423: 3142:, Vol. XXX, Issue 100, May 2001, pp. 8–9 3134: 3132: 3130: 3128: 3126: 3124: 3122: 3120: 3095: 3093: 3091: 2840: 2166: 1739: 1487: 1124: 911:was followed by five other collections: 695: 5950:Titular members of the Romanian Academy 4974:, Vol. III, Issue 3, January 1994, p. 4 4733:, "Cărți de proză. Stilul euforic", in 4541:, Vol. XXX, Issue 8, August 1979, p. 58 4263: 4221:, Vol. XIII, Issue 5, May 1975, pp. 8–9 3947:, "La o nouă lectură. Eugen Barbu", in 3840:, Vol. XXXII, Issue 21, May 1983, p. 13 3825: 3794: 3735:"Cinema estival. În plină vară...", in 3624:, Vol. VI, Issue 3, February 1963, p. 2 3472:, Issue 157, February–March 2003, p. 10 3444: 3200: 3060: 3016:, "La o nouă lectură. Fănuș Neagu", in 2359: 1466:("A Midnight Home"), filmed in 1975 by 970:, the standards are closer to those of 549:. He arrived there by train, alongside 5960:Deaths from prostate cancer in Romania 5677: 4961:, Vol. V, Issue 1, January 1994, p. 14 4943: 4586:, Vol. XIX, Issue 5, May 1981, pp. 6–7 3755: 3518:, "Glorii de mucava: Fănuș Neagu", in 3188:, Vol. VII, Issue 16, April 1973, p. 7 3038: 2864: 1380:partly based on political lampoons by 631: 5426:, "Iubirile Ninei Cassian (III)", in 4651:, Vol. XXII, Issue 6, June 1984, p. 9 4625:, Vol. XX, Issue 3, March 1982, p. 11 4451:, "Exerciții de despărțire (XV)", in 4355: 4301:, Vol. XX, Issue 13, March 1976, p. 4 3752:, Vol. III, Issue 7, July 1965, p. 19 3739:, Vol. III, Issue 7, July 1965, p. 18 3566:, Vol. II, Issue 73, June 2005, p. 16 3117: 3088: 2661:, reportedly as a way to monitor his 1257:("The Fountain"), put out in 1974 by 1249:("In the Moon's Glow"), appearing at 5895:20th-century Romanian civil servants 4925:, Vol. II, Issue 27, July 1991, p. 2 4473:. Cartea albă a lui Nițescu, I", in 4101:, Vol. XLVI, Issue 4, May 2011, p. 8 3197:Gherghinoiu, pp. 23–24; Micu, p. 558 3085:, Vol. XLVI, Issue 4, May 2011, p. 8 2084:Întâmplări aiurea și călătorii oranj 1721:, intervening through an article in 1351:that Neagu had secured backing from 1319:had emerged as communist leader and 839:" and borrowings from Sadoveanu and 5519:. Bucharest: Editura Semne, 2009. 5013:, Vol. V, Issue 23, June 1994, p. 7 4970:"Proletkult (nemzeti) program", in 4721:, Vol. XC, Issue 6, June 1984, p. 3 4387:, "O carte închinată lui Goma", in 4183:Radu Gabrea. Lumea unui boier", in 3698:, 5 August 1965, p. 2; Micu, p. 561 3441:, Vol. 30, Issue 7, July 1993, p. 7 3235:C. Vasile, "Ei au scris cronici în 2657:, checked himself into Bucharest's 2624:Asfințit de Europă, Răsărit de Asie 2150:1990 ethnic clashes in Transylvania 1437:("Carnival Chronicles", 1972), and 1413:("Goodbye, My Dear Nela"), done by 1280:, where he was stranded during the 1018:magazine featured a short story by 13: 5925:Romanian male table tennis players 5700:21st-century Romanian male writers 5695:20th-century Romanian male writers 5181:"InfoLiterar. Gheorghe Grigurcu — 4550:Gh. Apostol, "Cartea străină", in 3834:Fănuș Neagu, "La Pomul Verde", in 2769:). Neagu was much admired by poet 2500:and by anyone associated with the 2309:Neagu's new selection of stories, 1772:("Wooden Seashell") was staged by 1492:With daughter Anita Ruxandra, 1972 1474:were collaborating on translating 402:), he was resentful of the entire 14: 5976: 5930:Romanian men's volleyball players 5710:Romanian male short story writers 5640: 5267:, "Forțe vechi, elanuri noi", in 4052:, Issue 254, February 2010, p. 17 3764:Călin Căliman, "Cronica filmului 2262:(and who had allegedly pressured 2152:, he was contributing to Barbu's 1129:Neagu's portrait on the cover of 778:youth opposition movement of 1956 5780:20th-century Romanian memoirists 5603:, Issue 10/2007, pp. 17–19. 5554:, Issue 10/2007, pp. 23–25. 5472: 5457: 5442: 5433: 5417: 5402: 5381: 5350: 5335: 5323: 5314: 5218: 5200: 5175: 5160: 5147: 5128: 5109: 5074: 5071:, Issue 138, October 2007, p. 23 5039: 5016: 5001: 4986: 4977: 4964: 4928: 4915: 4896: 4881: 4866: 4815: 4802: 4787: 4769: 4751: 4742: 4724: 4167:, Vol. XXIX, Issue 7, 2018, p. 6 3414:. În miezul unui ev aprins", in 3363:, "Amintiri cu Fănuș Neagu", in 1933:on the lyrical, "savory comedy" 1502:Frumoșii nebuni ai marilor orașe 700:1959 photograph of Neagu smoking 380:Frumoșii nebuni ai marilor orașe 292: 5905:Romanian people of World War II 5720:21st-century Romanian novelists 5715:20th-century Romanian novelists 5585:, pp. 558–562. Bucharest: 5022:"Premiere cinematografice", in 4709: 4692: 4677: 4654: 4637: 4628: 4611: 4589: 4572: 4557: 4544: 4531: 4518: 4500: 4482: 4460: 4421: 4394: 4378: 4313: 4304: 4275: 4254: 4239: 4224: 4207: 4192: 4170: 4155: 4134:, Issue 379, August 2012, p. 19 4122: 4073: 4064: 4055: 4037: 4011: 3974: 3956: 3938: 3920: 3911: 3884: 3875: 3843: 3816: 3777: 3742: 3729: 3686: 3667: 3654: 3645: 3636: 3627: 3592: 3569: 3545: 3536: 3527: 3475: 3394: 3372: 3248: 3191: 3154: 3145: 2468:Neagu had lost his position at 2075:far-reaching austerity policies 2045:published a companion piece to 885: 5940:History of FC Dinamo București 5915:University of Bucharest alumni 5910:Child soldiers in World War II 5830:Bulgarian–Romanian translators 4857:, un nou oficios al PDSR", in 3108: 3025: 2321:was adapted into a 1992 film, 2258:s Sorescu, who was serving as 2195:, was not responsible for the 2130:(PDAR). A political column in 1526:. It is described by essayist 1009:'s late-romantic fairy tales. 929:Caii albi din orașul București 923:("The Deserted Cabin", 1964), 752:("An Enemy to the World"), in 1: 5490: 4698:Valerian Sava, "În premieră. 3822:Arion & Păunescu, pp. 4–5 2747:Museum of Romanian Literature 2126:daily, which represented the 2057:and also for its "linguistic 1776:, with a cast which included 1001:; overall, he suggested that 915:("Afternoon Napping", 1960), 730:. This daily, put out by the 492: 5850:Spanish–Romanian translators 5845:Russian–Romanian translators 5835:English–Romanian translators 5668:, TVR 1 broadcast (undated) 5587:Editura Univers Enciclopedic 4827:, Issue 16, June 2005, p. 11 4578:Alice Mănoiu, "În premieră. 