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Marin Sorescu National Theatre

The poet Ștefan Manasia is Nicolae Coande's guest at the cultural event "Poets' Gathering", Friday May 5, 5 p.m.

One of the famous poets of the 2000 class, Ștefan Manasia will read from his poems and hold the conference "Trilobite, ammonite, orthoceras - larii și penații poetului”.

Admission is free.



 I strongly believe in the shamanic power (beyond the subtexts and contexts of the new digital age) of poetry. Some of us have this superpower that I unfortunately often see mocked, used – like all superpowers – in the service of a perishable ideological agent or a (promiscuous) career or… I mean, having the superpower but being a Wernher von Braun, to go (unrepentantly) from the Nazis to the Americans packaging the same evil and the same death, developing them with skill, with genius (which is your superpower)... I think you have to rot for a long time in dilemmas, in self-mockery, fumbling, to swim like salmon upstream until you activate your – truly and benignly – superpower.

Ștefan Manasia (b. 1977, Pitesti, Romania). He is a poet and journalist, editor of the culture magazine Tribuna. In 2008, he initiates, in Cluj, the "Nepotu lui Thoreau" Reading Club (along with Szántai János and François Bréda) - the most important Romanian-Hungarian literary community in Transylvania. He published six volumes of poems: Amazon and other poems (2003), the book of small invasions (2008, the Manuscriptum prize for poetry from the Museum National of Romanian Literature), the wooden motorcycle (2011, Young Writer of the Year 2011 award), Bonobo or the conquest of space (2013), Cerul senin (2015, Cultural Observer magazine poetry prize) and The taste of cherries (2017, nominated for the Cultural Observer awards >). His poems are translated into Hungarian, French, German, Polish, Hebrew. He gives public readings in Romania and abroad (Budapest, Berlin, Prague, České Budějovice, Istanbul, Tel Aviv, Tivon, Chisinau). He is the author of the volume of essays and literary chronicles Stabilizator de arôma (2016), of the novels Cronovizorul (Ed. Polirom, 2020), Platanii din Samothraki (Ed. Paralela 45, 2022) ). Interested in cinema, biology, history, the archeology of fear, the alchemy of horror, in the 2011 book he summarizes his (meta)poetic credo as follows: "Man, this mystic bug." (Summa Theologica).

"Manasia is the domesticated wild man who read books, chose his masters or they chose him: Lowry, Salinger, Hrabal, Melville, some gentlemen who know what life is (so also literature), famous musicians, Radiohead , Oasis, Vulture I don't know how, but also charismatic contemporaries, Acosmei, for example, a poet who has been writing on the same book for over 30 years and still exists […] Sensory and on the prowl, a carnivore with an alert eye inside, weaned by feelings that demand appropriate words and some scientific knowledge, Manasia's poem develops a spiral of hyperspace in which, strangely-strangely, says Saramago's character, the soul is humble, as small as a quark (which has flavor, you know), which only the new cyclops of the modern world see it—the telescopes of scientists discovering the light of the dying star. Today we see it - and it has no history." (Nicolae Coande, The Poet Hunter's Handbook).

Manasia is not a flaneur who picks up everything in front of his eyes, aware of his remarkable ability to verbally transfigure the world. Rather, he coldly stalks the incarnations of a reality that he glimpsed, perhaps, once, and whose meanings he understood only later. That is precisely why, in his poems, beauty acquires a distinctive, abstract quality: Manasia hunts the idea of beauty, one would say, and not the beauties that the vine offers him. His attitude is not an innocent one, but not a desert Platonism either. He records everything that reminds of beauty, accusing his own estrangement from this world." (Doris Mironescu, Culture Supplement no. 199).


The “Timer maps the most diverse environments, provided they stimulate the senses and produce little revelations. What Ștefan Manasia succeeds in prose is triggering and maintaining these epiphanies in Ginsbergian environments, immune to the eviscerated reality and in permanent anamorphism. Thus, Manasia builds, despite the deliberate fragmentation of the novel, its own system of navigation through the world, of involved observation, to which the authorial voice, most often in the first person, reacts organically and ritualistically." (Teona Farmatu, Vatra, no. 12/2020)