3417:Almanah Scînteia Tineretului 3388:Almanah Scînteia Tineretului 3242:Almanah Scînteia Tineretului 2383:propagandized for Iliescu's 2099:Regime change and TNB tenure 1276:Neagu's travels took him to 978:to suggest that Neagu, like 919:("Beyond the Sands", 1962), 487: 416:Ministry of Internal Affairs 7: 5840:French–Romanian translators 5815:Romanian male screenwriters 5790:20th-century Romanian poets 5760:Romanian children's writers 5630:, "Proza unui deceniu", in 5197:, Issue 17, June 2000, p. 9 4608:, Issue 545, May 1981, p. 4 4598:, "Ecran. Cronica de film. 2605:still held by Neagu was at 2185:national television network 1830:, on another film project, 1692:—and their theories about " 1453:, in 1974. In 2017, critic 1182:de-Stalinization in Romania 423:revolution of December 1989 398:, and in not resisting its 392:national-communist ideology 353:(announcing later works by 10: 5981: 5810:20th-century screenwriters 5755:Romanian newspaper editors 5750:Romanian magazine founders 5356:"Scurt. Cancanuri...", in 4079:Arion & Păunescu, p. 6 3783:Val S. Deleanu, "Șantier. 3664:, Issue 10/2007, pp. 38–40 3466:, "Fănuș, personajul", in 3369:, Issue 13/2002, pp. 12–13 2550:Final activities and death 2532:by Neagu, appeared in his 2245:National Theater Bucharest 2051:Povești din drumul Brăilei 1906:Under late-stage communism 1894:("Rainbow Balloons")—with 1282:massive floods of May 1970 1043:was picked up by director 451:National Theater Bucharest 5965:Burials at Bellu Cemetery 5900:People from Brăila County 5890:Euroscepticism in Romania 5770:Romanian male biographers 5745:Romanian magazine editors 5053:, 30 September 1995, p. 3 4872:"Revista-revistelor", in 4799:, 15 September 1995, p. 3 4643:Eva Sîrbu, "În premieră. 4528:, Issue 3/1980, pp. 40–41 4008:, 11 June 2019, pp. 14–15 3410:, "Arhiva sentimentală a 3381:, "Arhiva sentimentală a 3022:, Issue 13/2002, pp. 9–10 2752: 2128:Democratic Agrarian Party 1936:Sosesc păsările călătoare 1838:1940s resistance movement 1836:. It was inspired by the 1175:In a 1996 piece, scholar 955:at communists during the 900:Writers' Union of Romania 652:. He had enlisted at the 443:Democratic Agrarian Party 291: 286: 260: 124: 116: 86: 69: 40: 28: 21: 5820:20th-century translators 5765:Romanian fantasy writers 5215:, 11 October 2001, p. 20 5144:, 13 February 1998, p. 8 5047:Terente, regele bălților 4863:, 13 February 2001, p. 6 4812:, Issues 7–8/2010, p. 42 4667:Informația Bucureștiului 4215:Casa de la miezul nopții 3695:Informația Bucureștiului 3683:, 5 September 1963, p. 2 3554:, "Din vieața [ 3524:, 2 December 2004, p. 17 3385:. Idilic sau nu...", in 3054:Informația Bucureștiului 2834: 2349:Terente, regele bălților 2315:Casa de la miezul nopții 2007:Casa de la miezul nopții 1464:Casa de la miezul nopții 1329:Dumitru Popescu-Dumnezeu 1203:Romanian Communist Party 946:and from the staples of 732:Union of Communist Youth 618:George Mihail Zamfirescu 5935:Romanian schoolteachers 5740:Romanian travel writers 5414:, 28–29 May 2011, p. 11 5157:, 13 January 2001, p. 1 4972:Média. Heti Sajtószemle 4902:"Panoptikon. Neroziile 4236:, 9 December 2011, p. 4 3289:, 20 October 2006, p. 6 3057:, 7 February 1987, p. 5 2861:, 28 October 2004, p. 4 2582:Amantul doamnei Dracula 2556:Amantul doamnei Dracula 2401:O corabie spre Bethleem 2217:. The staff writers at 1943:). Also that year, his 654:University of Bucharest 505:, in what was then the 5730:Romanian sportswriters 5611:Incertitudini literare 5469:, Issue 41/1991, p. 11 5454:, Issue 21/2013, p. 13 4689:, Issue 14/1985, p. 17 4497:, Issue 26/1980, p. 11 4407:, p. 37. Cluj-Napoca: 4405:În cunoștință de cauză 4319:Steinhardt, pp. 99–100 3953:, Issue 33/2002, p. 10 3908:, 3 October 1995, p. 2 3642:Lovinescu, pp. 262–264 3184:"Carte de vizită", in 3166:, Issue 19/2009, p. 32 3151:Gherghinoiu, pp. 24–25 2917:, 25 May 2011, pp. 4–5 2832: 2743:Jurnal cu fața ascunsă 2723: 2628:Jurnal cu fața ascunsă 2547: 2429:newspapers, including 2292: 2172: 2144:, also describing his 2039: 1980:Poeme răsărite-n iarbă 1890:, resulting in 1982's 1884:anti-fascist combatant 1753: 1600:Gabriel García Márquez 1553: 1493: 1402:Biblioteca pentru toți 1313: 1190:Danube–Black Sea Canal 1173: 1134: 940:Ovid S. Crohmălniceanu 845:Constantin Sandu-Aldea 822:, and elements of the 701: 437:caucus that supported 5945:Censorship in Romania 5885:Romanian nationalists 5865:Magic realism writers 5666:featuring Fănuș Neagu 5650:featuring Fănuș Neagu 5581:, "Neagu, Fănuș", in 5439:Cernescu, pp. 148–149 5347:, 2 August 2006, p. 7 5252:, Issue 26/2000, p. 1 5172:, Issue 9/2001, p. 24 5125:, 19 March 1996, p. 6 5090:, 14 March 1996, p. 7 4998:, 15 March 1994, p. 1 4940:, Issue 4/1992, p. 24 4912:, Issue 43/1991, p. 8 4784:, Issue 42/1989, p. 9 4515:, Issue 15/1990, p. 2 4436:, Issue 26/2017, p. 3 4352:, Issue 20/2013, p. 7 4281:Steinhardt, pp. 96–99 4189:, Issue 8/2017, p. 23 4177:Marina Constantinescu 3971:, Issue 16/1970, p. 2 3935:, Issue 11/1968, p. 1 3917:Deletant, pp. 177–178 3872:, Issue 25/1996, p. 7 3485:, 14 April 1993, p. 4 3330:, Issue 24/2021, p. 7 2828: 2783:Dan Claudiu Tănăsescu 2719: 2538: 2527:. Literary columnist 2397:Democratic Convention 2377:National Theater Cluj 2337:from a screenplay by 2288: 2284:National Theater Iași 2170: 2158:Greater Romania Party 2035: 1743: 1548: 1519:Craii de Curtea-Veche 1512:and closely mirrored 1491: 1455:Marina Constantinescu 1376:itself. Crafted into 1359:Football writing and 1308: 1273:("Trembling House"). 1157: 1128: 1024:Armando López Salinas 699: 431:left-wing nationalist 333:, relying instead on 198:children's literature 5825:Romanian translators 5378:, 2 July 2011, p. 14 5291:Renașterea Bănățeană 5036:, Issue 7/1992, p. 6 4893:, 8 April 1990, p. 1 4391:, Issue 4/2012, p. 3 3906:Renașterea Bănățeană 3881:Lovinescu, pp. 11–12 3412:Scînteii tineretului 3383:Scînteii tineretului 3237:Scînteia tineretului 2729:at the USR house on 2632:Romanian nationalism 2593:to the depiction of 2068:, who had secured a 2019:Scaunul singurătății 1803:(and illustrated by 1758:Editura Sport-Turism 1690:Corneliu Vadim Tudor 1460:Directors' Fortnight 1271:Casa care se leagănă 872:Dumitru Radu Popescu 727:Scînteia Tineretului 658:censorship apparatus 539:Romanian Land Forces 218:political journalism 5875:Romanian dissidents 5785:Romanian memoirists 5725:Romanian columnists 5399:report, 26 May 2011 5320:Nedelcea, pp. 17–18 5293:, 25 May 2011, p. 2 5228:Observator Cultural 5194:Observator Cultural 5106:, 23 May 1997, p. 9 5068:Observator Cultural 5051:Cuvîntul Libertății 4890:Romániai Magyar Szó 4824:Observator Cultural 4718:Convorbiri Literare 4619:Baloane de curcubeu 4375:, 12 May 1990, p. 5 4372:Romániai Magyar Szó 4260:Zaciu (1981), p. 36 4131:Observator Cultural 4119:, 2 July 2011, p. 9 4049:Observator Cultural 3774:, 11 May 1968, p. 5 3616:Dincolo de nisipuri 3542:Zaciu (1981), p. 35 3516:Cristian Teodorescu 3469:Observator Cultural 3140:Opinia Studențească 3105:, 25 May 2011, p. 5 3035:; Micu, pp. 558–559 2859:Cuvântul Libertății 2599:racial stereotyping 2260:Minister of Culture 2105:Romanian Revolution 2047:Pierdut în Balcania 1961:Convorbiri Literare 1952:Pierdut în Balcania 1892:Baloane de curcubeu 1447:Dincolo de nisipuri 1435:Cronici de carnaval 1079:and its successor, 1012:In September 1963, 974:, prompting critic 936:Dincolo de nisipuri 917:Dincolo de nisipuri 913:Somnul de la amiază 828:Cristian Teodorescu 824:psychological novel 808:Editura Tineretului 774:Latin American Boom 632:1950s nonconformist 520:feet had been bound 323:ideological censors 148:psychological novel 44:Ștefan Vasile Neagu 5800:Romanian satirists 5656:broadcast of 1997 5607:Nicolae Steinhardt 4748:Micu, pp. 558, 561 4248:Almanah Luceafărul 4044:Lucia Hossu-Longin 3598:Micu, pp. 558, 561 3260:Almanah Luceafărul 2671:generalized cancer 2669:, which became a " 2647:dissenting opinion 2643:Asfințit de Europă 2486:Răzvan Theodorescu 2445:Horia Alexandrescu 2375:and staged by the 2234:Ceaușescu's demise 2175:For their work at 2173: 1967:Cartea cu prieteni 1956:Constantin Piliuță 1824:Insomnii de mătase 1762:Cartea cu prieteni 1754: 1651:Constantin Abăluță 1631:Hungarian Romanian 1612:Cartea cu prieteni 1528:Nicolae Steinhardt 1494: 1468:Gheorghe Vitanidis 1337:national-communism 1321:national president 1304:arbitral tribunals 1220:'s conventionally 1135: 1068:("The Apostles"). 972:fantasy literature 702: 673:Băneasa Hippodrome 610:Russian literature 507:Kingdom of Romania 158:fantasy literature 64:Kingdom of Romania 5870:Absurdist writers 5855:Modernist writers 5775:Romanian diarists 5525:978-973-624-788-0 5375:Evenimentul Zilei 5265:Dan C. Mihăilescu 5212:Evenimentul Zilei 5122:Evenimentul Zilei 5087:Evenimentul Zilei 4860:Evenimentul Zilei 4796:Evenimentul Zilei 4776:Nicolae Manolescu 4600:Punga cu libelule 4580:Punga cu libelule 4507:Nicolae Manolescu 4489:Mircea Iorgulescu 4467:Dan C. Mihăilescu 4385:Gheorghe Grigurcu 4310:Steinhardt, p. 97 4233:Evenimentul Zilei 4116:Evenimentul Zilei 4061:Lovinescu, p. 538 4005:Evenimentul Zilei 3890:Lovinescu, p. 362 3849:Micu, pp. 559–560 3651:Lovinescu, p. 263 3533:Micu, pp. 558–559 3361:Gabriel Dimisianu 3102:Evenimentul Zilei 2914:Evenimentul Zilei 2695:Mircea Cărtărescu 2641:While writing on 2590:Margareta Pogonat 2529:Dan C. Mihăilescu 2502:Romanian New Wave 2490:Îngerul a strigat 2474:Gheorghe Grigurcu 2459:George Cușnarencu 2432:Jurnalul Național 2319:Ningea în Bărăgan 2311:Partida de pocher 2207:. In early 1992, 2189:Vartan Arachelian 2027:Îngerul a strigat 1996:George Constantin 1958:. Ioan Holban of 1898:as the head of a 1833:Punga cu libelule 1809:Pavlo Zahrebelnyi 1791:Georges Rodenbach 1719:Mircea Iorgulescu 1698:Cartea Românească 1498:Îngerul a strigat 1472:Tatiana Nicolescu 1443:Îngerul a strigat 1407:Nicolae Manolescu 1317:Nicolae Ceaușescu 1263:Echipa de zgomote 1234:Îngerul a strigat 1218:Alexandru Ivasiuc 1207:Îngerul a strigat 1199:Îngerul a strigat 1139:Îngerul a strigat 1131:Îngerul a strigat 1115:Îngerul a strigat 944:Romanian folklore 909:Ningea în Bărăgan 841:Mikhail Sholokhov 804:Ningea în Bărăgan 786:Alexandra Indrieș 762:socialist realism 662:Gabriel Dimisianu 622:Vasile Voiculescu 559:Soviet occupation 388:Nicolae Ceaușescu 376:Romanian football 359:Îngerul a strigat 331:socialist realism 300: 299: 261:Literary movement 213:sports journalism 168:dystopian fiction 163:absurdist fiction 5972: 5920:Student athletes 5671: 5659: 5633:Viața Românească 5558:Monica Lovinescu 5485: 5476: 5470: 5466:România Literară 5461: 5455: 5451:România Literară 5446: 5440: 5437: 5431: 5421: 5415: 5406: 5400: 5389: 5385: 5379: 5370: 5361: 5354: 5348: 5339: 5333: 5327: 5321: 5318: 5312: 5303: 5294: 5287: 5274: 5262: 5253: 5241: 5232: 5222: 5216: 5204: 5198: 5179: 5173: 5169:România Literară 5164: 5158: 5151: 5145: 5132: 5126: 5113: 5107: 5100: 5091: 5082:Adevărul de Cluj 5078: 5072: 5063: 5054: 5043: 5037: 5020: 5014: 5005: 4999: 4990: 4984: 4983:Cernescu, p. 146 4981: 4975: 4968: 4962: 4950: 4941: 4937:România Literară 4932: 4926: 4919: 4913: 4900: 4894: 4885: 4879: 4870: 4864: 4839: 4828: 4819: 4813: 4806: 4800: 4791: 4785: 4781:România Literară 4773: 4767: 4755: 4749: 4746: 4740: 4728: 4722: 4713: 4707: 4700:Cantonul părăsit 4696: 4690: 4686:România Literară 4681: 4675: 4658: 4652: 4641: 4635: 4632: 4626: 4615: 4609: 4593: 4587: 4576: 4570: 4561: 4555: 4548: 4542: 4535: 4529: 4522: 4516: 4512:România Literară 4504: 4498: 4494:România Literară 4486: 4480: 4464: 4458: 4446: 4437: 4433:România Literară 4425: 4419: 4398: 4392: 4382: 4376: 4364: 4353: 4349:România Literară 4341: 4320: 4317: 4311: 4308: 4302: 4293: 4282: 4279: 4273: 4270: 4261: 4258: 4252: 4243: 4237: 4228: 4222: 4213:Valerian Sava, " 4211: 4205: 4196: 4190: 4186:România Literară 4174: 4168: 4159: 4153: 4144: 4135: 4126: 4120: 4111: 4102: 4095: 4080: 4077: 4071: 4070:Deletant, p. 185 4068: 4062: 4059: 4053: 4041: 4035: 4015: 4009: 3999: 3990: 3978: 3972: 3968:România Literară 3960: 3954: 3950:România Literară 3945:Alex. Ștefănescu 3942: 3936: 3932:România Literară 3924: 3918: 3915: 3909: 3902: 3891: 3888: 3882: 3879: 3873: 3869:România Literară 3864:Ioana Pârvulescu 3861: 3850: 3847: 3841: 3832: 3823: 3820: 3814: 3811: 3792: 3785:Niciodată singur 3781: 3775: 3762: 3753: 3746: 3740: 3733: 3727: 3718: 3699: 3690: 3684: 3671: 3665: 3658: 3652: 3649: 3643: 3640: 3634: 3631: 3625: 3612: 3599: 3596: 3590: 3573: 3567: 3549: 3543: 3540: 3534: 3531: 3525: 3513: 3486: 3479: 3473: 3461: 3442: 3435:Gheorghe Tomozei 3432: 3421: 3409: 3398: 3392: 3376: 3370: 3366:România Literară 3358: 3331: 3327:România Literară 3319: 3290: 3283: 3264: 3252: 3246: 3233: 3222: 3219: 3198: 3195: 3189: 3182: 3167: 3163:România Literară 3158: 3152: 3149: 3143: 3136: 3115: 3114:Cernescu, p. 148 3112: 3106: 3097: 3086: 3079: 3058: 3049: 3036: 3029: 3023: 3019:România Literară 3014:Alex. Ștefănescu 3011: 2918: 2909: 2862: 2855: 2820:România Literară 2806: 2802:Crucea de piatră 2798:Florin Răducioiu 2771:Nichita Stănescu 2687:Vladimir Nabokov 2584:as a serialized 2480:discovered that 2393:Ceaușescu family 2385:Social Democrats 2331:Crucea de piatră 2327:Maia Morgenstern 2257: 2238:Romanian Academy 2219:România Literară 2088:gonzo journalism 2043:Editura Eminescu 2011:Bulandra Theater 1945:Cantonul părăsit 1920:Ecaterina Nazare 1846:Victor Rebengiuc 1723:România Literară 1682:Constantin Noica 1647: 1623:George Macovescu 1620:Foreign Minister 1592:Ionel Teodoreanu 1514:Mateiu Caragiale 1483: 1411:Adio, dragă Nela 1369:România Literară 1349: 1261:. A play called 1259:Scrisul Românesc 1253:in 1971, and as 1177:Ioana Pârvulescu 1153:Gheorghe Tomozei 1077:Tînărul Scriitor 1062:Vremea zăpezilor 1058:Niciodată singur 1032: 988: 980:Ștefan Bănulescu 976:Monica Lovinescu 921:Cantonul părăsit 849:William Faulkner 754:Tînărul Scriitor 744: 714:Marxism-Leninism 710:Nichita Stănescu 692: 681: 670: 614:Mihail Sadoveanu 481:Romanian Academy 477: 464: 447:Social Democrats 404:Ceaușescu family 327:de-Stalinization 319:communist regime 296: 208:gonzo journalism 101:cultural manager 76: 52: 50: 33: 19: 18: 5980: 5979: 5975: 5974: 5973: 5971: 5970: 5969: 5860:Neo-romanticism 5675: 5674: 5669: 5657: 5643: 5613:. Cluj-Napoca: 5530:Dennis Deletant 5501:Adrian Păunescu 5493: 5488: 5477: 5473: 5462: 5458: 5447: 5443: 5438: 5434: 5422: 5418: 5407: 5403: 5387: 5386: 5382: 5371: 5364: 5355: 5351: 5340: 5336: 5328: 5324: 5319: 5315: 5304: 5297: 5288: 5277: 5263: 5256: 5242: 5235: 5223: 5219: 5205: 5201: 5180: 5176: 5165: 5161: 5152: 5148: 5133: 5129: 5117:România Magazin 5114: 5110: 5101: 5094: 5079: 5075: 5064: 5057: 5044: 5040: 5024:Tineretul Liber 5021: 5017: 5006: 5002: 4991: 4987: 4982: 4978: 4969: 4965: 4951: 4944: 4933: 4929: 4920: 4916: 4904:Contemporanului 4901: 4897: 4886: 4882: 4871: 4867: 4840: 4831: 4820: 4816: 4807: 4803: 4792: 4788: 4774: 4770: 4756: 4752: 4747: 4743: 4729: 4725: 4714: 4710: 4697: 4693: 4682: 4678: 4659: 4655: 4642: 4638: 4633: 4629: 4616: 4612: 4594: 4590: 4577: 4573: 4562: 4558: 4549: 4545: 4536: 4532: 4523: 4519: 4505: 4501: 4487: 4483: 4465: 4461: 4447: 4440: 4426: 4422: 4399: 4395: 4383: 4379: 4365: 4356: 4342: 4323: 4318: 4314: 4309: 4305: 4294: 4285: 4280: 4276: 4271: 4264: 4259: 4255: 4244: 4240: 4229: 4225: 4212: 4208: 4197: 4193: 4175: 4171: 4160: 4156: 4145: 4138: 4127: 4123: 4112: 4105: 4096: 4083: 4078: 4074: 4069: 4065: 4060: 4056: 4042: 4038: 4016: 4012: 4000: 3993: 3979: 3975: 3961: 3957: 3943: 3939: 3925: 3921: 3916: 3912: 3903: 3894: 3889: 3885: 3880: 3876: 3862: 3853: 3848: 3844: 3833: 3826: 3821: 3817: 3812: 3795: 3782: 3778: 3763: 3756: 3747: 3743: 3734: 3730: 3719: 3702: 3691: 3687: 3672: 3668: 3659: 3655: 3650: 3646: 3641: 3637: 3632: 3628: 3613: 3602: 3597: 3593: 3574: 3570: 3550: 3546: 3541: 3537: 3532: 3528: 3514: 3489: 3483:Tineretul Liber 3480: 3476: 3462: 3445: 3433: 3424: 3403: 3399: 3395: 3377: 3373: 3359: 3334: 3320: 3293: 3284: 3267: 3253: 3249: 3234: 3225: 3220: 3201: 3196: 3192: 3183: 3170: 3159: 3155: 3150: 3146: 3137: 3118: 3113: 3109: 3098: 3089: 3080: 3061: 3050: 3039: 3030: 3026: 3012: 2921: 2910: 2865: 2856: 2841: 2837: 2809:Gheorghe Dinică 2804: 2775:Romanian Jewish 2767:Ion Agârbiceanu 2755: 2731:Calea Victoriei 2667:prostate cancer 2653:and was taking 2586:television play 2560:Elena Ceaușescu 2552: 2506:Îngerul necesar 2498:Lucian Pintilie 2494:Frumoșii nebuni 2455:Aristide Buhoiu 2414:România Magazin 2381:Marea năpîrlire 2373:Vasile Rebreanu 2369:Marea năpîrlire 2365: 2255: 2154:Viața Capitalei 2142:David Ohanesian 2101: 2031:Frumoșii nebuni 2015:Golful de plumb 2000:Horațiu Mălăele 1908: 1900:collective farm 1817:Vîntul de seară 1801:Editura Univers 1799:, published by 1796:Bruges-la-Morte 1774:Nottara Theater 1746:Adrian Păunescu 1744:With colleague 1645: 1643:Frumoșii nebuni 1616: 1575:Frumoșii nebuni 1544:Frumoșii nebuni 1496:The success of 1481: 1364: 1361:Frumoșii nebuni 1347: 1341:Adrian Păunescu 1325:Constantin Țoiu 1251:Editura Minerva 1247:În văpaia lunii 1243:Jean Constantin 1211:Dennis Deletant 1123: 1054:Lumină de iulie 1049:Lucian Pintilie 1040:Lumină de iulie 1026: 982: 957:nationalization 948:neo-romanticism 888: 880:beatified state 790:Greater Romania 750:Dușman cu lumea 738: 686: 684:Alex Ștefănescu 675: 664: 634: 495: 490: 471: 458: 435:anti-capitalist 384:Romanian cinema 282: 273:Neo-romanticism 78: 74: 54: 48: 46: 45: 36: 24: 17: 12: 11: 5: 5978: 5968: 5967: 5962: 5957: 5952: 5947: 5942: 5937: 5932: 5927: 5922: 5917: 5912: 5907: 5902: 5897: 5892: 5887: 5882: 5877: 5872: 5867: 5862: 5857: 5852: 5847: 5842: 5837: 5832: 5827: 5822: 5817: 5812: 5807: 5802: 5797: 5792: 5787: 5782: 5777: 5772: 5767: 5762: 5757: 5752: 5747: 5742: 5737: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5697: 5692: 5687: 5673: 5672: 5660: 5642: 5641:External links 5639: 5638: 5637: 5625: 5604: 5601:Caiete Critice 5597: 5576: 5555: 5552:Caiete Critice 5548: 5527: 5510: 5492: 5489: 5487: 5486: 5471: 5456: 5441: 5432: 5416: 5401: 5380: 5362: 5349: 5334: 5322: 5313: 5295: 5275: 5254: 5244:Ștefan Agopian 5233: 5217: 5207:Costi Rogozanu 5199: 5174: 5159: 5146: 5127: 5108: 5092: 5073: 5055: 5038: 5015: 5000: 4985: 4976: 4963: 4942: 4927: 4914: 4895: 4880: 4865: 4855:Cronica Română 4829: 4814: 4801: 4786: 4768: 4758:Mihai Ungheanu 4750: 4741: 4731:Radu G. Țeposu 4723: 4708: 4691: 4676: 4662:Sania albastră 4653: 4636: 4627: 4617:Roxana Pană, " 4610: 4596:Nicolae Ulieru 4588: 4571: 4556: 4543: 4530: 4517: 4499: 4481: 4459: 4438: 4420: 4401:Ion Negoițescu 4393: 4377: 4354: 4344:Cosmin Ciotloș 4321: 4312: 4303: 4283: 4274: 4262: 4253: 4251:, 1982, p. 150 4238: 4223: 4206: 4191: 4169: 4154: 4136: 4121: 4103: 4081: 4072: 4063: 4054: 4036: 4010: 3991: 3973: 3955: 3937: 3919: 3910: 3892: 3883: 3874: 3851: 3842: 3824: 3815: 3793: 3776: 3754: 3741: 3728: 3700: 3685: 3680:Romînia Liberă 3666: 3662:Caiete Critice 3653: 3644: 3635: 3626: 3600: 3591: 3568: 3544: 3535: 3526: 3487: 3474: 3443: 3437:, "Fănuș", in 3422: 3420:, 1980, p. 121 3393: 3371: 3332: 3291: 3287:Cuvântul Liber 3265: 3247: 3245:, 1980, p. 117 3223: 3199: 3190: 3168: 3153: 3144: 3116: 3107: 3087: 3059: 3037: 3024: 2919: 2863: 2838: 2836: 2833: 2807:s star actor, 2759:Zaharia Stancu 2754: 2751: 2739:Bellu cemetery 2691:Enzo Siciliano 2659:Elias Hospital 2607:Cronica Română 2551: 2548: 2545:of Literature. 2534:Cronica Română 2521:Nicolae Breban 2517:Ștefan Agopian 2513:Luminița Marcu 2478:Costi Rogozanu 2463:Euroscepticism 2450:Cronica Română 2364: 2361:Cronica Română 2358: 2339:Titus Popovici 2304:Eugène Ionesco 2296:Mihai Eminescu 2280:Florin Piersic 2268:Mihai Ungheanu 2215:Octavian Paler 2210:România Liberă 2181:Totuși Iubirea 2100: 2097: 1971:Radu G. Țeposu 1941:Tora Vasilescu 1927:Sania albastră 1907: 1904: 1876:Nicolae Ulieru 1858:Dan Condurache 1854:Enikő Szilágyi 1782:Florian Pittiș 1770:Scoica de lemn 1735:Nicolae Dragoș 1715:Eugen Florescu 1678:Ioan Alexandru 1674:Ion Negoițescu 1670:Mircea Dinescu 1663:Dan Zamfirescu 1655:Leon Kalustian 1615: 1609: 1604:Cosmin Ciotloș 1569:Romanian lexis 1567:layers of the 1428:Nicolae Breban 1363: 1357: 1353:Zaharia Stancu 1171:of his prose . 1133:, 1968 edition 1122: 1112: 1100:Mircea Dinescu 1045:Gheorghe Naghi 1007:Mihai Eminescu 887: 884: 853:John Steinbeck 837:class conflict 812:Eugen Mihăescu 642:Zaharia Stancu 633: 630: 626:Panait Istrati 584:) and then in 582:Emil Giurgiuca 578:normal schools 494: 491: 489: 486: 456:Cronica Română 298: 297: 289: 288: 284: 283: 281: 280: 275: 270: 264: 262: 258: 257: 256: 255: 250: 245: 240: 235: 230: 228:travel writing 225: 220: 215: 210: 205: 200: 195: 190: 185: 180: 175: 170: 165: 160: 155: 150: 145: 138: 133: 126: 122: 121: 118: 114: 113: 112: 111: 108: 105: 102: 99: 96: 93: 88: 84: 83: 77:(aged 79) 71: 67: 66: 42: 38: 37: 34: 26: 25: 22: 15: 9: 6: 4: 3: 2: 5977: 5966: 5963: 5961: 5958: 5956: 5953: 5951: 5948: 5946: 5943: 5941: 5938: 5936: 5933: 5931: 5928: 5926: 5923: 5921: 5918: 5916: 5913: 5911: 5908: 5906: 5903: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5871: 5868: 5866: 5863: 5861: 5858: 5856: 5853: 5851: 5848: 5846: 5843: 5841: 5838: 5836: 5833: 5831: 5828: 5826: 5823: 5821: 5818: 5816: 5813: 5811: 5808: 5806: 5803: 5801: 5798: 5796: 5793: 5791: 5788: 5786: 5783: 5781: 5778: 5776: 5773: 5771: 5768: 5766: 5763: 5761: 5758: 5756: 5753: 5751: 5748: 5746: 5743: 5741: 5738: 5736: 5733: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5701: 5698: 5696: 5693: 5691: 5688: 5686: 5683: 5682: 5680: 5670:(in Romanian) 5667: 5665: 5661: 5658:(in Romanian) 5655: 5651: 5649: 5645: 5644: 5635: 5634: 5629: 5626: 5624: 5620: 5616: 5615:Editura Dacia 5612: 5608: 5605: 5602: 5598: 5596: 5595:973-637-070-4 5592: 5588: 5584: 5580: 5577: 5575: 5574:973-28-0172-7 5571: 5567: 5564:. Bucharest: 5563: 5559: 5556: 5553: 5549: 5547: 5546:1-56324-633-3 5543: 5539: 5535: 5531: 5528: 5526: 5522: 5518: 5514: 5513:Dinu Cernescu 5511: 5508: 5507: 5502: 5498: 5495: 5494: 5483: 5482: 5481:Contemporanul 5475: 5468: 5467: 5460: 5453: 5452: 5445: 5436: 5429: 5425: 5420: 5413: 5412: 5411:Gazeta de Sud 5405: 5398: 5394: 5393: 5388:(in Romanian) 5384: 5377: 5376: 5369: 5367: 5359: 5353: 5346: 5345: 5338: 5332: 5326: 5317: 5310: 5309: 5302: 5300: 5292: 5286: 5284: 5282: 5280: 5272: 5271: 5266: 5261: 5259: 5251: 5250: 5249:Ziua Literară 5245: 5240: 5238: 5230: 5229: 5221: 5214: 5213: 5208: 5203: 5196: 5195: 5190: 5189: 5184: 5178: 5171: 5170: 5163: 5156: 5150: 5143: 5142: 5137: 5131: 5124: 5123: 5118: 5112: 5105: 5099: 5097: 5089: 5088: 5083: 5077: 5070: 5069: 5062: 5060: 5052: 5048: 5042: 5035: 5034: 5033:Contemporanul 5029: 5025: 5019: 5012: 5011: 5004: 4997: 4996: 4989: 4980: 4973: 4967: 4960: 4959: 4954: 4953:Florica Ichim 4949: 4947: 4939: 4938: 4931: 4924: 4918: 4911: 4910: 4909:Contemporanul 4905: 4899: 4892: 4891: 4884: 4877: 4876: 4869: 4862: 4861: 4856: 4852: 4848: 4844: 4838: 4836: 4834: 4826: 4825: 4818: 4811: 4805: 4798: 4797: 4790: 4783: 4782: 4777: 4772: 4765: 4764: 4759: 4754: 4745: 4738: 4737: 4732: 4727: 4720: 4719: 4712: 4705: 4701: 4695: 4688: 4687: 4680: 4673: 4669: 4668: 4663: 4657: 4650: 4646: 4640: 4631: 4624: 4620: 4614: 4607: 4606: 4601: 4597: 4592: 4585: 4581: 4575: 4568: 4567: 4560: 4553: 4547: 4540: 4534: 4527: 4521: 4514: 4513: 4508: 4503: 4496: 4495: 4490: 4485: 4478: 4477: 4472: 4468: 4463: 4456: 4455: 4450: 4445: 4443: 4435: 4434: 4429: 4424: 4418: 4417:973-35-0162-X 4414: 4410: 4409:Editura Dacia 4406: 4402: 4397: 4390: 4386: 4381: 4374: 4373: 4368: 4363: 4361: 4359: 4351: 4350: 4345: 4340: 4338: 4336: 4334: 4332: 4330: 4328: 4326: 4316: 4307: 4300: 4299: 4292: 4290: 4288: 4278: 4269: 4267: 4257: 4250: 4249: 4242: 4235: 4234: 4227: 4220: 4216: 4210: 4203: 4202: 4201:Contemporanul 4195: 4188: 4187: 4182: 4178: 4173: 4166: 4165: 4164:Contemporanul 4158: 4151: 4150: 4149:Contemporanul 4143: 4141: 4133: 4132: 4125: 4118: 4117: 4110: 4108: 4100: 4099:Cronica Veche 4094: 4092: 4090: 4088: 4086: 4076: 4067: 4058: 4051: 4050: 4045: 4040: 4033: 4032: 4027: 4023: 4019: 4014: 4007: 4006: 3998: 3996: 3988: 3987: 3982: 3977: 3970: 3969: 3964: 3959: 3952: 3951: 3946: 3941: 3934: 3933: 3928: 3923: 3914: 3907: 3901: 3899: 3897: 3887: 3878: 3871: 3870: 3865: 3860: 3858: 3856: 3846: 3839: 3838: 3831: 3829: 3819: 3810: 3808: 3806: 3804: 3802: 3800: 3798: 3790: 3786: 3780: 3773: 3772: 3767: 3761: 3759: 3751: 3745: 3738: 3732: 3725: 3724: 3723:Contemporanul 3717: 3715: 3713: 3711: 3709: 3707: 3705: 3697: 3696: 3689: 3682: 3681: 3676: 3670: 3663: 3657: 3648: 3639: 3630: 3623: 3622: 3617: 3611: 3609: 3607: 3605: 3595: 3589: 3588:9786067100143 3585: 3581: 3577: 3572: 3565: 3564: 3559: 3558: 3553: 3548: 3539: 3530: 3523: 3522: 3517: 3512: 3510: 3508: 3506: 3504: 3502: 3500: 3498: 3496: 3494: 3492: 3484: 3478: 3471: 3470: 3465: 3460: 3458: 3456: 3454: 3452: 3450: 3448: 3440: 3436: 3431: 3429: 3427: 3419: 3418: 3413: 3407: 3402: 3397: 3391:, 1980, p. 52 3390: 3389: 3384: 3380: 3375: 3368: 3367: 3362: 3357: 3355: 3353: 3351: 3349: 3347: 3345: 3343: 3341: 3339: 3337: 3329: 3328: 3323: 3318: 3316: 3314: 3312: 3310: 3308: 3306: 3304: 3302: 3300: 3298: 3296: 3288: 3282: 3280: 3278: 3276: 3274: 3272: 3270: 3263:, 1983, p. 64 3262: 3261: 3256: 3255:Nicolae Velea 3251: 3244: 3243: 3238: 3232: 3230: 3228: 3218: 3216: 3214: 3212: 3210: 3208: 3206: 3204: 3194: 3187: 3181: 3179: 3177: 3175: 3173: 3165: 3164: 3157: 3148: 3141: 3135: 3133: 3131: 3129: 3127: 3125: 3123: 3121: 3111: 3104: 3103: 3096: 3094: 3092: 3084: 3083:Cronica Veche 3078: 3076: 3074: 3072: 3070: 3068: 3066: 3064: 3056: 3055: 3048: 3046: 3044: 3042: 3034: 3031:Gherghinoiu, 3028: 3021: 3020: 3015: 3010: 3008: 3006: 3004: 3002: 3000: 2998: 2996: 2994: 2992: 2990: 2988: 2986: 2984: 2982: 2980: 2978: 2976: 2974: 2972: 2970: 2968: 2966: 2964: 2962: 2960: 2958: 2956: 2954: 2952: 2950: 2948: 2946: 2944: 2942: 2940: 2938: 2936: 2934: 2932: 2930: 2928: 2926: 2924: 2916: 2915: 2908: 2906: 2904: 2902: 2900: 2898: 2896: 2894: 2892: 2890: 2888: 2886: 2884: 2882: 2880: 2878: 2876: 2874: 2872: 2870: 2868: 2860: 2854: 2852: 2850: 2848: 2846: 2844: 2839: 2831: 2827: 2825: 2821: 2817: 2812: 2810: 2803: 2799: 2795: 2790: 2788: 2787:Dinu Cernescu 2784: 2780: 2776: 2772: 2768: 2764: 2760: 2750: 2748: 2744: 2740: 2736: 2732: 2728: 2727:laid in state 2722: 2718: 2716: 2710: 2708: 2704: 2700: 2696: 2692: 2688: 2684: 2680: 2676: 2672: 2668: 2664: 2660: 2656: 2652: 2648: 2644: 2639: 2637: 2633: 2629: 2625: 2621: 2616: 2612: 2608: 2602: 2600: 2596: 2591: 2587: 2583: 2580:began airing 2579: 2575: 2574: 2569: 2565: 2561: 2557: 2546: 2543: 2537: 2535: 2530: 2526: 2522: 2518: 2514: 2509: 2507: 2503: 2499: 2495: 2491: 2487: 2483: 2479: 2475: 2471: 2466: 2464: 2460: 2456: 2452: 2451: 2446: 2442: 2438: 2434: 2433: 2427: 2423: 2419: 2415: 2410: 2408: 2407: 2402: 2398: 2394: 2390: 2386: 2382: 2378: 2374: 2370: 2362: 2357: 2355: 2351: 2350: 2344: 2340: 2336: 2335:Andrei Blaier 2333:(directed by 2332: 2328: 2324: 2320: 2316: 2312: 2307: 2305: 2301: 2297: 2291: 2287: 2285: 2281: 2277: 2273: 2272:Dinu Cernescu 2269: 2265: 2264:Andrei Șerban 2261: 2254: 2250: 2249:Florica Ichim 2246: 2241: 2239: 2235: 2231: 2226: 2224: 2220: 2216: 2212: 2211: 2206: 2202: 2198: 2194: 2193:Ion Antonescu 2190: 2186: 2182: 2178: 2171:Neagu in 1989 2169: 2165: 2163: 2159: 2155: 2151: 2147: 2143: 2139: 2135: 2134: 2129: 2125: 2121: 2120:Marin Sorescu 2117: 2113: 2112: 2106: 2096: 2094: 2089: 2085: 2081: 2076: 2071: 2067: 2066:Dorin Tudoran 2062: 2060: 2056: 2052: 2048: 2044: 2038: 2034: 2032: 2028: 2024: 2023:Ottoman court 2020: 2016: 2013:—and also on 2012: 2008: 2003: 2001: 1997: 1993: 1989: 1985: 1981: 1977: 1972: 1969:. Chronicler 1968: 1963: 1962: 1957: 1953: 1948: 1946: 1942: 1938: 1937: 1932: 1928: 1925: 1921: 1917: 1913: 1903: 1901: 1897: 1893: 1889: 1885: 1881: 1877: 1873: 1872: 1867: 1863: 1862:Gheorghe Visu 1859: 1855: 1851: 1850:Ion Caramitru 1847: 1843: 1842:ensemble cast 1839: 1835: 1834: 1829: 1828:Manole Marcus 1825: 1820: 1818: 1814: 1810: 1806: 1802: 1798: 1797: 1792: 1787: 1783: 1779: 1775: 1771: 1767: 1763: 1759: 1752:match in 1981 1751: 1747: 1742: 1738: 1736: 1732: 1728: 1724: 1720: 1716: 1712: 1711: 1706: 1701: 1699: 1695: 1694:Protochronism 1691: 1687: 1683: 1679: 1675: 1671: 1666: 1664: 1660: 1656: 1652: 1644: 1640: 1636: 1632: 1628: 1624: 1621: 1613: 1608: 1605: 1601: 1597: 1593: 1589: 1585: 1580: 1577:differs from 1576: 1572: 1570: 1566: 1562: 1558: 1552: 1547: 1545: 1541: 1540: 1535: 1534: 1529: 1525: 1521: 1520: 1515: 1511: 1507: 1503: 1499: 1490: 1486: 1484: 1477: 1476:Georgi Markov 1473: 1469: 1465: 1461: 1456: 1452: 1448: 1444: 1440: 1436: 1431: 1429: 1425: 1420: 1416: 1412: 1408: 1404: 1403: 1398: 1397:state militia 1394: 1389: 1387: 1383: 1382:Tudor Arghezi 1379: 1375: 1371: 1370: 1362: 1356: 1354: 1346: 1342: 1338: 1334: 1330: 1326: 1322: 1318: 1312: 1307: 1305: 1301: 1297: 1293: 1292: 1287: 1283: 1279: 1274: 1272: 1268: 1267:Foley artists 1264: 1260: 1256: 1252: 1248: 1244: 1240: 1235: 1231: 1227: 1226:Cornel Regman 1223: 1219: 1214: 1212: 1208: 1204: 1200: 1195: 1191: 1185: 1183: 1178: 1172: 1170: 1166: 1162: 1156: 1154: 1150: 1146: 1145: 1144:Bildungsroman 1140: 1132: 1127: 1120: 1116: 1111: 1109: 1105: 1101: 1096: 1092: 1091:Mihu Dragomir 1088: 1087:Petru Vintilă 1084: 1083: 1078: 1074: 1069: 1067: 1063: 1059: 1055: 1050: 1046: 1042: 1041: 1036: 1030: 1025: 1021: 1017: 1016: 1010: 1008: 1004: 1000: 996: 992: 991:Mircea Eliade 986: 981: 977: 973: 969: 965: 960: 958: 953: 949: 945: 941: 937: 932: 930: 926: 922: 918: 914: 910: 905: 901: 897: 893: 892:Ana Blandiana 883: 881: 877: 873: 869: 865: 864:Teodor Mazilu 861: 856: 854: 850: 846: 842: 838: 834: 829: 825: 821: 817: 813: 809: 805: 801: 797: 795: 791: 787: 783: 779: 775: 771: 770:magic realism 767: 763: 759: 755: 751: 746: 742: 737: 733: 729: 728: 723: 719: 718:Tudor Arghezi 715: 711: 707: 698: 694: 690: 685: 679: 674: 668: 663: 659: 655: 651: 647: 643: 639: 629: 627: 623: 619: 615: 611: 607: 603: 602:Nicolae Labiș 599: 595: 594:Nicolae Velea 591: 587: 583: 579: 575: 570: 568: 564: 560: 556: 555:a palace coup 552: 548: 544: 540: 535: 533: 529: 525: 521: 516: 512: 508: 504: 503:Brăila County 500: 485: 482: 478: 475: 470: 465: 462: 457: 452: 448: 444: 440: 436: 432: 428: 424: 419: 417: 413: 409: 405: 401: 397: 393: 389: 385: 381: 377: 373: 372: 367: 362: 360: 356: 352: 348: 347:magic realism 344: 340: 336: 332: 328: 324: 320: 316: 315:Bărăgan Plain 312: 308: 304: 303:Ștefan Vasile 295: 290: 285: 279: 278:Magic realism 276: 274: 271: 269: 266: 265: 263: 259: 254: 251: 249: 246: 244: 241: 239: 236: 234: 231: 229: 226: 224: 221: 219: 216: 214: 211: 209: 206: 204: 201: 199: 196: 194: 191: 189: 188:dramatic poem 186: 184: 181: 179: 176: 174: 171: 169: 166: 164: 161: 159: 156: 154: 151: 149: 146: 144: 143: 142:Bildungsroman 139: 137: 134: 132: 129: 128: 127: 123: 119: 115: 109: 106: 104:schoolteacher 103: 100: 97: 94: 91: 90: 89: 85: 81: 72: 68: 65: 61: 60:Brăila County 57: 43: 39: 35:Neagu in 1964 32: 27: 20: 5663: 5648:Videomagazin 5647: 5631: 5628:Mircea Zaciu 5610: 5600: 5582: 5579:Dumitru Micu 5561: 5551: 5538:M. E. Sharpe 5533: 5516: 5504: 5497:George Arion 5479: 5474: 5464: 5459: 5449: 5444: 5435: 5427: 5424:Nina Cassian 5419: 5409: 5404: 5391: 5383: 5373: 5357: 5352: 5342: 5337: 5330: 5325: 5316: 5308:Dilema Veche 5306: 5290: 5268: 5247: 5226: 5220: 5210: 5202: 5192: 5186: 5182: 5177: 5167: 5162: 5155:Cuvântul Nou 5154: 5149: 5139: 5135: 5130: 5120: 5116: 5111: 5104:Agenda Zilei 5103: 5085: 5081: 5076: 5066: 5050: 5046: 5041: 5031: 5028:Casa din vis 5027: 5023: 5018: 5008: 5003: 4993: 4988: 4979: 4971: 4966: 4956: 4935: 4930: 4922: 4917: 4907: 4903: 4898: 4888: 4883: 4873: 4868: 4858: 4854: 4850: 4846: 4842: 4822: 4817: 4810:Transilvania 4809: 4804: 4794: 4789: 4779: 4771: 4761: 4753: 4744: 4734: 4726: 4716: 4711: 4703: 4699: 4694: 4684: 4679: 4671: 4665: 4661: 4656: 4648: 4644: 4639: 4630: 4622: 4618: 4613: 4603: 4599: 4591: 4583: 4579: 4574: 4564: 4559: 4551: 4546: 4538: 4533: 4525: 4520: 4510: 4502: 4492: 4484: 4474: 4470: 4462: 4452: 4449:Mircea Zaciu 4431: 4428:Răzvan Voncu 4423: 4404: 4396: 4388: 4380: 4370: 4347: 4315: 4306: 4296: 4277: 4272:Micu, p. 560 4256: 4246: 4241: 4231: 4226: 4218: 4214: 4209: 4199: 4194: 4184: 4180: 4172: 4162: 4157: 4147: 4129: 4124: 4114: 4098: 4075: 4066: 4057: 4047: 4039: 4029: 4025: 4018:Ilie Purcaru 4013: 4003: 3984: 3976: 3966: 3958: 3948: 3940: 3930: 3927:Lucian Raicu 3922: 3913: 3905: 3886: 3877: 3867: 3845: 3835: 3818: 3813:Micu, p. 561 3788: 3784: 3779: 3769: 3766:Zile de vară 3765: 3749: 3744: 3736: 3731: 3721: 3693: 3688: 3678: 3675:Secolului 20 3674: 3669: 3661: 3656: 3647: 3638: 3633:Micu, p. 559 3629: 3619: 3615: 3594: 3580:Jurnal intim 3579: 3571: 3563:Dilema Veche 3561: 3555: 3547: 3538: 3529: 3519: 3482: 3477: 3467: 3464:Marius Chivu 3438: 3415: 3411: 3396: 3386: 3382: 3374: 3364: 3325: 3322:Răzvan Voncu 3286: 3258: 3250: 3240: 3236: 3221:Micu, p. 558 3193: 3185: 3161: 3156: 3147: 3139: 3110: 3100: 3082: 3052: 3032: 3027: 3017: 2912: 2858: 2829: 2824:Marius Tupan 2819: 2816:Eugen Simion 2813: 2801: 2791: 2779:Nina Cassian 2756: 2742: 2735:Piatra Neamț 2724: 2720: 2711: 2707:Herta Müller 2703:Norman Manea 2683:Ian Caldwell 2642: 2640: 2635: 2627: 2623: 2606: 2603: 2581: 2571: 2567: 2555: 2553: 2541: 2539: 2533: 2524: 2510: 2505: 2493: 2489: 2481: 2469: 2467: 2448: 2430: 2425: 2421: 2418:Ilie Purcaru 2416:, which had 2413: 2411: 2404: 2400: 2389:Doina Cornea 2380: 2368: 2366: 2360: 2347: 2330: 2323:Casa din vis 2322: 2318: 2314: 2310: 2308: 2293: 2289: 2276:Radu Beligan 2252: 2242: 2227: 2218: 2208: 2180: 2176: 2174: 2153: 2145: 2138:Victor Surdu 2131: 2123: 2116:Eugen Simion 2109: 2102: 2083: 2063: 2050: 2046: 2040: 2036: 2030: 2026: 2018: 2014: 2006: 2004: 1983: 1979: 1976:lyric poetry 1966: 1959: 1951: 1949: 1944: 1934: 1931:Geo Saizescu 1926: 1924:romance film 1911: 1909: 1891: 1888:Iosif Demian 1883: 1879: 1869: 1866:Marcel Iureș 1831: 1823: 1821: 1816: 1813:Acceleration 1812: 1805:Sabin Bălașa 1794: 1778:Ștefan Radof 1769: 1761: 1755: 1722: 1708: 1702: 1667: 1642: 1635:Transylvania 1617: 1611: 1587: 1584:John Osborne 1578: 1574: 1573: 1554: 1549: 1543: 1537: 1531: 1517: 1516:'s classic, 1510:intertextual 1501: 1497: 1495: 1479: 1463: 1446: 1442: 1438: 1434: 1432: 1415:Cornel Todea 1410: 1400: 1390: 1385: 1373: 1367: 1365: 1360: 1344: 1314: 1309: 1300:intertextual 1295: 1289: 1275: 1270: 1262: 1254: 1246: 1239:Zile de vară 1238: 1233: 1230:Lucian Raicu 1215: 1206: 1198: 1186: 1174: 1168: 1158: 1142: 1138: 1136: 1130: 1118: 1114: 1107: 1104:Ion Cristoiu 1094: 1080: 1076: 1072: 1070: 1065: 1061: 1057: 1053: 1038: 1035:Año tras año 1034: 1020:Pavel Spasov 1013: 1011: 1002: 994: 968:Vara buimacă 967: 963: 961: 935: 933: 928: 925:Vara buimacă 924: 920: 916: 912: 908: 904:Marius Chivu 896:Cezar Baltag 889: 886:Breakthrough 879: 875: 860:Mircea Zaciu 857: 833:Dumitru Micu 803: 800:Cocoșul roșu 799: 798: 758:Cocoșul roșu 757: 753: 749: 747: 725: 703: 638:Răzvan Voncu 635: 574:table tennis 571: 536: 496: 467: 454: 420: 379: 369: 363: 358: 335:neo-romantic 310: 306: 302: 301: 253:lyric poetry 140: 75:(2011-05-24) 53:5 April 1932 5690:2011 deaths 5685:1932 births 5664:Seară bună! 5562:Unde scurte 5191:]", in 5136:Literatorul 4923:Európai Idő 4181:In memoriam 4022:Eugen Barbu 3981:Dan Ciachir 3963:Eugen Barbu 3576:Marin Preda 3552:Radu Cosașu 3404: [ 3401:Nicolae Țic 3379:Radu Cosașu 3186:Cutezătorii 2794:Mircea Micu 2763:Ion Creangă 2699:Paul Cornea 2679:Saul Bellow 2675:Max Blecher 2655:allopurinol 2611:Dolj County 2564:profanities 2482:Literatorul 2470:Literatorul 2426:Literatorul 2422:Literatorul 2253:Literatorul 2230:Ion Iliescu 2205:Moses Rosen 2201:Chief Rabbi 2197:Iași pogrom 2177:Literatorul 2111:Literatorul 2082:pieces, as 2055:picturesque 1896:Dorel Vișan 1840:and had an 1766:Dan Hatmanu 1686:Paul Anghel 1557:Ion Creangă 1506:Cornel Dinu 1451:Radu Gabrea 1386:scandalagiu 1378:prose poems 1372:, and then 1333:July Theses 1286:Eugen Barbu 1194:chiaroscuro 1163:halo, the ' 1093:. Still at 1027: [ 983: [ 868:Sorin Titel 847:, but also 814:. Bridging 766:Marin Preda 739: [ 736:Nicolae Țic 706:Tudor Vianu 687: [ 676: [ 665: [ 598:Radu Cosașu 472: [ 469:Literatorul 459: [ 439:Ion Iliescu 400:July Theses 396:nationalism 364:A lifelong 355:Marin Preda 131:Short story 73:24 May 2011 23:Fănuș Neagu 5679:Categories 5536:. London: 5491:References 5344:Cotidianul 5329:Nedelcea, 5185: [ 5141:Cotidianul 5010:Revista 22 4995:Cotidianul 4958:Revista 22 4851:Ultima Oră 4763:Luceafărul 4476:Revista 22 4367:Géza Szőcs 3621:Luceafărul 3521:Cotidianul 2525:Luceafărul 1916:Tichilești 1871:esperpento 1731:Sorin Toma 1659:Zigu Ornea 1627:Géza Szőcs 1536:is to the 1419:Dan Deșliu 1374:Luceafărul 1345:Luceafărul 1296:Principele 1291:Princepele 1232:commended 1119:Princepele 1108:Luceafărul 1095:Luceafărul 1082:Luceafărul 1073:Amfiteatru 1015:Secolul 20 794:Securitate 648:, outside 606:Ion Băieșu 590:volleyball 493:Early life 408:Securitate 371:Luceafărul 193:screenplay 153:prose poem 98:politician 95:translator 92:Journalist 87:Occupation 49:1932-04-05 5805:Aphorists 5617:, 1980. 5589:, 2005. 5568:, 1990. 5566:Humanitas 5183:literator 4843:Dimineața 4605:Săptămîna 4411:, 1990. 4179:, "Arte. 2663:arthritis 2542:outbursts 2300:Ion Coman 2162:Geo Bogza 2080:reportage 2041:In 1989, 1992:Ion Cojar 1756:In 1979, 1705:Geo Bogza 1596:dystopian 1561:Levantine 1424:Paul Goma 1335:of 1971, 1169:otherness 1165:absurdist 1149:anti-hero 1066:Apostolii 1003:Caii albi 999:alter ego 995:Caii albi 782:Paul Goma 722:Ion Barbu 567:Bucharest 551:Wehrmacht 547:Câmpulung 499:Grădiștea 488:Biography 343:absurdist 339:modernist 287:Signature 268:Modernism 223:reportage 203:biography 120:1944–2011 82:, Romania 80:Bucharest 56:Grădiștea 5540:, 1995. 5397:Antena 1 3771:Scînteia 2595:Romanies 2573:ProSport 2437:Harghita 2354:Dan Pița 2343:Red Army 1786:Dobrujan 1524:Lipscani 1478:'s epic 1311:another. 876:Zgomotul 563:Red Army 524:Romanies 366:bohemian 248:aphorism 5623:6788385 5517:Regizor 5506:Flacăra 5428:Minimum 5358:Minimum 4875:Orizont 4736:Flacăra 4566:Flacăra 4552:Cronica 4526:Teatrul 4389:Acolada 4298:Tribuna 4031:Flacăra 3837:Flacăra 2715:gourmet 2620:Caraula 2615:Craiova 2588:, with 2568:Amantul 2441:Covasna 2406:Mansion 2133:Orizont 2070:US visa 1878:, gave 1710:Flacăra 1639:Hungary 1539:Odyssey 1533:Ulysses 1458:of the 1255:Fîntîna 1222:Marxist 820:parable 515:mononym 511:Bărăgan 351:novella 243:parable 136:novella 107:athlete 5621: 5593: 5572: 5544: 5523: 5331:passim 5138:", in 5119:", in 5049:", in 5030:", in 4906:", in 4841:"După 4704:Cinema 4702:", in 4672:Cinema 4664:", in 4649:Cinema 4647:", in 4623:Cinema 4602:", in 4584:Cinema 4582:", in 4539:Steaua 4415: 4219:Cinema 3789:Cinema 3787:", in 3768:", in 3750:Cinema 3737:Cinema 3677:", in 3618:", in 3586: 3439:Ateneu 3239:", in 3033:passim 2753:Legacy 2705:, and 2689:, and 2457:, and 2223:Jewish 2187:aired 2118:, and 2093:Neptun 2059:kitsch 1984:Olelie 1750:Dinamo 1661:, and 1629:, the 1565:Romani 1551:epics. 1393:Dinamo 1278:Vădeni 1161:oniric 1147:of an 1121:affair 964:Om rău 816:memoir 650:Făurei 624:, and 604:, and 586:Galați 532:Greeks 528:Brăila 427:kitsch 412:Dinamo 233:memoir 183:parody 178:satire 173:comedy 117:Period 5654:TVR 1 4645:Lișca 4454:Vatra 3408:] 2835:Notes 2805:' 2777:poet 2578:TVR 1 2363:years 2256:' 1978:, as 1912:Lișca 1880:Punga 1748:at a 1727:Caion 1646:' 1614:years 1588:Craii 1579:Craii 1482:' 1480:Sibir 1348:' 1031:] 987:] 952:Buzău 743:] 691:] 680:] 669:] 646:Largu 476:] 463:] 311:Neagu 307:Fănuș 238:diary 125:Genre 110:actor 5619:OCLC 5591:ISBN 5570:ISBN 5542:ISBN 5521:ISBN 4413:ISBN 3584:ISBN 2651:gout 2439:and 2278:and 2146:Țara 2140:and 2124:Țara 2103:The 2029:and 1998:and 1988:oyez 1815:(as 1780:and 1729:and 1688:and 1680:and 1563:and 1445:and 1298:was 1117:and 870:and 851:and 784:and 720:and 543:Iași 466:and 433:and 421:The 337:and 70:Died 41:Born 5188:sic 4849:și 4847:Azi 4024:, " 3557:sic 2765:to 2709:). 2049:as 1819:). 1811:'s 1793:'s 545:to 5681:: 5652:, 5609:, 5560:, 5532:, 5515:, 5499:, 5395:, 5365:^ 5298:^ 5278:^ 5257:^ 5236:^ 5095:^ 5058:^ 4945:^ 4853:, 4845:, 4832:^ 4441:^ 4403:, 4357:^ 4324:^ 4286:^ 4265:^ 4139:^ 4106:^ 4084:^ 4020:, 3994:^ 3895:^ 3854:^ 3827:^ 3796:^ 3757:^ 3703:^ 3603:^ 3578:, 3490:^ 3446:^ 3425:^ 3406:ro 3335:^ 3294:^ 3268:^ 3226:^ 3202:^ 3171:^ 3119:^ 3090:^ 3062:^ 3040:^ 2922:^ 2866:^ 2842:^ 2749:. 2701:, 2697:, 2685:, 2681:, 2601:. 2409:. 2317:. 2240:. 2203:, 2164:. 2002:. 1864:, 1860:, 1856:, 1852:, 1848:, 1665:. 1657:, 1653:, 1184:. 1033:' 1029:es 985:ro 894:, 866:, 818:, 796:. 741:ro 689:ro 678:ro 667:ro 620:, 616:, 600:, 501:, 474:ro 461:ro 418:. 309:" 62:, 58:, 1844:( 305:" 51:) 47:(

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